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The Making of Jester, Volume 1 And 2

Posted by Users on 2011/03/28
Posted in: Downloads, Tutorials, Videos. Tagged: , .

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Character Modeling in Maya and ZBrush
The Making of Jester, Volume One
This making_of_demonstration and lecture began with the decision to take a personal sketch, develop it in 3D and produce a life-size print. This would require the development of high-resolution detail and textures that could hold up to a 4000×6000 pixel render, effectively&making Jester a film-res character. Observe and listen as Alex shares his workflow, thought process and techniques. Volume One covers the character modeling process using Maya and ZBrush, as well as some lighting, composition and texture&exploration. Alex begins by creating an organized base mesh in Maya that accurately follows the 2D design. Using UVlayout, he flattens the UVs of the multiple basemesh_components. Jester is then imported into ZBrush for sculpting and detailing. We give some thought as to the resolution for each subtool that should be sent to Maya and export them with normal maps generated in Zmapper. Once in Maya, the shader networks are blocked-out so that Jester renders in Maya with the same level of detail that he had in ZBrush. The final step prior to texturing is to then create a Photoshop- color study that will guide our further progress on the character.
Character Texturing and Rendering
The Making of Jester, Volume Two
Volume_Two_covers character texturing and shading using Photoshop?, ZBrush, Bodypaint and Maya, as well as environment creation, lighting and the final composite of the print-res image in Photoshop?. Jester’s 2D line- drawing design does not specify material properties, therefore Alex explores different looks for the various components, settling on weathered leather, metal, cloth and skin. By layering, color correcting and painting over photographic textures, Alex&arrives at a photoreal result where each component has its own custom color, bump and specular map. With the character complete, the environment is then designed and created on the fly using Maya and Photoshop? for some quick paint- overs to guide the direction. Throughout^the making of Jester, Alex shares and explains every step of the process, both technical and aesthetic, making this an invaluable resource for both students and professionals.

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Exploring Animation Principles in Maya 2011 – Solid Drawing

Posted by Users on 2011/03/24
Posted in: Downloads, Learning, Tutorials, Videos. Tagged: , .

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Digital Tutors | .flv | 174 Mb
Release Date: 03/01/2011
In this collection of lessons we will learn about the animation principle of Solid Drawing.

Throughout this course, we will define Solid Drawing and work through a variety exercises to help explain it. By the end of this course, you will understand the meaning behind the principle of Solid Drawing, which will help you to polish your animations to attain believable movements throughout the actions of your character.

1. Introduction and project overview
2. Understanding Solid Drawing
3. Completing the first exercise
4. Another example of utilizing Solid Drawing
5. Finishing the second exercise

Download:

http://www.url-dead/file/325115401/DT_EAPInM2011SD.part1.rar
http://www.url-dead/file/325115411/DT_EAPInM2011SD.part2.rar
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Digital-tutors : Texture Painting with Maya and Photoshop

Posted by Users on 2011/02/13
Posted in: Downloads, Videos. Tagged: , , , .

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Digital-tutors : Texture Painting with Maya and Photoshop
Video Training | HF-FS-Fs | 1.19Gb

Learn a proven workflow to texture painting with Maya and Photoshop and using their powerful tools and capabilities to achieve best results. Learn several texture creation and texture painting techniques and a flexible workflow that can be used with other software. Contains nearly 5 hours of project-based training.

Popular highlights include:

Texturing Workflow Overview

Painting Texture Guides in Maya

Creating Seamless Textures

Adjusting Sub-D UVs to Minimize Distortion

Integrating Maya and Photoshop with PSD Networks

UV Snapshots as Texture Guides

Adjusting Pen Sensitivity on Tablet

Photoshop Brushes and Settings

Adjusting Layers with Curves

Adjusting Hue, Saturation, and Value

Blending Detail with Layer Masks

Color Maps for Bump and Specular

Creating Procedural Textures in Maya

Texturing with Photographs

Opening 3d Models in Photoshop

Generating Individual Texture Maps

Dodge and Burn Tools for Details

Smudge Tool to Blend Texture Detail

Eliminating Texture Seams

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FXHair 2011 v4 For Maya 2008 – 2011 64Bit Only

Posted by Users on 2011/01/15
Posted in: 3D, Downloads, Plugins, Softwares. Tagged: .

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FXHair 2011 v4 For Maya 2008 – 2011 64Bit Only

?FXHair? is a FXGear?s proprietary hair simulation software that aims to create realistic digital doubles. The fast and robust collision handling and realistic hair-to-hair interaction are the most salient features of ?FXHair?. Furthermore, it can maintain the original hair styles during simulation and can smoothly deform hairs to animated target shapes through the ?Goal Shape Control? feature without losing inertial movement and naturalness. ?FXHair? has been featured in Korean feature film, ?The Restless? and ?The Sword with No Name? as well as Ji Sung Park?s Nike commercial, ?The Legend of the Phoenix?. Customers of ?FXHair? include DreamWorks, Disney, SEGA, and NCSoft. Please visit our website, www.qualoth.com for further information.

All rights reserved. All trademarks contained herein are the property of their respective owners.

If you like this software,Buy it

Enjoy !

Download

http://hotfile.com/dl/94516115/8e31efd/FXHair_2011_v4_For_Maya_2008_-_2011_64Bit_Only.rar.html

Enjoy !!!

RenderHeads UVAutoRatio Pro 2.5 for Maya 32/64Bit

Posted by Users on 2011/01/14
Posted in: Downloads, Plugins, Softwares. Tagged: .

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RenderHeads UVAutoRatio Pro 2.5 for Maya 09/10/11 x32Bit & x64Bit

To get the most out of textures they should be mapped in proportion to the size of the geometry. Not doing so means that different parts of the scene will have different texture distribution, resulting in some textures appearing blurrier than others while some will be overly sharp, making the scene appear inconsistent and strange. Those objects with too much texture mapped to them waste memory and cause aliasing (flickering) due to the overly high frequency of texels.

Artists in the game and film industry can spend hours scaling UVs up and down manually trying to get them to the ideal proportion. This isn’t a particularly fun job, in fact it’s not something we should be wasting our time with. Wouldn’t it be great if this tiresome task was automated?

Enter UVAutoRatio Pro: the complete tool for automating all texel ratio tasks.

Features

?Automatically scale UVs based on surface area
?Fast and accurate processing algorithm
?Ability to specify UV-set
?Operates on UV shells
?Automatically moves overlapping UV shells
?Normalise across multiple objects
?UV shell finder tool
?Ratio inspector tool
?Maintains settings between sessions

Other Features:

?Supports all major 32 and 64-bit versions of Maya on Windows, Mac and Linux up to Maya 2011
?Automatic installer and uninstaller for Windows
?Version update notification system
?Comprehensive documentation
?Comprehensive support

All rights reserved. All trademarks contained herein are the property of their respective owners.

If you like this software,Buy it

Enjoy !

Download

http://hotfile.com/dl/96077916/7a63614/UVAutoRatioPro-2.5_For_Maya_09_10__11_x32-64bit.rar.html

Enjoy !!!

Kickstand Stretchmesh 1.6 For Maya 2011, 2010, 2009 32/64Bit

Posted by Users on 2011/01/14
Posted in: 3D, Downloads, Plugins, Softwares. Tagged: .

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Kickstand Stretchmesh 1.6 For Maya 2011, 2010, 2009 32Bit & 64Bit

StretchMesh is a new paradigm for surface deformation. By using a fast algorithm for relational vertex knowledge, smooth, skin-like character deformations can be created quickly and easily, giving excellent results. StretchMesh is implemented as a standard Maya deformer to work seamlessly with existing workflows.

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Features

Skinning Killer
Eliminate hours of painting weights.

Character Contact:
Surfaces can now collide with objects in the world for more realism.

All-in-One Deformation Solution
Bodies and Faces can be set up quickly and easily with natural skin motion such as stretching, sliding, and bending.

Production Ready
Integrates with pipelines of any size.

Feature Quality Results
Achieve feature film quality results quickly.

Versatile
StretchMesh is a modeling tool, a realtime deformer, and/or a render time relaxation operation.

Attractors
Pull points while maintaining stretchy behavior to quickly create shapes or act as animation controls.

Intuitive Deformations
Painting interface allows users to modify attributes such as stiffness and attractor influence.

Multi-threaded Performance
Multi-threading available for Maya 2009+ only.

Fast Primitive Collision Objects
Primitive sphere and primitive curve colliders. Primitive sphere colliders behave like mesh sphere colliders, but with significantly better performance. Primitive curve colliders provide an array of radius values along the length of a curve which define a collision tube or capsule, offering significantly better performance than equivalent mesh colliders.

Curve Attractors
Curve attractors provide the ability to pull vertices toward the closest point on a curve. As an example, this technique is useful in facial rigging, where the vertices of an eyebrow need to be pulled toward a target curve.

Robust Collision Control
The influence of a collision object can now be painted, giving users per-vertex control over collision behavior.

Workflow Improvements
A new ?Scale Safe? mode allows a mesh to be scaled while preserving the initial mesh shape.

All rights reserved. All trademarks contained herein are the property of their respective owners.

If you like this software,Buy it

Enjoy !

Download

http://hotfile.com/dl/96219812/c277f56/Kickstand_Stretchmesh-1.6-For_Maya_2011-2010-2009_x32Bit__x64Bit.rar.html

Enjoy !!!