The aim of this eBook is to show and explain how you might tackle rigging your 3D character for animation. Continue Reading
The aim of this eBook is to show and explain how you might tackle rigging your 3D character for animation. Continue Reading
CrackMaker
QuadSpinner’s potent natural crack production MetaNodes will fracture the competition when it comes to material creation and HyperTerrain development. Nearly 80 different parameters merge together to define these breakthrough MetaNodes.
CrackMaker’s unique technology is the first of its kind to provide separate command over breaks and cracks. You choose the settings to make the cracks you want and the breaks you want. The middle detailing work is done for you. It’s like having your own assistant execute the details while you remain focused on the big picture. Imagine!
CrackMaker is the result of turning Supernoi inside out – making cracks from within. Think Supernoi re-appropriated for cracks.
Fracturon
? ?Supernoi’s reconfigured intelligence gives Fracturon the ability to create sparse and punctuating cracks.
? ?Unique surface coloration is made with several easy-to-use Color Maps and Noise , powered by an embedded version of Tincture.
? ?Allows meticulous control over cracks and breaks, as well as smooth surface areas.
? ?Provides explicit Crack output for further expansion.
Tecton
? ?This Supernoi-powered engine generates a peeling or flaking effect that opens smooth areas between breaks and fissures – reminiscent of islets that have split away from land.
? ?Encapsulates all the features of Fracturon and more.
? ?Provides explicit Crack and Islet output for further expansion.
RockBreaker
QuadSpinner’s arsenal of superior displacement MetaNodes dominates HyperTerrain creation and general displacement. RockBreaker showcases the pillars of geology with the Earth’s four most prevailing rock formations.
Beyond realistic shapes, we’ve taken great care to incorporate scalability. As in nature, this innovative technology enables like patterns to reproduce in accordance with the object’s features regardless of size. These nodes are so smart that you can do just about anything, and your output will still look real.
RockBreaker also lets you concentrate on your composite vision while the MetaNodes calculate and complete the infinite detail in between. You determine the major shapes; the MetaNodes will perform the rest. Yet throughout you maintain tight control over every core aspect of creation.
Consider the importance of rock. Rock gives us the primary record of most of the geologic history of the Earth. RockBreaker pays homage to that prominence. This technology will infuse your scenes with the Earth?s same magnitude, richness, and beauty.
Trigon
? ?Outputs giant angular shapes made from immense boulders that were heat -fused over eons.
? ?Provides the perfect foundation upon which to build multiple displacement layers. You can even top it off with Supernoi.
Karst
? ?Creates realistic limestone wedges with organic collapses and tilt.
? ?Extreme horizontal displacement generates natural overhangs and crevices.
Antiform
? ?Generates robust vertical sandstone slabs.
? ?Verticality formed when horizontal sheet rock folded with the Earth’s movement over time. This process is simulated using a special version of Supernoi.
? ?Realistic crystalline cracks and breakage hint at the origins of the existing rock shape.
Xenolith
? ?Produces a dramatic banded texture on mixed igneous and sandstone rock. The defining slant mirrors natural weathering and erosion.
? ?Captures the effects of heat and wind -blasted crack fusion, creating a beautifully smooth seam where the cracks meet.
Supernoi
QuadSpinner’s essential Voronoi-multiplication MetaNodes build realistic shapes out of iconic fractals for material, terrain, and HyperTerrain development. Field expeditions reveal that one of the most commonly occurring breakage patterns in nature is similar to Voronoi. We have taken that foundation and expanded it to give you outrageous realism and artistic control.
Supernoi
? ?This classic Displacement MetaNode excels at making cracked terrains and HyperTerrains.
? ?Captures one of the most esthetically pleasing shapes in nature, regardless of the object’s scale – whether a small pebble or a majestic mountain.
? ?Enables you to create massive dramatic mesas by combining Supernoi with Vue’s Strata Filter on Procedural Terrains.
Geonoi
? ?Large scale Supernoi Displacement with GeoSimulation for realistic terrain features, based on nature’s diversity of rock formations style=’color: #1F497D’>.
? ?Moves beyond the simple pattern of classic Supernoi , adding geological randomness.
? ?Comes with separate controls over the Supernoi and GeoSimulation fractals for optimum detail management style=’color: #1F497D’>.
Carbonoi
? ?Emulates real world rock formations with its large scale Supernoi Displacement and huge crystal-based surface simulation.
? ?Compounds Supernoi’s multi-faceted shapes by exposing crystalline composition for hyper-realistic sculpts.
? ?Comes with separate controls over the Supernoi and Crystal Simulation fractals for optimum detail management.
Tincture
QuadSpinner’s powerhouse system of color production MetaNodes conceives realistic natural tones and color patterns for material creation. Some of our most coveted materials were made using portions of Tincture: GeoAffinity, Mineral Infinity, and Arenite Warriors.
Tincture’s advanced features give you unbridled possibilities. You can more accurately concoct the colors you desire by independently managing gradient color maps and multi-colored noises. The Tincture MetaNodes can be plugged to and from any other node that would normally accept the default Color Map node. And, color modification sliders provide easy refinement of color maps and noises without having to change the original colors, letting you experiment without losing the original color intentions. Dare we say, your new BFF?
Simple
? ?The most basic Tincture MetaNode.
? ?Provides quick and enhanced quality operations on a color map – HSL (Hue, Saturation, Luminance), Brightness/Contrast, and Gain.
? ?Simple Color Blending can also be applied to the color map.
Noise
? ?Builds on top of Tincture’s Simple MetaNode by including multi-colored noise production.
? ?Gives you detailed control over the grain production without requiring you to perform complex tasks.
Grainy
? ?Extends Tincture’s Noise MetaNode by adding grain patterns (based on numerous advanced Perlin-type fractals).
? ?Enables you to mix the grain pattern with built-in noise through a single slider to capture Mother Nature’s exquisite esthetic – both her randomness and her beauty.
? ?Empowers you with full control over grain production.
Variant
? ?Further expands Tincture’s Noise MetaNode by inserting a third layer of color production.
? ?Automatically creates, from just a single color that you choose, multiple shades in noise patterns and ensures these shades are as close to natural occurrence as possible.
LightBender
QuadSpinner’s innovative invention of light illusion MetaNodes can be used to constrain color, reflections, and light to edge, slope, and altitude. The technology literally modifies coloration, reflection, and light according to the shape of an object, the camera angle, and the object’s slope and altitude.
In situations where Vue might block the sunlight – behind a tree, for instance – LightBender enables you to bend light in and around the tree trunk to add rim lighting. By doing so it creates that subtle yet undeniable glow that nature produces in places where it normally can’t be generated in Vue.
LightBender delivers excellent results on terrains, water surfaces, and underwater elements as well – not just on metals. And wait ’til you see what these sophisticated MetaNodes can do with textiles! It changes the value of the cloth when giving it a natural luster, sheen, and softness.
Alpha
? ?Basic edge constraint with slope and altitude control.
? ?Pushes light to the center of the object, away from the edges.
? ?Parabolic style edge filtering allows multiple edges to be created visually.
Beta
? ?Filtered edge constraint with advanced slope and altitude control.
? ?Tailored for usage on terrains, water surfaces, and underwater elements.
? ?Works with the properties of light underwater. When you look at a submerged object, the curved edges have a lightness caused by micro refraction. The Beta MetaNode creates the illusion of that brightness without the actual refraction.
? ?Simplest avenue to incorporate LightBender for light, color, reflection, or luminance.
? ?Renders blazingly fast.
Gamma
? ?Beta’s filtered edge constraint, augmented by edge smudging with Grainy Fractal.
? ?Enables you to regulate all aspects of the fractal that produces the smudging .
? ?Allows you the same slope and altitude control as the Alpha MetaNode.
http://www.url-dead/file/999059864/MDK.rar
http://www.fileserve.com/file/gEDFkTD/MDK.rar
http://www.uploadstation.com/file/3Y3VEQ5/MDK.rar
http://www.wupload.com/file/636853/MDK.rar
[img]http://preview.url-dead/img/1302741.jpg[/img]
Advanced UV Layout for Production with Kevin Hudson | 1.45GB
In this DVD, Kevin_guides the more advanced modeler through the steps of laying out UVs on more complicated organic objects, where no single simple projection will work. Kevin provides a clear approach to breaking down objects into pieces that can be laid out and reassembled. Starting with a dollhead model, Kevin covers how to combine different projections and use the Relax and Unfold tools to get the desired results.
He then discusses UV layout solutions for clothing and more complicated objects like a horse skull. Kevin then shows how to utilize his favorite tool, UVLayout by Headus, which can really speed up your workflow by automating the process of cutting up the model and projecting onto it, while maintaining a consistent scale. Finally, Kevin explains why in production it may be necessary to have multiple UV sets and what the specific requirements are for programs like ZBrush and BodyPaint. Intended as an advanced tutorial on production UV layout techniques, Kevin’s many years of expertise inform this clear and “holistic” approach to modeling and UV work.
Cylindrical and Spherical Projections
Relax and Unfold UVs
Combining Different Projections
Headus UV Layout
Using Data Type Conversion to Layout UVs
UV Organization
Proper Mirroring Techniques
1. Multiple Projections
2. Complex Projections
3. Laying Out the Skull
4. UVs and Clothing
5. Stealing UVs from Nurbs
6. Stealing UVs with Strategy
7. Headus UV Layout Tool
8. Laying Out UVs for Production
9. Final Comments
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[img]http://preview.url-dead/img/1316541.jpg[/img]
TwistedBrush – program for artists. It has a lot of variety of drawing tools, from paints to crayons and pencils. This program is deeply affects literally from the first run. Interface Twisted-Brush little resemblance to other editors, though, and provides all the necessary features: work with the clipboard, zuming and, of course, drawing. And drawing is only one tool – the brush, but the number (more than 3000 pieces!) and quality presets for drawing, as well as the diversity of form and governed by the size and colors enable a person, not a particularly gifted artistic talent, just a couple of minutes to portray it, that – perhaps more accurately, and qualitatively, of course – a professional who works in another editor, draw would probably have more than one hour!
The main features of TwistedBrush Pro Studio:
“Tool number 1 in the hands of an artist!
“Many drawing tools
“Features hit literally from the first run
Operating system: Windows 95/98/me/2000/NT/XP/Vista/7
Language: English
Size: 21.02 MB
Medicine : Cracked
fileserve.com
http://www.fileserve.com/file/Axzzy7k
url-dead
http://www.url-dead/file/984655904/_TwistedBrush_Pro_Studio_18.02.rar
[img]http://preview.url-dead/img/1311211.jpg[/img]
[b]Rendering and Texturing in 3ds Max with_Ramy_Hanna[/b]
[img]http://preview.url-dead/img/1311261.jpg[/img]
3DS Max Rendering Iridescence w/ the Shellac Material
Duration: 23 min
In this tutorial, Ramy Hanna covers the funadamentals of creating iridescent materials in 3ds Max. Iridescence is an optical phenomenon in which hue changes depending on the angle at which it is being viewed. Iridescence can be seen in cds, shells and bubbles. Ramy starts with a reflective material and details how he uses Max’s Shellac material to create a three channel material that accurately recreates the optical effect of iridescence.
[img]http://preview.url-dead/img/1311271.jpg[/img]
3DS Max Texturing with Arch & Design Mental Ray Materials
Duration: 64 min
Ramy Hanna, goes through texturing 9 different materials with the Arch & Design shader through Mental Ray for 3ds Max 2009. He covers materials such as plastic, cloth, chrome, glass, concrete, brick and wood all in this 60 minute tutorial. This tutorial is a must for anyone needing a crash course on architectural texturing. Materials covered are: plastic, cloth, chrome, glass, concrete, brick, painted walls, and wood.
[img]http://preview.url-dead/img/1311281.jpg[/img]
Lighting Interior Spaces
Duration: 70 min
In Lighting Interior Spaces, Ramy Hanna will demonstrate the techniques necessary to achieve, not only beautiful and realistic interior renders, but will also show you how to optimally set up your renders for speed and efficiency. This tutorial will discuss topics such as Global Illumination, Final Gather, as well as using Photometric Lights for the most realistic interior renders.
fileserve.com
http://www.fileserve.com/file/tHA2H3N/_Rend_and_Text_in_3dsMax.part1.rar
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MAR101 – Introduction to Mari
Professor: Gareth Jensen
Our first ever course in Mari is designed to get everybody up to speed with this new and excitingly powerful 3D painting package from The Foundry. Mari is a great leap forward in professional texture painting by being both users friendly and capable of dealing with a staggering large amount of resolution. Professor Gareth Jensen been working with Mari for the past few years as it was developed at Weta Digital and has continued to use it at Double Negative where he currently works. fxphd members will have access to Mari on Linux via the fxphd VPN.
Jensen comes from a background of physical film effects including make-up/prosthetics and painting ranging from props through to miniatures. Mari allows him to take a similar approach to texturing a digital asset by automatically seaming multi-patch UV’s giving a much more complete hands-on feel, similar to that of painting a physical model.
In this course we will be covering the basics to get you up and running, including a breakdown of the tools and palettes that you will find yourself most often using. We will be covering such great tools as paint through, heal/tow and the remarkable warping tools. We will going through the concept of Mari’s shaders and channels system as well as its comprehensive masking options.
Over the course of the term we will be taking an asset from start to finish. f you work like Jensen you probably like using all the tools at your disposal so we will also show how Mari works easily with other packages. I will be going over basic process of working in conjunction with Nuke and also the wonderfully simple to use camera projection set up for all your Photoshop projections.
In Jensen’s 10 years of experience within the film industry, he has had the opportunity to work for both physical effects as well as digital and even began his career as a creature actor for Lord of the Rings. Having previously studied make-up and prosthetics for film in New Zealand his role in the industry further progressed with the renowned Weta Workshop where he was involved in major productions such as King Kong, 30 Days of Night, District 9, Prince Caspian and more recently Avatar. Developing his skills amongst some of the best artists in the industry, Jensen has also trained as a creature and props painter and it was during the production of Avatar that he made the decision to expand his role into the digital world. Switching over to Weta Digital as a texture and look dev artist on Avatar, Jensen has been able to work with Mari during its development and has now used it for over 2 years and is continuing to use it within Double Negatives production pipeline. His background in physical effects has left him with a strong base understanding of how to paint realistic textures and being able to use Mari as his digital medium has made this transition a lot smoother.
Class 1:
A guided tour of the Mari GUI introducing the contents of the toolbox and a brief overview of the pallets. We will also be looking at setting up your project and talk about the subject of resolution.
Class 2:
Approaching an asset by gathering ideas and putting a solid aim together. We will be covering setting up projectors in Mari and using them with Photoshop to design a paint scheme. I will also show you how to create and store custom palettes inside Mari.
Class 3:
In this class we look at cleaning up our projections and become familiar with object handling and fast paint application using both 3D and UV views.
Class 4:
An introduction to the Mari shader system and a demonstration in how to use Mari with Maya texturing tools.
Class 5:
In this class we will be learning how to version up geometry in the object tab, as well as how to paint a metal mask.
Class 6:
In this class we will start to combine the powerful tools and methods we have learnt so far to create interesting and believable rust masks.
Class 7:
In this class we will be looking at ways to use textures in Mari that have been produced in other applications. We will also be going over techniques for weathering your asset.
Class 8:
In this class I will be showing you how to bake shaders out of Mari and also how to apply the power of Nuke to your texturing workflow.
Class 9:
Painting a human hand, in this class I am going to show you one approach to painting skin in Mari. Part 1 of 2.
Class 10:
Painting a human hand, in this class I am going to show you one approach to painting skin in Mari. Part 2 of 2
http://www.url-dead/file/990791314/Fxphd_mari101.part1.rar
http://www.url-dead/file/990791174/Fxphd_mari101.part2.rar
http://www.url-dead/file/990791194/Fxphd_mari101.part3.rar
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http://cgpeers.com/torrents.php?id=3047
Thanks to kinetik-ninja and the clan for this awesome tutorial!
SCULPTED CLOUDS
Slow grazing and immense, these life-like sky dancers will instill a feeling of gentle movement in your renders. Each MetaCloud was hand crafted and placed for heightened realism. Every scene contains an optimal camera angle for getting the best lighting and composition. All products in this collection utilize Spectral3 technology and unique atmospheres.
- Apollo
- Atlas
- Helios
- Hyperion
- Cronus
- Prometheus
HIGH ALTITUDE
These Spectral3 Technology atmospheres are specially designed for dizzying heights – settings where the thin air can make your heart pound and your head spin. Towering mountain chains, free-standing summits and aircraft images will come alive with these beautiful skies.
The powerful lighting is optimized for non-standard camera angles, including tilts and upward facing shots. And, the collection can be adapted to multiple times of day by easily repositioning the sun for infinite variations.
- Daybreak
- Adieu
- Morning Glory
Liquid Skies vol 2
Posing an imminent threat, these low-lying clouds can dramatize any scene. Extreme care was taken in lighting these tempestuous heavens, which are based on real-life storm activity moving across the vast desert and ocean.
Dax Pandhi’s custom Spectral3 BlackHaze and PurpleHaze cast ethereal color tones in the lower atmosphere.
- The Spell
- Sorcery
- CloudCraft
- The Cauldron
Sunset Magic
a set of six sunset themed atmospheres
- Wildfire
- Ahoy, Matey!
- Evening Embers
- Silent Mirage
- Angelic Ballet
- Twilight Lullaby
Liquid skies
A set of six dark themed atmospheres
- Armageddon
- The Explosion
- Redemption
- Eternity
- Waves of Gray
- The Star
Summer Dreaming
A set of six summer themed atmospheres.
- Cotton candy
- Blue Bliss
- Solar Kiss
- Raven’s Shadow
- Cloud Hopping
- Dreamy Days
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3d Creative magazine Issue 69 May 2011
CONTENT
Continue Reading
and techniques needed for effectively using it in various professional production scenarios.
From creating assets for matte painting and compositing to animating and rendering complete 3D scenes.
Vue has gained a prominent position in the industry as a tool for creating rich and detailed 3D natural scenery
and there’s an ever-growing demand for competent Vue artists.
We will first cover all of the main aspects of Vue – the different atmospheric models, polygonal and procedural terrains,
EcoSystems, animation, materials and plant editing, and then dig deeper into more complex areas such as fractal functions
and multi-layered shaders. Keeping in mind the needs of matte painting and compositing, we will also explore Vue’s extensive
multi-pass rendering, matte generation and export options.
Class 1: Introduction to Vue
– We will look at some of the strengths and unique capabilities of Vue. Then we?ll build a simple scene,
which will allow us to get familiar with the interface and various editors.
Class 2: Plants and EcoSystems
– After examining Vue?s SolidGrowth plants, We?ll take a close look at Vue?s fantastic distribution system.
We?ll explore the different approaches to setting up EcoSystems, from free-hand painting to defining distribution
and interaction rules.
Class 3: Atmosphere and lighting
– Mastering the atmospheric models in Vue is essential for achieving good looking renders.
We will devote most of the class to the Spectral atmosphere and volumetric clouds,
and will also take a short look at the standard model and environment mapping.
Class 4: Terrains
– We?ll go through the different terrain types (height field, procedural, large scale and infinite),
and explore terrain hand-sculpting and erosion techniques, as well as basic function editing,
and spherical terrains.
Class 5: Materials and natural distribution
– We will create textured and procedural materials and layer them using natural distribution rules.
We will also create water material and explore transparency, refraction and murkiness.
Class 6: The function Editor
– In this class we will dig deep inside Vue?s powerful node-based function editor,
and learn how to create elaborate terrains and materials using fractal algorithms and filters.
Class 7: Animation
– Importing cameras from external applications, camera and object animation,
animating atmospheres and clouds, wind animation and ventilators,
animating water materials and terrains.
Class 8: Rendering and exporting
– Vue has an extensive multi-pass rendering system, and we?ll take a close look at the various passes
and their potential usage.
We?ll also look at render quality configurations, as well as object and material export options.
Class 9: Advanced Techniques 1
– Displacement, sub-surface scattering, Hyper textures and camera projection mapping.
Class 10: Advanced Techniques 2
– More lighting, terrain, material, plants and EcoSystem techniques.
Rapidgator
http://rg.to/file/3fde53c027121fd3311ace6a83b331df/FXPHDVUE201.part1.rar.html
http://rg.to/file/40b7bd412355384d8879f9d1b69fdcfa/FXPHDVUE201.part2.rar.html
Oboom
https://www.oboom.com/Q4X0P8GQ
https://www.oboom.com/LS2243N3
Uploaded
http://ul.to/7qzu9jiu
http://ul.to/do3tbr35