3DEXAMPLE

atmosfer

2009-10-30T07:41:00.001+02:00

This image won the first prize winner of a competition,(Simply 3D World site) whose goal was Lightening & Rendering Atmosphere.

As this is a making of article, I'm not gona cover every step of the whole process. I assume you have some basic knowledge in 3D in general, and basic to intermediate level for all the 3ds max users.

First, I've created my concept sketch and focusing better the idea for that challange.

I wanted to play most with lightening and atmosphere. I put the baby there to give more expression to the whole situation.

For me it's better way to start modeling from simple shapes, using box modeling technique. So I started modeling the head from a simple box. It's better to study your model first and find how many divisions the box need, to get the look of the face better and faster. That's why I recomand to start always with the simplest shape, and adding details gradually.

A very important fact to consider is the modeling flow. I'm talking about the way you build the surface; edge loops/edge rings.

Ok, after dividing the box several times, I converted to editable poly, and started adding details. Although I was dealing with a complex organic modeling, the tools I've used were very few. 3ds max has a very robust polygon toolset. 90-95% of the work was done using few 2 or 3 tools.( cut, extrude, bevel, weld). Cuting here and there, I've modeled the face of my character. I built the mask using surface pach technique. Drawing splines first, and than adding the surface modifier.

Going this way, I've modeled the body. Starting from a simple shape/ turning to poly/ and adding detail with the tools I've mentioned before.

Now that I've finished the modeling, it's time to skin it. I can, this way make it pose, maching my concept drawing.

I built a ferely simple scheleton rig with max standart bones and added some simple controls for the limbs.

I added the skin modifier on top of my poly surface first, and then all the bones of the scheleton rig.

As soon as the skin phase is finished, it's time to do some texture work!... I added Unwrap UVW modifier and started pulling and pushing the UV's, trying to make them as flat as posible. It's good way to be in sub object mode, so you can see directely in the viewport, all the polygons you select in the UV editor.

After I opened photoshop, I imported a screenshot of the UV's, and started painting the diffuse map. I wanted the skin to be smooth and translucent, so I don't need to create a bump map for the skin.

3Dtutorials.sk recommendation:

To maximise the realism of your 3D characters we recommend to use high quality human photo textures from the #1 texture website www.3D.sk

I've created a spot light. I added a Volume light to Atmospheres & Effects rollout.

The shaders played very important role in what I was trying to achive for the skin look. For achieving what I had in mind, I need the light to bounce around to create that soft and warm look I was looking for. I used mental ray render, because it can do Global illuminations & Final Gather calculations. Another important reason for using mental ray was the fact that it supports subsurface scattering effect; very important for creating the soft and translucent effect I was looking for the skin. Here is a test I've done using the ellements mentioned before,(volume light & translucent effect).

For achieving the translucence, I recomand everyone to play with these shaders and find its own way to do the SSS effect. It can be achieved interesting looks playing with those parameters.

Mental ray for max comes with different SSS shaders. I chose the SSS Fast material(mi) shader. I've started playing with the parameters of this wesome shade offer, trying to get the trenslucent look of the skin. One important fact is the number of samples for this shader. The higher the better, but consider that this slows down the rendering process.

In the Overall diffuse coloration, I put the diffuse map created in photoshop before and hit render again to see what is going on.

After that I worked with the enviroment, adding small rocks, grass, and bush. All was done modeling simple poly shapes, dublicating and scattering all over the scene.

3Dtutorials.sk recommendation:

To maximise the realism of your textures we recommend to use high quality photo textures from the #1 texture website www.environment-textures.com

I added some more spots and omni lights in the scene. With all the lights setup in the scene it was time to add the Global Illuination affect. On the rendering panel, in Indirect Illumination tab, I've turned on Final Gather, lower the samples, turned on Preview No Precalculation(for fast preview) and hit render. The rendering proces becomes much longer now.

I've played with samples number for Final Gather trying to get the best result and an optimal rendering time. For the final image I've rendered different passes and imported them in photoshop. This teqnique allows you to have more flexibility in compositing later.

Here are some of the main passes.

I used photoshop for doing some tinny color corections. Here is the final image.

Hope I've been as clear as possible, explaining the way for creating this image. Thank you for the care and patience. Hope to be useful.

About Dorian Bushi:

I graduated in 2001, Academy of Fine Arts in Tirana majored in Monumental Painting; Winner of first prizes in several national competitions and participant in meny international figurative exhibitions. After graduation I started to learn computer animations, improving 2d,3d and compositing skills. Interest: character animation and visual effects. Active participant in several CG competitions and winner of the first prize in Simply 3D World competition. Actually I work in television as a 3d artist doing 3d animations for media and commercials.

3d max ksayolları

2009-05-05T15:52:00.001+03:00

Snaps Toggle S
Snaps Use Axis Constraints Toggle Alt+D, Alt+F3
Sound Toggle
Spacing Tool Shift+I
Spot/Directional Light View Shift+4
Sub-object Level Cycle insert
Sub-object selection Toggle Ctrl+B
Top View T
Transform Gizmo Size Down -
Transform Gizmo Size Up =
Transform Gizmo Toggle X
Transform Type-In Dialog Toggle F12
Undo Scene Operation Ctrl+Z
Undo Viewport Operation Shift+Z
update Background Image Alt+Shift+Ctrl+B
View Edged Faces Toggle F4
Viewport Background Alt+B
Virtual Viewport Pan Down NumPad 2
Virtual Viewport Pan Left NumPad 4
Virtual Viewport Pan Right NumPad 6
Virtual Viewport Pan Up NumPad 8
Virtual Viewport Toggle NumPad /
Virtual Viewport Zoom In NumPad +
Virtual Viewport Zoom Out NumPad -
Wireframe / Smooth+Highlights Toggle F3
Zoom Extents All selected Z
Zoom Extents All Shift+Ctrl+Z
Zoom Extents Alt+Ctrl+Z
Zoom In 2X Alt+Shift+Ctrl+Z
Zoom Mode Alt+Z
Zoom Out 2X Alt+Shift+Z
Zoom Region Mode Ctrl+W
Zoom Viewport In [, Ctrl+=
Zoom Viewport Out ], Ctrl+-
Track View
Add Keys A
Apply Ease Curve Ctrl+E
Apply Multiplier Curve Ctrl+M
Assign Controller C
Copy Controller Ctrl+C
Expand Object Toggle O
Expand Track Toggle Enter, T
Filters Q
Lock selection Space
Lock Tangents Toggle L
Make Controller Unique U
Move Highlight Down Down Arrow
Move Highlight Up Up Arrow
Move Keys M
Nudge Keys Left Left Arrow
Nudge Keys Right Right Arrow
Pan P
Paste Controller Ctrl+V
Scroll Down Ctrl+Down Arrow
Scroll Up Ctrl+Up Arrow
Snap Frames

Zoom Z
Material Editor
Background B
Backlight L
Cycle 3X2, 5X3, 6X4 Sample Slots X
Get Material G
Go Backward to Sibling Left Arrow
Go Forward to Sibling Right Arrow
Go to Parent Up Arrow
Make Preview P
Options O
Schematic View
Add Bookmark B
Display Floater D
Filters P
Free All Alt+F
Free selected Alt+S
Invert selected Nodes Ctrl+I
Move Children Alt+C
Next Bookmark Right Arrow
Previous Bookmark Left Arrow
rename Object R
select All Nodes Ctrl+A
select Children Ctrl+C
select None Ctrl+D
Show Grid G
Toggle Shrink Ctrl+S
Use Connect Tool C
Use select Tool S
Zoom selected Extents Z
ActiveShade
Close Q
Draw Region D
Render R
select Object S
Toggle Toolbar (Docked) Space
Video Post
Add Image Filter Event Ctrl+F
Add Image Input Event Ctrl+I
Add Image Layer Event Ctrl+L
Add Image Output Event Ctrl+O
Add New Event Ctrl+A
Add Scene Event Ctrl+S
Edit Current Event Ctrl+E
Execute Sequence Ctrl+R
New Sequence Ctrl+N
NURBS
CV Constrained Normal Move Alt+N
CV Constrained U Move Alt+U
CV Constrained V Move Alt+V
Display Curves Shift+Ctrl+C
Display Dependents Ctrl+D
Display Lattices Ctrl+L
Display Shaded Lattice Alt+L
Display Surfaces Shift+Ctrl+S
Display Toolbox Ctrl+T
Display Trims Shift+Ctrl+T
Local select Sub-Object By Name Ctrl+H
Lock 2D selection Space
select Next in U Ctrl+Right Arrow
select Next in V Ctrl+Up Arrow
select Previous in U Ctrl+Left Arrow
select Previous in V Ctrl+Down Arrow
select Sub-Object By Name H
Set Tessellation Preset 1 Alt+1
Set Tessellation Preset 2 Alt+2
Set Tessellation Preset 3 Alt+3
Soft selection Ctrl+S
Switch To Curve CV Level Alt+Shift+Z
Switch To Curve Level Alt+Shift+C
Switch To Imports Level Alt+Shift+I
Switch To Point Level Alt+Shift+P
Switch To Surface CV Level Alt+Shift+V
Switch To Surface Level Alt+Shift+S
Switch To Top Level Alt+Shift+T
Transform Degrade Ctrl+X
Editable Poly
Bevel Mode Shift+Ctrl+B
Border Level 3
Chamfer Mode Shift+Ctrl+C
Connect Shift+Ctrl+E
Constrain to Edges Shift+X
Cut Alt+C
Edge Level 2
Element Level 5
Extrude Mode Shift+E
Face Level 4
Grow selection Ctrl+PageUp
Hide Unselected Alt+I
Hide Alt+H
Object Level 6
Quickslice Mode Shift+Ctrl+Q
Repeat Last Operation ;
select Edge Loop Alt+L
select Edge Ring Alt+R
Shrink selection Ctrl+PageDown
Unhide All Alt+U
Vertex Level 1
Weld Mode Shift+Ctrl+W
Edit/Editable Mesh
Bevel Mode Ctrl+V, Ctrl+B
Chamfer Mode Ctrl+C
Cut Mode Alt+C
Detach Ctrl+D
Edge Invisible Ctrl+I
Edge Level 2
Edge Turn Ctrl+T
Element Level 5
Extrude Mode Ctrl+E
Face Level 3
Polygon Level 4
Vertex Level 1
Weld selected Ctrl+W
Weld Target Mode Alt+W
Edit Normals
Break Normals B
Copy Normal Ctrl+C
Edge Level Ctrl+3
Face Level Ctrl+4
Make Explicit E
Normal Level Ctrl+1
Object Level Ctrl+0
Paste Normal Ctrl+V
Reset Normals R
Specify Normals S
Unify Normals U
Vertex Level Ctrl+2
FFD
Switch To Control Point Level Alt+Shift+C
Switch To Lattice Level Alt+Shift+L
Switch To Set Volume Level Alt+Shift+S
Switch To Top Level Alt+Shift+T
Edit Poly
Bevel Mode Shift+Ctrl+B
Border Level 3
Chamfer Mode Shift+Ctrl+C
Connect Shift+Ctrl+E
Constrain to Edges Shift+X
Cut Alt+C
Edge Level 2
Element Level 5
Extrude Mode Shift+E
Grow selection Ctrl+PageUp
Hide Unselected Alt+I
Hide Alt+H
Object Level 6
Polygon Level 4
Quickslice Mode Shift+Ctrl+Q
Repeat Last Operation ;
select Edge Loop Alt+L
select Edge Ring Alt+R
Shrink selection Ctrl+PageDown

Unhide All Alt+U
Vertex Level 1
Weld Mode Shift+Ctrl+W
Physique
Copy Envelope Ctrl+C
delete Ctrl+D
Next PageDown
Paste Envelope Ctrl+V
Previous selection Level Shift+
Previous PageUp
Reset Envelopes Ctrl+E
Unwrap UVW
Break selected Vertices Ctrl+B
Detach Edge Verts D, Ctrl+D
Edit UVW`s Ctrl+E
Filter selected Faces Alt+F
Freeze selected Ctrl+F
Get Face selection From Stack Alt+Shift+Ctrl+F
Get selection From Faces Alt+Shift+Ctrl+P
Hide selected Ctrl+H
Load UVW Alt+Shift+Ctrl+L
Lock selected vertices Space
Mirror Horizontal Alt+Shift+Ctrl+N
Mirror Vertical Alt+Shift+Ctrl+M
Move Horizontal Alt+Shift+Ctrl+J
Move Vertical Alt+Shift+Ctrl+K
Pan Ctrl+P
Planar map faces/patches Enter
Show Seams In Viewport Alt+E
Snap Ctrl+S
Texture Vertex Contract selection NumPad -, -
Texture Vertex Expand selection NumPad +, =
Texture Vertex Move Mode Q
Texture Vertex Rotate Mode Ctrl+R
Texture Vertex Weld selected Ctrl+W
Texture VertexTarget Weld Ctrl+T
Unwrap Options Ctrl+O
update Map Ctrl+U
Zoom Extents selected Alt+Ctrl+Z
Zoom Extents X
Zoom Region Ctrl+X
Zoom To Gizmo Shift+Space
Zoom Z
Crowd
Solve S
Biped
Change Leg State Alt+Ctrl+S
Collapse Move All Mode changes Alt+M
Copy Posture Alt+C
Fix Graphs Alt+Ctrl+F
Lock selected Keys (toggle) Alt+Ctrl+L
Paste Posture Opposite Alt+B
Paste Posture Alt+V
Play Biped V
Reset all limb keys Alt+K
Scale In Transform (toggle) Alt+Ctrl+E
Set Key 0
Set Range Alt+R
Toggle Biped Keys in TrackBar Alt+T
TV select end of footsteps Alt+D
TV select entire foostep Alt+S
TV select start of foosteps Alt+A
Biped Curve Editing
Pos Curve Relative To Bip Root Ctrl+A
Pos Curve Relative To World Ctrl+A
Show Pos Accel Curve Ctrl+A
Show Pos Curve Ctrl+A
Show Pos Jerk Curve Ctrl+A
Show Pos Speed Curve Ctrl+A
Show Quat Curve Ctrl+A
Show Rot Accel Curve Ctrl+A
Show Rot Speed Curve Ctrl+A
Toggle Draw Every Frame Ctrl+A
Toggle Layered Edit Ctrl+A
Toggle Limit Quat Curve to 180 Ctrl+A
Toggle Manipulate Subanims Ctrl+A
Toggle Show Z Ctrl+A
Toggle Show X Ctrl+A
Toggle Show Y Ctrl+A
Toggle Subanims Ctrl+A
Reaction Manager
Set Max Influence Ctrl+I
Set Min Influence Alt+I
Particle Flow
Particle Emission Toggle ;
Particle View Toggle 6
Particle Flow
selected Particle Emission Toggle Shift+;
Particle Flow
Copy selected In Particle View Ctrl+C
Paste In Particle View Ctrl+V
select All In Particle View Ctrl+A
ActiveShade (Scanline)
Initialize P
update U
ToneOperatorAndRadiosityActionTable
Advanced Lighting Panel 9
Object Display Culling
Object Display Culling Alt+O
WalkThrough
Accelerate Toggle Q
Back S, Down Arrow
Decelerate Toggle Z
Decrease Step Size [
Down C, Shift+Down Arrow
Forward W, Up Arrow
Increase Step Size ]
Left A, Left Arrow
Level Shift+Space
Lock Vertical Rotation Space
Reset Step Size Alt+[
Right D, Right Arrow
Up E, Shift+Up Arrow
Macro Scripts
Add/Edit Parameters... (TV) Ctrl+1
Cap (Poly) Alt+P
Collapse (Poly) Alt+Ctrl+C
Collect Parameters SV Alt+3
Collect Parameters TV Alt+4
create Camera From View Ctrl+C
Cut (Poly) Alt+C
Extrude Face (Poly) Alt+E
Geometry selection Visibility Toggle Alt+G
Isolate selection Alt+Q
Meshsmooth (Poly) Ctrl+M
Parameter Collector Alt+2
Parameter Editor Alt+1
Parameter Wiring Dialog... Alt+5
Render to Texture Dialog Toggle 0
Smart Scale R
Smart select Q
Start Parameter Wiring... Ctrl+5
Sub-Object Level 1 1
Sub-Object Level 2 2
Sub-Object Level 3 3
Sub-Object Level 4 4
Sub-object Level 5 5
WalkThrough View Mode Up Arrow
Quad Menu Sets
Animation [Alt+RMB]
Custom [Shift+Ctrl+Alt+RMB]
Custom [Shift+Ctrl+RMB]
Lighting | Render [Ctrl+Alt+RMB]
Modeling [Ctrl+RMB]
reactor [Shift+Alt+RMB]
Snap [Shift+RMB]
Viewports V

Modeling a chair

2009-05-05T15:46:00.002+03:00

Modeling a chair

Beginners: First steps with Editable Polygons

The purpose of this exercise is to familiarise you with the 3DS Max interface and basic Editable Polygon modelling tools such as Extrude, Bevel, and Chamfer. Hopefully it will get you used to working with selections of vertices, faces and lines, within an object. Working with selections in this way is very powerful and will form the basis of much of your modeling.
This was originally written as a step-by-step guide for a class, and so it walks you through all the processes involved.

NOTES:
polygons = individual faces of a 3d object

vertex = a point in 3d space -vertices make up a 3d object. A piece of 3D geometry is a cloud of points in space, rendered as a solid image by the computer.

Always name objects after you create them, this helps to keep your scene organised.

When you are in a sub-object selection level, you have to come out of it to select a different object. Do this by clicking the word 'edit poly' so the yellow dissapears.

In Edit Poly selection options, 'ignore backfacing' can be used to make sure you don't accidentally select things at the back of an object.

1.Open Max and reset the software (file/reset).

2.From the create panel choose 'box'. Click and drag in the TOP viewport to make the seat of the chair. Adjust the Length, Width and Height to 50, 50, 5 in the type in box on the right.

3.Centre the Box by selecting it and then right clicking the MOVE tool. Right click each spinner to reset them to zero. The box is now centred.

4.Right click the word 'perspective' at the top of the perspective viewport and turn on EDGED FACES by clicking it. You should always model in either wireframe or edged faces mode so that you can see individual polygons.

5.Creating the Chair leg: Create a CYLINDER from the create panel. Use the TOP viewport to place it on the corner of the seat. Adjust the parameters on the right; I used 4 height segments, 1 cap segment and 8 sides. Experiment with these settings... You want enough polygons to add details to the cylinder (next step) whilst keeping the polygon count low.

6.Adding details to the chair leg. Add EDIT POLY modifier to the chair leg from the modifier stack. Click the 'plus' symbol to expand the options and click EDGE. Now you can access the individual lines that make up the shape. In FRONT viewport, click one of the top HORIZONTAL lines on the leg. To select the rest of the lines around the circumference of the leg, click LOOP in the modify panel. Now, choose the SCALE tool (near move and rotate). Now, using the TOP viewport, scale your line selection to make the loop bigger. This adds some detail to the leg.

7.Select the MOVE tool, then HOLD shift and move the leg in the TOP viewport. Holding shift whilst moving duplicates the selected object. Repeat this 3 times to make all the chair legs.

8.Making the back of the chair. In FRONT viewport, create a BOX primitive. Adjust position and size accordingly, as in step 2. Experiment with ALIGN tool if you like. In modify panel, change segments to 3, 3, 1.

9.Add EDIT POLY modifier to the back of the chair. Go to VERTEX sub-object level and select the MIDDLE vertices in FRONT viewport. Then, with vertices selected choose CHAMFER tool (click little rectangle symbol to the right of the word chamfer to bring up the dialogue box). Tick OPEN and slide up the chamfer value until you get desired result

10.Chamfer can also be used in LINE sub object mode. Select one of the lines around the edge of the back of the chair and use chamfer again, notice how it rounds the edges to soften them.

11.Now, select the chair SEAT object again (the first one we made). Add EDIT POLY, go to LINE mode, and press CTRL+A to select all. Now, use chamfer to soften the edges.

12.Now, select POLYGON mode and select the top centre polygon (where the buttocks would go). Use BEVEL tool (near where chamfer was) -click the small rectangle to bring up the dialogue box, and enter a NEGATIVE height and outline amount.

13.Finished! You can carry on adding details if you like -use CONNECT and CUT to add in extra lines to work with. One last thing: select all your objects and GROUP them to nest them into one node. (keeps your scene uncluttered).

chrome tutorial

2009-05-05T15:38:00.002+03:00

Chrome is one of the most used materials in the Design field. This material needs only a few settings to be rendered in an optimal way. You can see many samples of chrome in the design gallery of the Florence Design Academy

Let's begin:

1 .) You need a dark gray diffuse color (for a perfect mirror it should be black, but often a dark grey

color has a better effect on chrome).

2 .) Now go to add glossiness and specular level (there are no fixed values, the correct effect is

strongly depending by the light that you create. You can begin with the value 40 in both slots).

3 .) Go to maps and assign to the REFLECTION map "RAYTRACE". This will allow you to

have REAL reflections of other objects in the scene on this material. The value in the reflection slot

should be between 85 and 100 (a mirror must have 100)-( image 1).

Image 1

Very often you need to have a environment which reflects on your object to achieve a good rendering. A good reflection will give a touch of realism to your object and will describe better organic shapes. But what if we don't have any other object in the scene that can reflect on our model ? We will use a FAKE reflection. This kind of technique simulates to have a environment reflected on surfaces which in reality does not exist in your scene. In fact we will use a simple image to create a Fake reflection. After you have insert RAYTRACE in the reflection map you will see that the material editor is showing new settings. This are the settings of the raytrace panel (on the right side of the material editor you can see written RAYTRACE instead of standard). Like on image 2 go to assign to the NONE button in BACKGROUND a BITMAP (image 2).

Image 2

"Material Tutorial: Chrome" by Mario Malagrino

After this step you will see that the material editor is showing you the settings of the Bitmap panel (Image 3). Normally you must reduce the output amount of the fake reflection (this is the setting which will make more or less visible the image that you hoose as fake reflection). To make the image "less visible" you must go to "Output" where in the "output amount" slot you must put a value which is a little bit smaller than 1 (for example 0,7). Normally the standard number 1 is too high as value.

Image 3

Picture used as fake reflection for the rendering below

In this way you can obtain really very good reflection effects. Here below you can see a sample.

On this image you can see the reflection of the gray environment + 2 white boxes + the fake reflection

Here we have the same scene with the same settings like above. Only the image for fake reflection is different.

Tip1 : Remember that with Mental Ray the fake reflection is NOT visible in the material slot as

preview. You must make a test rendering to see the result.

Tip 2 : There are many ways to create Chrome. Another way to create Chrome is trough a

RAYTRACE material (change standard with RAYTRACE in a new material slot). But the result is

the same as in the standard material.

Tip 3 : A HDRI image can also used as a fake reflection. HDRI renderings will be explained in

other Florence Design Academy tutorials or lessons.

Tip 4 : If you want exclude an object from reflection: go to the chrome material, select raytrace that

you have in the reflection maps slot. Click on the button LOCAL EXCLUDE. Now just select the

objects that must be excluded from the reflection of the chrome material. This will make the

selected object invisible in the Chrome material.

Tip 5 : A mirror material is very similar to Chrome: Black diffuse color, no specular highlights and

Raytrace 100% in the reflection map.

You can find the informations for the illumination&render settings in other Florence Design Academy tutorials.

I hope you have enjoyed this tutorial.

make model tutorial

2009-04-30T22:04:00.001+03:00

Index

This is simply the best tutorial I have seen, originally written by Michel Roger in French (view here) and tranlated by me tom@3dtotal.com and Stefan Roth

Creating a character from A to Z, modeling, textures, skinning.

Image Templates provided.

Presentation.

1. Modeling of the body	2. Modeling of the head	3. Modeling of the accessories	4. UVW Mapping	5. Texturing & Hair	6. Bones and skinning
Body (1 - 5 pages)	Head (1 - 6 pages)	The Sword (1 - 4 pages)	Bases (1 - 6 pages)	Eyes (1 - 2 pages)	Bases (1 - 2 pages)
	Ear (1-2 pages)	Armour legs (1 - 6 pages)	Sword (1 - 3 pages)	Skin (1 - 2 pages)	Hierarchy (1 - 3 pages)
	Assembly (1-2 pages)	Armour bust (1 - 6 pages)	Clothing (1 - 4 pages)	Hair (1 - 4 pages)	Skinning (1 - 5 pages)
		Hair (1 - 3 pages)	Armour (1 - 3 pages)
		Glove (1 - 4 pages)	Body (1-2 pages)
		Accessories (1 - 5 pages)

models

2009-04-23T10:36:00.003+03:00

Hello, guys. All tutorials about Mecha Modeling: Gundam RX-78-2 are already published. Yes, you will create this japanese style robot from scratch. I choose Gundam RX-78-2 (also known as "First Gundam") because it is the most simplest mobile suit available. Thus, this Gundam type is fit to my tutorial purpose. Moreover, this is my favourite type.

This Mecha Modeling: Gundam RX-78-2 tutorial is quite complex tutorial, especially the head. I need a lot of time writing this tutorial. So, enjoy The Mecha Modeling: Gundam RX-78-2 tutorial!

CONTENT

	Gundam RX-78-2 Modeling: Head
	Gundam RX-78-2 Modeling: Body
	Gundam RX-78-2 Modeling: Arm
	Gundam RX-78-2 Modeling: Legs
	Gundam RX-78-2 Modeling: Rifle
	Gundam RX-78-2 Modeling: Shield
	Gundam RX-78-2 Modeling: Final Combine All Body Parts
	Gundam RX-78-2 Texturing
	Rigging Mechanical robot Making poseable Gundam using bones and IK (Inverse Kinematics)
	Yup, it's all done. From start to finish

rigginng

2009-04-23T10:32:00.002+03:00

by Didik Wijaya

As I promised before, I will wrote about Gundam tutorial, from modeling, texturing, and rigging. So, this is the LAST tutorial: How to rig a mechanical robot like Gundam RX-78-2. There are many ways to make a poseable robot Some people prefer just to use pivot point and link one body part to another. Others using bones or skeletons to move body parts. This tutorial will show you how to rig a human like robot. As you can see, Gundam RX-78-2 has body parts and joints similar to human. Surely, you can use technique described here to any robot.

1. First, you need Gundam 3D model. You can download here. This 3D model is already textured. After you download, import 3ds file (File>Import). Freeze all objects if you want (Freeze option is available in Display tab). Now, create Bones. Go to Create>Systems. Click Bones button. In Front viewport, click three times to create bones (1-2-3), after that right click to finish creating bones. You will have one small bones at the end of bones hierarchy. You can delete this bone. Select all bones and move to the center of objects. As result, you have bones for body and head.

2. Next, I will use IK (Inverse Kinematics) to move the legs. IK is a system that enable you to move whole bones at once. To understand IK, look at your own leg. You have upper leg, lower leg and foot. If you are not using IK, that means Forward Kinematics, you rotate upper leg, then rotate lower leg, and last rotate the foot. In IK, you just need to move the foot and other part of leg will adjust itself.

Before I create IK, I need to adjust leg position. I rotate and move legs until I get some angle in knee. You need to do this in order to make IK simpler to create.

Create bones, this time activate Assign To Children. Other option Assign To Root will also active. Click four times in Left viewport to create bones like image below. Right click to finish. You'll see (+) object before the last bone. This is called IKChain or Goal . Try to move this goal and you'll understand what IK is all about. Press Ctrl+Z to undo.

3. I need to move Goal to the heel position. Most common, people use IK legs from upper leg to lower leg, and moving or rotating the foot manually. Make sure Goal is selected, and go to Motion tab. In IK Solver rollout, click button under Pick End Joint. And click bone shown in image below (white arrow). Goal will move into new position, but bones position will also move. Move Goal into heel position and all position will be fixed. Delete small end bone if you want.

4. Make sure all bones for leg are in center. You need to make bones for other side of leg. Hold Shift while moving to other side to duplicate bones.

5. Creating IK for arms is almost the same with legs. Before yo do, make sure you rotate or move arms object to assure adequate angle in elbow. Create bones with IK in Front viewport (from upper upper arm to palm). Move Goal in wrist area. Look at image below for reference.

6. Zoom in hands area. Create bones for fingers This time without IK. Before you create bones, make sure to decrease bone width and height. Adjust bones position in Left viewport.

7. Next, link finger bone to the palm bone. Click Select And Link tool. Select bone closest to palm bone. Click this bone and drag to palm bone until cursor is change and release. White flash will confirm that they're linked. You have to do this five times.

8. To create bones for other side of arms use Mirror. Select all arm bones. Use Mirror Tool (Tools>Mirror).

9. For thigh closure (thin object surrounding pelvis), I create one bone for each object. That means I create 4 bones. I don't create bones for side closure. Right image below shows all bones.

10. In Command Panel, go to Create>Helpers. Click Dummy button. Click and drag in Top viewport to create dummy object. Position dummy in pelvis area. Actualy creating dummy is optional. I use dummy for easy selection. When all geometry and bones visible in viewport, it's hard to see and select body/pelvis bone. It's easier for me to select dummy instead.

11. Right now, all bones not yet connected to each other. First, link arm bones to body/pelvis bone. Suddenly, arm bones rotate. To fix this, select IKChain/Goal, go to Motion tab. In IK Solver Properties rollout adjust Swivel Angle to 90.

12. Link the rest of bones to other bones. Image below shows how the connection must be. Everytime you see the bones rotates after linking, adjust Swivel Angle value. Usually value 90 or -90 will do just fine. Finally, link body/pelvis bone to dummy.

13. Usually we need skinning process when using bones. But fortunately we work with mechanical object. They are all stiff, un-deformed object. So, you just need to link each body part to corresponfing bone. For example head object linked to head bone, body object linked to body/pelvis bone, and so on.

Exception:
- link side closure to body
- link two shield object to left lower arm
- link shoulder to body
- link rifle to right palm.

14. When above step is finished, try to move dummy or IKChain/Goal. You'll see all body part following bones movement. Next, one small but important step. Select each IKChain/Goal and rename it (look at image below). This way, you can easily select this IKChain by opening Select by Name window (press H in keyboard).

15. Now, the fun part. Pose your Gundam 3D model. Move IKChain or dummy to get the pose you want. Other objects movement; like head, fingers, palm, rifle, foot, and shield, must be rotated manually. Tips, when you rotate object use Local coordinate system. Images below show my experiment.

Thank you for following this Mecha tutorial from start to finish. Congratulations. And be sure to visit Escalight.com, as this site will be updated with more quality tutorials and free stuffs.

vray plugin and materyals

2009-04-16T01:35:00.001+03:00

http://rapidshare.com/files/221771518/VRAYplugin.rar.html

http://rapidshare.com/files/221821279/vray_materyal.rar.html

Blueprint Setup

2009-04-09T01:20:00.004+03:00

Kullanilan Programlar: PhotoshopCS, 3D Max

Ilk olarak edindigimiz blueprint´i (genelde tek parça halinde olur) 3D Max´ta kullanmamiz için parçalara ayirmamiz gerekmekte, bu islemi photoshop yardimiyla yapacaz.(Fakat farkli programlarda kullanilabilir,ancak en güncel program oldugu için photoshop´u tercih ettim.)

Ayirma isleminde rulers (cetvel) ve Marquee Tool kullanacagiz.

Örnek olarak sadece blueprint´imizde side (yandan görünüs) olarak bulunanan resmimizi ayiracagiz, diger ayirma islemleride ayni olarak gerçeklestiginden anlatma geregi duymuyorum..

Ilk olarak rulers soldan ve üst bölümde görünen rakamlardan mouse´un sol tusu yardimiyla çizgiler olusturur, side görünüste olan resmimizin bitislerine bu çizgileri yerlestirelim [1]

Simdi belirledigimiz sinirlari Marquee Tool yardimiyla seçelim [2]

Seçtigimiz alani yeni ve tek bir resim haline getirecegiz. Seçili konumdayken [Edit>Copy veya Ctrl+C] kopya dedigimizde photoshop alanin ölçülerini hafizasina alir, yeni dosya olusturdugumuzda [File > New] seçili alanin ölçülerine denk yeni bir bos çalisma ekrani olusur. Yapistir dedigimizde [Edit>Paste veya Ctrl+V] artik blueprint´imizin side konumdaki resmi olusmus olur. 3D Max´in taniyacagi herhangibi bir resim formatinda kaydedelim ve diger görünümleride yukarida anlatildigi gibi yapalim, isleyis aynidir.

Simdi olayin 3D Max kismina geldik..

Ilk önce Material Editor´den blueprint´lerimizi kaplama olarak atayacagiz.

Resimde görüldügü gibi sirasiyla diffuse kanalina tikliyor ve bitmap yazan yere basip, blueprint´imizin konumunu belirterek yüklüyoruz. Elimizde 4 tane görünüm olustu ve sira bunlari plane´lere malzeme olarak atamaya geldi.

Ilk önce üst´ten görünüsle baslayalim 3D Max´in top görünüsünde plane olusturalim. Ölçüleri hazirladiginiz blueprint´lerin ölçüleriyle ayni olarak ayarlayalim. Top görünüsüne blueprint´imizin üstten görünüsünü atayalim. [Show Map demediginiz sürece resim görünmeyecektir.]

Resimde görüldügü gibi kaplamada sorun var. sorunu örnekteki sekilde asabilirsiniz.

Üstten görünüsü bitirdigimize göre diger görünüsleride yeni planeler olusturarak yapabiliriz. asil konu resimlerin degerleri sabit degildir yada kaplamanin açisi üst tarafta çözümledigimiz problemler olusabilir, resimde belirtildigi gibi U,V,W parametreleriyle blueprint´imizin nereye bakacagini belirleyebiliriz.

Sahnemiz islemleri dogru yaptiysaniz en son bu haliyle görünmesi gerekiyo side olarak belirttigimiz blueprint RIGHT [1] konumundadir. 3D Max ilk açildiginda penceremiz left konumundadir. bunu manuel degistirmeniz gerekiyo yoksa blueprint´i yandan göremessiniz.

Front görünüsünün arkasinda bir plane daha yer almaktadir. [2] çalismanizin front bölümünde isinizi bitirdikten sonra BACK konumuna geçerek modellemeye devam edebilirsiniz.

Son olarak sahnemiz üsteki resimlerdeki gibi görülmelidir. Sahnemizdeki blueprintleri modelleme yaparken yanlislikla kayma yapabilir bunu engellemek için blueprint´lerimizi dondurmaniz gerekir. Bu islem için 4 plane´i de seçeriz sag klikleyip Properties´ten "SHOW FROZEN GRAY" ve "FREEZE" tiklariz.

making watch

2009-04-08T21:39:00.004+03:00

A priceless tutorial on creating a beutifull wrist watch.

1. In front viewport create basic shape like this.

2. Copy it and place it like this. Attach one to each other and weld vertex that blend. After that select welded vertex, right click and chose Smooth type.

3. Apply Edit Mesh and Shell modifier. Set inner amount value as you wish, but try to get something like this.

4. In top viewport create box like this and using Boolean options under the Compound Objects in Create panel make hole.

5. Back to front view. Draw line like this.

6. Go to Rendering rollout and check Enable in Render and Enable in Viewport. Then, chose rectangular profile and set width and length to fit the hole dimensions that you made earlier.
When you do that copy this object and place it under the first one.

7. Again create box and using Boolean option make hole just to top object that you created in previous step.

8. To create time pointer draw cylinder and select polygons like it is shown and extrude them. For little detail make another hole, just for practice.

9. For bottom part of watch create chamfered cylinder and apply Edit Mesh to it. These are the 4 sub steps you should make.

10. I don't know how to call this part, but here is a way how to create it.

11. Cut new polygons on main part of watch like this and extrude them a little bit.

12. Here are sub steps that you have to make to create watch handle.

13. Cut about 25 new segments on watch handle and apply shell modifier. Then apply Edit Mesh modifier and select all out edges and chamfer it as it is shown. Apply turbo Smooth modifier.

14. Convert to Edit Mesh and go to Soft Selection rollout. Select one column of polygons and set follow value so you can get something like this.

15. On several places move polygons up to get more realistic pose. Using Boolean operations make holes.

16. Other handle create on same way. Here is a print screen of finished watch.

Making of Chess Board

2009-04-08T21:34:00.003+03:00

1. To create pawn draw these two shapes for the beginning.

2. Here are 3 sub steps that you have to do. In first select circle and convert it to Edit Spline. Go to Geometry rollout and with selected Refine button create new vertex. In second sub step delete segments like it is shown and attach these two shapes. In third weld vertex that blend and select all vertex without first one and last one. Right click on it and chose Smooth.

3. Apply Lathe modifier and follow instruction from next picture.

4. To create knight draw plane in one of the viewports and again follow these three sub steps.

5. When you create profile of the knight figure apply Shell modifier and set inner amount whatever you like but try to get something like I did. Convert object to Edit Mesh and select outer edges and chamfer them a little bit and apply Turbo Smooth. To create base of a figure, use lathe method.

6. Convert knight to Edit Mesh and create simple cylinder with 3 sides and place it like I did. Go to Compound Object under the Create Panel and with Boolean operations cut the hole.

7. Here is a quick creating of the king. You can use this picture as reference.

8. For the rest of a figure just create little cross and for queen eight spheres. Using same lathe and Boolean method you can create bishop and rook figures.

9. To create board you must create one half. Here is a print screen of it. Convert to Edit Mesh and detach all sides, one by one.

10. Here is a print screen how you should place your maps, diffuse and bump( they come with tutorial)

11. Wood material ( only change diffuse map).

12. Here is a light setup and. Color of light is light orange.

13. Very simple VRay render setup.

14. Go Render Element and Add VRay Zdepth element, click on enable. When you do this go to renderer and turn on VRay frame buffer.

15. When you save RGB and ZDepth images go to Photoshop for little make up. Copy ZDepth image to channel of RGB like in this print screen. After that is done go to filers and apply Lens Blur to RGB image, in source chose Alpha 1 and set Blur Focal Distance and Radius whatever you like.

16. For that old picture look import some old paper texture and paste it above RGB image and chose Overlay blend type and reduce opacity a little bit. To finish picture like I did type something like ''Chess'' and blur it.

Textures used in this tutorial:

black figure.jpg
white figure.jpg
figure bump.jpg
top diff.jpg
top disp.jpg
side diffuse.jpg
side disp.jpg

Smashing wall-reactor tutorial

2009-04-08T21:10:00.004+03:00

Here is the video.

1. First of all you if you want same result as mine, you must change units to generic( customize menu>unit setup)

2. Create Chamfer Box and use settings from picture

3. Picture below says everything, just make shore that boxes don't touch.

4. Copy all 8 boxes and move them right so you can get some like this.

5. Final result of one side of the wall should be like this.

6. Copy this side of the wall, after that go to mirror option and make shore that you check no clone, and Y axis. Then, place copied wall side like in this picture.

7. This is final result. It is VERY important that you select all boxes and move them a little upward so that they don't touch base grid line. This will keep away trouble in reactor settings.

8. Now create smashing ball and place it like this.

9. Turn AutoKey and go to frame 2. Move sphere like this.

10. On the left side pick Create Plane, and click in viewport wherever you like.

Now select all objects, including reactor plane and pick Create Rigid Body Collection.

After these two steps select all objects without sphere and pick Create Fracture.

11. Now When everything is done go to Utilities, click on reactor and follow this settings.

12. Go to Properties and assign masses to all objects: Bricks-65kg , Planks-38kg, Sphere-500kg.

Before creating final animation you must select sphere and check unyielding in properties rollout, after that go to Preview and Animation and click on Create Animation. You noticed that all bricks moved, we must erase that frames. To do that go to frame were everything is stilly and delete all frames( of all objects) from that point to the first frame. Be shore that you don't delete sphere frames from step 9. that we made. Now is everything ready to again click Create Animation.

13. Place two VRay lights like this: left multiplier is 5, and right is 3.

14. We are now going to assign motion blur. To do that go to Rendering menu and pick Effects…

15. Environment and Effects is now open. Click Add button to assign effect. Chose Motion Blur. Leave value 1, but of course you can change it as you wish.

16. These are basic render settings for the scene.

3Ds max Opacity map ile yaprak yapımı

2009-04-08T00:00:00.004+03:00

yaprak yaparken modelleme yapmak yerine sadece kaplama kullanacağız. çünkü ağaç üzerinde binlerce yaprak vardır ve bunları modelleme ile yaparsak render işlemi için aylarca bekememiz gerekebilir.

Öncelikle sahneye bir box(kutu) çiziyoruz. kutunun kalınlığının sıfır olmasına dikkat edin. böylece yüzey sayısı azalacaktır.

Daha sonra material editoru açarak diffuse slotuna yaprak resmini atıyoruz. Burda kullanmak için gerekli yaprak resmini sitenin kaplamalr bölümünden alabilirsiniz. resmimizin Alpha Kanallı olması gerekiyor. Eğer resimde alpha kanalı yoksa photoshop ile hazırlayabilirsiniz.

Daha sonra üst basamağa dönerek map kısmını açıyoruz.

Opacity map olarak yine aynı resmi atıyoruz. yine aynı şekilde bitmap diyerek seçiyoruz

Burda dikkat etmeniz gereken opacity map parametrelerinden Alpha seçili olmasıdır. böylece alpha kanalına uygun olarak Alpha kanalındaki yaprağın siyah kısımları görülmeyecektir.

Daha sonra merkez noktasını uç kısma kaydırıyoruz böylece yaprağı dal üzerine yerleştirmemiz ve haraket vermemiz daha kolay olacaktır.

Daha önce dalları yaparken kullandığımız snapshot tekniği ile yaprağı dal üzerine kopyalıyoruz. Böylece yaprakları olan bir dal elde etmiş olduk daha sonra bu yaprakları link ile dala bağlıyoruz ve dalın merkez noktasını kaydırarak daha büyük bir dal üzerine yerleştiriyoruz.

Burdaki sahnemizde yapraklar biraz seyrek görünüyor, yaprak sayısını ne kadar arttırırsanız sahnemiz o kadar gerçekçi görünecektir.
ve sonuç;

Not:Alıntıdır (çeviri)
Videoların boyutu çok yüksek olduğundan burda paylaşamıyorum. Resimlerdeki bozulma nedeni videodan kopyalandığı içindir.

How To Convert A Photo Into A Retro Comic

2009-04-07T23:31:00.002+03:00

Final Image Preview:
In this tutorial you will learn how to convert a photo into a retro comic. You can use this technique with your own photos and get surprising results. Even more, you can create entire comics with this.

In this case I use a photo of New York. This photo belongs to Goosehonker-Stock you can see her work in her gallery of Deviant Art. I'll also use Photoshop, but you can do this tutorial in your favorite application (Gimp, Paint Shop Pro...), following similar steps.

Open the photo in Photoshop. Then apply a filter: Artistic/Cutout. With this image, this settings work well: number of levels 5, edge simplicity 2, edge fidelity 1.
But you can choose the settings that you think are best. In this case, I used these.

With this modification, it has lost the appearance of being a photo. To intensify the cartoon effect, we will apply another filter: Artistic/Poster Edges, with the parameters: edge thickness 10, edge intensity 0, posterization 4.

I will also add noise to emulate the texture of paper. Use the filter Noise/Add noise, with these settings: amount 12,5%, distribution uniform, y monocromatic unchecked.
In addition, I also alter the image colors to make it have a more cartoonish color palette. Use the menu Imagen/Adjustments/Hue-Saturation with these settings: hue +33, saturation -13, lightness -4. This is the result:

Now we will make the comic blurb. For that, we will use the elliptical marquee tool, in another layer that we create. And then we use the tool polygonal lasso tool adding to the selection, to draw the pointed triangle of the blurb, as shown in this image:

Fill the selection in white. But it looks better if you use a white with a little of yellow, for example #ECECD0

Once you have the blurb finished, you can use the text tool to write inside it. I used the Comic Sans MS font. You can duplicate the layer that contains the blurb, flip it horizontally (Edit/Transform/Flip horizontal), and add more comic dialogs.

To make the "AAargh!" I used the polygonal lasso tool, and then rotated the pointy blurb and the text together linking the layers.

You can add narration boxes using the rectangular marquee tool and filling it with color. Then add the texts. Remember to link the layers that contain the texts with their blurbs or boxes so you can move them together.

Click the final image to watch it bigger. That's all, you have turned your photo into a retro comic style.

Processing a 3D CBCA(CO)NH experiment

2009-04-06T14:43:00.002+03:00

Processing a 3D CBCA(CO)NH experiment

The sample was ¹³C,¹⁵N-ubiquitin run on a Bruker 600. (Data kindly supplied by DuPont Pharmaceuticals.)

The data set is ¹H-detected (512 complex points), with ¹³C in the second dimension (110 total slices, hypercomplex) and ¹⁵N in the third dimension (96 total slices, hypercomplex) for a total size of 43 MBytes. It was acquired with digital filtering, so needs to be processed with RD (see details). There is also a residual water signal which needs to be removed to avoid some truncation artifacts, so we use a digital high-pass filter (DH). (Here is an illustration of the truncation artifacts that can result.)

See macro for complete processing with a single command, but this can also be done from the keyboard, as described below.

Using a macro, processing took 42 seconds on a Pentium II/400, including RD and DH operations.

The data was imported with IM, which finishes by displaying the first slice.

Processing parameters are determined by processing the first slice. The parameters used were cosine multiplication (set S# to 90, them MS), RD to correct for artifacts of the digital filter, DH (filter width of 250 Hz) to remove the residual water signal, FT and phase. It is important to examine the FIDs and tailor processing to avoid artifacts such as truncation. (See example.)

The data was nominally a 2D data set, with 512 complex points and 10,560 slices (110 x 96) in a Bruker ser file. Nuts imported this as a 2D file, so the dimension sizes must be set correctly. To do this, enter non-2-letter command mode by typing 2F, and then use the dims command.

dims <enter>

will print out the number of points in each dimension, which for this data set is

dims - Points 1D = 512 2D = 10560 3D = 1 4D = 1

To set these correctly, use dims and enter the 4 values, all on one line, separated by spaces:

dims 512 110 96 1

Once a value greater than 1 is entered for dimension 3, the View/Spectral Parameters menu will display parameters for all 3 dimensions:

Note that the 3rd dimension did not contain correct values for SF and SW. This is because the raw data did not include any 3D parameters. The correct values were entered using this screen.

We are now ready to process. The first step is to enter "3D arrayed mode", by typing

ar 3d <enter>

The following series of commands is executed. While not specified, each command is terminated by <enter>. See Nuts Help for explanation of each command. (Remember that the data is hypercomplex in both indirect dimensions.)

ms
rd
dh
ft
ps
tr
tr
st

Now we are done with the proton dimension, and need to transpose the data to process the carbon dimension. Because we will need to "build" complex interferograms in the nitrogen dimension (using tr tr st commands), we need the carbon dimension to be dimension 1 and the nitrogen dimension to be dimension 2. This is accomplished by 2 successive TD commands. The TD command, when working with 3D data, takes an argument to specify which dimension will be transposed with the current dimension 1.

td 3

This puts the proton as dimension 3 and nitrogen as dimension 1.

td 2

This puts the carbon as dimension 1 and nitrogen as dimension 2. Now process with

ms
ft
tr
tr
st

This data was collected to require no phasing in the carbon and nitrogen dimensions. We have constructed our complex interferograms in the nitrogen dimension, so we transpose to process the nitrogen dimension.

td 2

And process with

ms
ft

And a final TD to put the nitrogen back to dimension 3 and display protons as dimension 1:

td 3

Now we are ready to view the data. IP will display the intensity plot, and the commands

plane +
plane -

will step through ¹⁵N planes. The number of the currently displayed plane is shown in the upper left corner of the screen.

The zoom subroutine works just as for 2D data to expand the display.

Exit from the IP routine and use SP to view stacked plots. The ] and [ keys will step through planes.

photo shop egitim linkleri -photo shop tutorial web links

2009-04-03T18:31:00.004+03:00

Photoshop Eğitim Siteleri:
1-Psdtuts

2-Tutorial9

3-PSDFAN

4-Photoshop Ninja

5-PSHERO

6-You Suck at Photoshop

7-PSD learning

8-Luxa

9-Loon Design: Tutorials

10-Photoshop Tutorials

11-PSDtop

12-PS Lover

13-Photoshop 101
14-Good-Tutorials: Photoshop Section
15-Photoshop Roadmap
16-Photoshop Star
17-Planet Photoshop: Tutorials
18-Pixel2Life: Photoshop Tutorials
19-Voidix
20-Vunkysearch
21-Photoshop Contest: Tutorials
22-Abduzeedo: Photoshop
23-PSD Vault
24-Worth1000: Photoshop Tutorials
25-Photoshop Lab
26-Tutorialman
27-Photoshop Lady

Photoshop Eğitim Koleksiyonları:
28-50 Great Photoshop Tutorials for Clever Beginners

29-40 Icon Tutorials for Photoshop

30-Adobe Photoshop: 50 High Quality .PSD Files and Tutorials

31-Best Photoshop Tutorials, Brushes and Textures of February 2009
32-70 Sexy, beauty and glamour Photoshop tutorials
33-60 High Quality and Free Photoshop Tutorials

Photoshop Brushes(Fırçaları):
34-Brusheezy

35-PSBrushes

36-Brushking

37-myPhotshopBrushes.com
38-Obsidian Dawn: Brushes
39-Qbrushes
40-Fbrushes
41-Designersbrush
42-Gfxfever
43-Getbrushes
44-Inobscuro: Brushes
45-Photoshop Brushes from Adobe

Photoshop Patterns and Styles(desenler ve stiller):
46-Free4photoshop

47-Designerpie
48-Free Photoshop Patterns
49-Photoshop Patterns from Adobe

Photoshop Brush, Gradients and Pattern Collections(Fırça, geçişler ve Desen Kolleksiyonları):
50-100 Awesome High Resolution Photoshop Brushes

51-Splatter and Watercolour Brushes For Photoshop

52-The Ultimate Collection Of Free Photoshop Patterns

53-50 Free Photoshop Pattern Sets
54-498 Photoshop Background Patterns, and so much more
55-300+ Vintage Style Textures and Photoshop Brushes
56-Web 2.0 Gradients
57-15 Sites to download Free PSD files

Photoshop Actions(eylemler):
58-The Ultimate Collection Of Useful Photoshop Actions

59-124+ Free Photoshop Actions to Boost Your Designs
60-400+ Time Saving Photoshop Actions
61-Free Auto Tilt-Shift Photoshop Action

Photoshop Plugins(eklentiler):
62-720 Free Photoshop Plugins And Filters

63-List of Top 10 Free Adobe Photoshop Plugins
64-25 of the Best FREE Photoshop Plugins and Filters Resource Sites
65-Couple of Free Photoshop Plugin
66-Free Photoshop Plug-ins Collection

Tutorials on Extending Photoshop(Photoshop genişletme eğitimleri):
67-How To Make A Photoshop Brush

68-Photoshop Tutorial: Creating custom pattern
69-Photoshop Shapes: Create Your Own Photoshop Custom Shapes
70-Create A Photoshop Action To Watermark Your Images

UW MAPPİNG TUTORİAL

2009-04-01T16:45:00.003+03:00

In this tutorial, I will demonstrate how simple and precise UVmapping can be using DEEPUV.
This is the first tutorial I make because I don't want to see my friends siting for hours to days on end dragging UV points and merging chunks together just to get a stretched and overlapped result.

I will try to simplify the steps of UV mapping as much as I can so that beginning users can benefit from this tutorial too. I will demonstrate all the steps on the hand I'v just recently modeled for my site. if you wanna have a go on a more complicated model (like a whole person), I suggest you scroll down and read the last step first.
Lets first begin with 'what is UV mapping'? UV mapping, is the process that takes your 3D model and "unwraps" it so that you can paint over it with a 2D program.
Before You start, the things you always need to keep in mind while UVmapping your models are as follows:
OVERLAPS - Overlap means the UV surface goes "ontop" of itself. Usually, you will want to have zero overlaps by the end of the process so that you can paint your texture over the entire surface of the model seperately.
STRETCHES - Streches happen when you map a certain part bigger or smaller than it's relative size. To avoid having streches, it is allways recommended to work with a checkers map on your model and make sure the checkers stay square.
SEAMS - Seams are where your choose to "cut" your 3d model so that it can be unwrapped into 2d. You will always wanna have as few seams as possible in your end result because it will make it easier for you to texture your model.

Getting the model to DeepUV
The first step will be to take the model you want to map into DeepUV.
Basicly, the program comes with plugins that will directly export your model from your 3d program (Max,Maya,Xsi and lightwave) to DUV and back, but sometimes it doesn't work.
When direct exporting doesnt work, you will have to export the model yourself. After some research, I've discovered that .OBJ is the best format to keep your model's geometry unchanged. When you export your model, make sure you keep the faces as polygons. I'd also recommend you check the exported model yourself, to make sure the geometry didn't change.
Note that in DUV, you can always save your progress into an .OBJ file.

Getting started
OK, so you've got your model into DUV. lets first make some settings so we can see the stretches later on: Rightclick on the right viewport, wireframe/ uncheck the "show wireframe" and also check "material override" and uncheck "texture smoothing".
Now you are set to begin. The first step you need to take is to apply a plannar map to the model: Click "select / all" and then try "plannar 1" or "plannar 2", one of them ususally finds the perfect planar map to start with, but if you wanna do it yourself, open the "Interactive" tab and use the interactive plane.

Getting rid of the overlaps and seams
Unless you have an open mesh, you will always get overlaps from starting with plannar mapping. To get rid of the overlaps, we will use one of the more powerfull tools of DUV - "LIFT". Lift will take all of the backfacing (the overlapping UV's), flip them and place them to the right of the UV's. Before you use it, make sure you rotate your UV's using the "free transform" tools (under edit), so that you can determine where you want to place the seam you will get rid of (which will always be the right side of your UV's, before clicking Lift).
By now, you allready got something that is good enough to texture, but why stop here if we can get rid of more seams and have better results?

The next step would be to select the "shared UV points" and "Join" them to get rid of more of the seams for easier texturing.
I'd reccomend bringing the (show) wireframes back for this step. Using the select tool, select all the shared points on one side (i'd recommend using the zoom and pan tools here to be precise), the selected shared points will turn pink on the other side. Now select the pink points on the other side (this will require much less precision because points join only when the 2 shared sides are selected). Make sure u do not select shared points that are not between the 2 chunks because that will cause unfixable problems later on.
Now hit "join" the seam is now gone be you end up with a very stretched part in the middle. It will be fixed next.

Relaxing and final adjustments
When you first applied the planar map and then lifted, it seemed like there are allmost no stretches but there are! Becuase anything that isnt exactly infront of the plane will have a little streching. This part will show you why DUV is such a powerfull tool. the next step will be to select all the points again, and hit "Relax". look at the magic! you now suddenly see the checkers become even squares and the stretching allmost completly dissapears.
Note that you got some control over how the relaxing works, and its often good to try it with different area grid values until u are satisfied with the result.
By now your model should be left with very minor SEAMS, STRETCHES and OVERLAPS, and this process should have taken you less than 5 minutes!
You are now 80% done, this is the part where you fix by hand local problams and cut and rejoin points according to how you plan on texturing your model. This is the part that i recommend doing back in your 3d program. Note that, DUV offers some more powerfull features such as soft selecting points and relaxing local areas.

UV snapshot and texturing
Thats it. you are done!
Now it's time for the much more fun part of texturing your model. But how can you tell which part of your texture goes to which part on the model ?
for this you need to take a UV snapshot. I'd recommend making the wires white and the backround black, that way you can always use it as the top layer in photoshop (or any other 2d prog) with Screen blending mode. for MAX users, i also recommend a freeware plugin called TEXPORTER. it can take a uv snapshot in a more graphical way which sometimes can help when painting your texture.

What about complex models ?
Thats it! in this tutorial I've demonstrated how simple and fast UVmapping can be.
you might say: "Of course its easy! you just mapped a hand ... not a complex model".
Mapping a complex model requires one more step before starting and its to break your model into several parts. This process is a bit different in every 3D program so i won't go into details. But just note that this is the step that let you determine where the seams will be. After this process, you will need to map each part seperately pretty much the same way as explained above.
I mapped my dragon in a couple of hours using this technique!
I hope this tutorial was helpfull for you.

mudbox tutorials

2009-04-01T14:22:00.002+03:00

"Making of Al Pacino" by Vikram

Al Pacino is my favorite actor, and I've always wanted to model him, and I finally did that. Here is the final image.

I first started off by collecting lot of images of Al Pacino in different angles

I chose an image from the movie "two for the money" (second image, top row), and started working on it.

Modeling

Here are a few snaps from the modeling stage. My modeling process is simple. I start by creating a plane in the top lip, and keep extruding edges, maintaining shapes in both side and front angles, also looking at it from the perspective. This method also helps in getting the edge loops to flow in the desired direction

Lighting

I don't like to complicate my scene by using a number of lights. I used three free area lights and two bright planes, with self illumination set to a value of 100. Since the main source of light in the image is from the right, I set the intensity of the key light (left) to a high value, and also a mild brown colour. The fill light (right) is a mild blue, and the back light is white. Lighting setups vary with each scene, so I'm not going to elaborate on this

Here's a clay render

At this point, I had tried different approaches at achieving realistic hair like max hair, alpha planes and even sculpting it in zbrush, but nothing seemed to bring out the feel in the hair, I was looking at. So, I decided on painting facial hair and the hair on the head. Since, my final goal is a still image, any approach can be taken to achieve a desired effect

Texturing

The next stage was texturing. I spent a lot of time carefully laying out Uv's since this is a very important step. If the Uv's are not right, the textures tend to stretch. Here are my texture maps. I drew inspiration for the bump and specular maps from a German site.

The major time consuming process for me was getting the SSS shader to work perfectly, and also getting a good combination of the normal and the bump map, so that the final render looks like the level 6 sub- division in zbrush. For the SSS shader to work properly, the size of the model plays an important role. I decided to maintain real life proportions for the head

Rendering

Finally, I turned on final gather, and set the rays to 50, and the bounces to 3, and did several test renders. Take a look at a low resolution render with basic hair painted in.

For the final render, I used a high final gather setting of 1000 rays, 3 bounces. After a layer of paint over in photoshop, and colour correction, and more tweaking, I managed to end up in this final quality.A few tips overall, that I thought might be helpful.

For painting small strands of hair, I take a 1 pixel brush and paint in strands. I then use the sharpen tool (shortcut R) over it, in places where I need shine in the hair, and those regions become sharp and coloured ( due to extreme sharpening), I then use the desaturate tool over the coloured pixels, and then use the blur tool over the desaturated strands. This method helps in achieving clean small strands of hair, quickly and effectively.

I always use photographic reference, and I also have a big database before even starting the modeling process. I think research, is a very important phase in achieving good looking images.

Concentrating on the minute details pays off in the final render. A lot of people may not even notice them, but the small details are the ones that really enhance the look of an image.

I think its necessary to spend a lot of time on tweaking to get fantastic results, the more the tweaking, the better the results, and finally

If you are doing a still image, anything counts. Feel free to take any steps to achieve the desired look and feel.

About the artist

I'm Vikram, A texturing/modeling artist From Chennai, India. I'm a passionate gamer, and also employed in the games industry for a few years now. Other than this, I've worked on feature films, Bollywood style. I completed a master's degree in animation from the Bournemouth University, UK

Thank you for your patience and encouragement.

multi cannel tutorial

2009-04-01T14:17:00.002+03:00

Not only Mudbox 2009 can generate displacement and normal maps, but also it has the ability to paint other channels such ads color, special, reflection etc.

While working with models that has multiple UV tile and you will end up with a huge collection of textures, that needed to be connected in Maya.

I created this MEL with the help of few friends (names are in the MEL 1.jpg ) to connect all these channels automatically with the click of few button.

Note: Tiff files that are created in Mudbox 2009, have a LZW compression. This compression is not supported by mental ray .

Solution: use open EXR or convert these TIFF to another TIFF without compression using Photoshop (CS3 and up)

Maya: make sure to turn ON: use Maya old style alpha detection found under the render section of the preference window

Currently Mudbox doesn't export Ambient occlusion or Alpha maps , however there is an easy work around for both
A- Use either "CrazyBump" or "Filter Forge" to convert the displacement map into a an AO map
B- While painting in Mudbox use black and while image to be used as the alpha map.

How the MEL works
Select a surface and run the script.
Choose a file from the exported/saved images generated from Mudbox 2009.
The MEL will recognize the files based on their naming convention
Each file will be placed in the appropriate UV tile based on their name.
Once you hit create, a shading network will be assigned to your selected object.

ash_multi.zip

video.mov

rig tutorial

2009-04-01T14:10:00.002+03:00

"Rigging with biped " by Aziz Khan

Hello guys!
How is all hope every one is going well, so here is the Biped tutorial how to add an action to this little girl.

1-Open your 3ds max open any figure do you have create a (Biped) equal to the height of character in your scene like the picture.

2-now go to biped parameters and click the little guy logo as in the image below.

3-start moving the arms legs and head to look similar in the picture below.

4-ok now toggle to front view port and then move the biped to fix it similar on the image below.

5-also do the same in the left view port move rotate the biped parts to fix it like in the picture illustrating below.

6-also do the same from top view port to fix the parts of biped as in the image showing below

7-now your model should look like some thing below.

8-its time to add physique modifier, select the object go to modify from drop down menu choose (Physique) something like image below.

9-now in the physique modifier click the little guy as image indicating below.

10-go to select by name.

11-from the window choose (Bip01) as image showing below and then hit (pick).

12- The initializing window will appear hit (Initialize).

13-it will calculate for a second and then will adopt the figure with biped, in this time if you move the parts of biped you will notice that some parts of figure is not following as the biped moves, like in the picture below.

14-ok to fix this problem go to modify panel expend the plus sign beside (physique) to reveal the options, and then click on envelope, like image below.

15-now the yellow lines among the biped parts will appear click on the yellow lines to see where it has forced on the vertex, when you click the envelope appears now scale them till the vertex is not becoming red, like in the picture below.

16-now do the same for legs on the front view port like image below.

17-go to left view port also adjusts the envelopes, at last do the rest for the whole body.

18-click select by name from the window choose (Bip01) the hit select button.

19-now go to the motion panel to see the parameters for biped, from the motion panel choose folder icon as in picture below.

20-from the window select biped action file which I am going to give you in this tutorial. You can find this biped file inside tutorial folder.
As like in the image illustrating below.

21-if you see now the figure and the biped has changed their style to something in the image below.

22-if you see now the figure and the biped has changed their style to something in the image below.

Here is the max end scene look at and see how I figure out all the objects click here
I hope this will help you to solve your problem.

zbrush example part2

2009-04-01T13:50:00.004+03:00

Texturing & Shading

For texture painting I used Body Paint and Photoshop, and switching around from one to another in the process. First I unwrapped the mesh in XSI, but furthermore I use the relax tool from Body Paint to make the uv unwrap more precise. To get the wet look of the scene, I set the specularity a bit higher. Below you can see the final painted maps.

With this Shading set up.

Lighting

In lighting setup, it's more kind of trial and error process for me. Basically, I treat the light as if I were painting the character with some ambience color. But the main principle is to have three kinds of light sources, as you can see them below.

Number one is the main lights, which act as the primary source light. Number 2 is the secondary lights, which act as the bouncing light and the lights from other source, in this case the kryptonites J . Number three is the fill lights, which are filling the area between those two kinds of lights before.

For this purpose, I use many lights, and different settings on color and attenuation from each of it.

Environment

As for the environment, I was inspired by the looks from the movie "Superman Returns". For the texture, I use some photograph of stone, and paint on the mesh in Body Paint. I also use XSI Ambient Occlusion to get the bright-dark of the map.

Lighting for the environment are principally the same with the character. I give each object of the environment different lights, this means that I apply the principle which I mentioned above to each objects, not wholly.

At the left you can see the set dressing of the scene.

And the final render of the environment.

Rendering & Finalizing

After rendering the scene, I add some color correction, the fog effects, and also the background and the rain paintings. Here you can see the comparison of the process from final render to the final composition.

Thanks for viewing, hope you all find this article useful in certain ways. Any question, comments and all of that matter, drop me a line at: mailto:ronn_gan01@yahoo.com.

zbrush example part1

2009-04-01T13:48:00.002+03:00

Introduction

Hi, my name is Ronny Gani, from Indonesia . This is the first tutorial article I ever made. I'm going to share to you how I made the scene which I titled "Super no More!". In this project my goal is mainly to make a character with proportional muscle flow and anatomy structure.

Idea & Concept

Being motivated by my anti-hero side, I come up with the idea of making Bizzaro, the un-perfect clone of Superman. The reference I had was mostly from Alex Ross' sketches in the comic "Justice". After gaining enough reference, I tried to develop the character furthermore in my own perception. I wanted the character to be meaner, and a little bit psychotic. I also wanted to make him as if he had won from a great battle against Superman. I deliver the message by making him posed filled with pride and holding Superman's ripped costume sort of as his trophy. Here's the sketch.

3Dtutorials.sk recommendation:

To maximise the realism of your 3D characters we recommend using high quality human photo references from the #1 texture website http://refer.ccbill.com/cgi-bin/clicks.cgi?CA=923154-0000&PA=1485670

Modeling

I spent most of my time in the modeling process, using polygonal modeling method. I didn't use any orthogonal image reference for this. Here are some step by step image processes.

After quite satisfied with the body, I carry on with modeling the costume.

And ripping them off.

Rigging & Detailing

Furthermore, I layout the scene by locking the camera angle and position, and then continue on rigging the character to find a good solid pose. After that I made all the details in ZBrush and export back the model to XSI for the next processes.

young gırl model tutorial

2009-04-01T13:44:00.001+03:00

Hi everybody!

My name is Viki Yeo. I'm from Korea and I'm a character artist for games. I am going to show you how I created my image "Young girl". I used 3ds Max2008, Zbrush, Mentalray, Photoshop CS2 and reference images by http://www.3d.sk .

Concept

This model is a girl who is Petra by http://www.3d.sk . When I saw her, she is a very sad girl. So, I decided to create a sad girl.

Modeling

I created a base mesh in 3ds Max. I began making the base mesh, just doing the minimum required.

After I imported base mesh, I sculptured details on using Zbrush.

The displacement map has been created and saved as a 16 bit grayscale TIFF file in Zbrush.

I brought the mesh and displacement map in 3ds Max again.

When apply displacement map, do not forget to check "Use Existing Mapping",

Switch on Luminance Center and put some strength.

I add the Shell and turbosmooth modifier to sweater.

The Eye ball consist of 2 parts.

Modeling Tip

If you turn on Preserve UVs, you can perform minor editing tasks without changing the mapping.

Moved vertices with Preserve UVs off (left); Moved vertices with Preserve UVs on (right)

I Set camera and modeled face more in detail.

Texturing / Shading

I used Photoshop to make texture and I used a combination of real photos.

For the skin I used mentalray sss shader. So I had made a diffuse map, epidermal map, bump map and specular map for her skin.

render the scene. The material can be seen in the image. Here's the material setting.

Sweater were done with the mental ray architectural material.

Sweater detail

Hair&Fur

Hair is important to a realistic character. I used Hair&Fur for creating the hairs. Hair&fur settings are showed on the image.

Lighting / Setting

I used 5 Free Area Lights with Final Gathering.

All my light and render settings are showed on the image.

Compositing

The render times become crazy, so I found much easier to render the hair in a separate part, and then to combine them in photoshop.

3d model

2009-03-31T17:43:00.003+03:00

tutorial site links

2009-03-31T16:45:00.005+03:00

Growing Grass in 3ds Max Design 2009 - render convincing 3D grass in reasonable time-frame using 'Hair and Fur' modifier, Scott Onstott, AECbytes, Mar 23, 2009

3ds Max - Wire Parameters - video, using wire parameters, expression controllers, David Fano, Designreform, Feb 25, 2009

3ds Max - Parametric Walkway - video, how to make copies, references, using modifiers to store modeling procedures, David Fano, Designreform, Feb 23, 2009

Creating Frosted Glass Using Vray in 3ds Max - using 3D Max features for setting glossiness, refraction level, setting frost effect, Mehmet Akca, Daily AutoCAD, Feb 12, 2009

3ds Max - Working With Subdivision Surfaces Part 1 (Meshsmooth) - video, covers basics of Sub D modeling in 3ds Max, David Fano, Design ReForm.net, Feb 3, 2009

3ds Max - Modeling a Hexagon Screen - video covers modeling a parametric screen constructed from hexagons, David Fano, Design Reform, Feb 2, 2009

Turning Off the Rendering Frame Window in 3ds Max to Speed Up Rendering and Your Computer - Scott Rosenbloom, CADUZER, Jan 12, 2009

3ds Max - Planar Ploys - video on keeping shapes planar while geometry moves, David Fano, Design ReForm.net, Jan 9, 2009

ProMaterials vs. Arch. & Design Materials in 3DS Max and Revit 2009 - video tutorial showing similarities and differences, Scott Rosenbloom, CADUZER, Jan 2, 2009

A File-Linking Work-Around for FBX - Revit to Max - bringing Revit data in 3ds Max using FBX file format, Scott Rosenbloom, CADUZER, Dec 22, 2008

Adding Frequently Used Modifier Buttons in 3ds Max - way to customize buttons in 3ds Max, Scott Rosenbloom, CADUZER, Dec 23, 2008

3ds Max - Rendering with Backburner - video shows using Backburner to set up small render farm, David Fano, Design ReForm.net, Dec 11, 2008

Harnessing the Composite Map in 3ds Max Design 2009 - creating geometry, assigning mapping coordinates, designing material using the composite map, Scott Onstott, AECbytes, Nov 20, 2008

3ds Max - Intro to Animation - video covers fundamentals like key framing, track view, animating material parameters, pivot point adjustments, David Fano, Design ReForm.net, Nov 3, 2008

3ds Max - Hidden Line Rendering With Illustrate Plug-in - video tutorial shows vector rendering, plug-in settings, working, David Fano, Design ReForm.net, Oct 7, 2008

Optimization and Workflow - deciding part of work to be done using AutoCAD and 3ds max, ground modeling, assets at hand models, various techniques, level of detail, face management, convert to editable meshes, use of images, Ian Ibbotson, CADTutor, Sep 16, 2008

Render Scene Dialog - set dialog for rendering scene animation using 3ds max, renderer tab, ray tracer tab, render presets, Ian Ibbotson, CADTutor, Sep 15, 2008

Options for Creating Objects - various methods like AutoCAD 2D, standard primitives, shapes, compound objects, AEC extended objects, further using 3ds max to produce 3D landscape, Ian Ibbotson, CADTutor, Sep 10, 2008

Modifying Objects - make changes in objects created with AutoCAD using 3ds max tools, Ian Ibbotson, CADTutor, Sep 10, 2008

Transforming Objects - changing the position, size, number of objects using MOVE, ROTATE, SCALE, ALIGN, CLONE, SNAP in 3ds max, Ian Ibbotson, CADTutor, Sep 9, 2008

Creating a Walkthrough - using AutoCAD 3D model in ds max, David Watson, CADTutor, Sep 9, 2008

Optimization and Workflow - introduction and basics to manage modeling project in 3ds Max, Ian Ibbotson, CADTutor, Aug 19, 2008

Edges - creating retaining walls and sundial surface edge using lofts in 3ds Max, Ian Ibbotson, CADTutor, Aug 11, 2008

3ds Max - Snapping and Moving With Dimensions - video tutorial explains snapping, angle snaps, axis constraints, translations, David Fano, Design ReForm.net, July 6, 2008

3ds Max - Surface Modifier - generates patch surface based on spline network, create complex, organic surfaces, import splines from other CAD applications, video tutorial, David Fano, Design ReForm.net, June 8, 2008

Exporting Textured Objects From 3d MAX to PV3D 2.0 Tutorial - steps explains how to prepare 3d object using 3d Studio MAX, unwrap the uvw, export it to action script 3, import to papervision 3d project, texture it deploy as flash movie, FLAIM, June 3, 2008

3ds Max - Bend Modifier - video tutorial on bending current selection up to 360 degrees, controlling angle and direction, limit bending, more, David Fano, Design ReForm.net, Jun 16, 2008

3ds Max - Sub Objects Part 01 (Splines - Vertex) - Design ReForm.net, May 21, 2008

3ds Max Mirror Modifier - mirroring object or sub-object selection, Design ReForm.net, May 20, 2008

3ds Max Lattice Modifier - converting segments of shape into cylindrical struts, Design ReForm.net, May 20, 2008

3ds Max Modifiers - Patch Deform - deforming object based on contours of patch object, Design ReForm.net, May 14, 2008

3ds Max Modifier - Face Extrude - extruding faces along their normals and creating new faces, Design ReForm.net, May 15, 2008

3ds Max Design 2009 Lighting Analysis Tool - procedure for using lighting analysis tool, Tod Stephens, nex gen viz, May 15, 2008

Rounding Edges at Render Time in 3ds Max - using 'rounded corners' shading effect for rendering armchair, Scott Onstott, AECbytes, Mar 20, 2008

Blue Print Set Up - Tutorial for Beginners - setup blue print while modeling Toyota Avensis car in Autodesk 3ds Max, David, 3ds Max Resources, Feb 1, 2008

Turning Wood, Blowing Glass, and Throwing Pottery in 3ds Max - loading photographic background and modeling geometry in 3ds Max, Scott Onstott, AECbytes, Jan 24, 2008

DWG-Based Revit Architecture to Autodesk 3ds Max 9 Workflow - understanding layer standards and importing DWG files into 3ds Max, Autodesk, Jan 2008 pdf

Modeling 1951 Mercedes Benz Bus in 3ds Max - Part Three - Richard, 3ds Max Resources, Dec 10, 2007

Out With the New and in With the Old - customizing UI in 3ds Max 2008 to make selection floater modeless, Dwayne Ellis, A 3D Life!, Dec 13, 2007

High Dynamic Range Imagery in Photoshop and 3ds Max - creating and processing HDR image in Photoshop, Scott Onstott, AECbytes, Nov 20, 2007

Compositing 3ds Max 9 Renderings in Photoshop CS3 - rendering multiple lighting components of Gamble House in 3ds Max 9 and combining them as new image in Photoshop CS3, Scott Onstott, AECbytes, Aug 22, 2007

Making Light Work: Part 4 - using mental ray in 3ds Max to create high dynamic range images, Darren Brooker, AEC Magazine, June 7, 2007

Making Light Work: Part III - using three-point lighting technique in 3ds Max for interior lighting, Darren Brooker, AEC Magazine, March 30, 2007

Tip: Polar Snapping in Max and VIZ - adding polar snap mode to snaps toolbar, Ted Boardman's Visualization Blog, February 23, 2007

Creating Walls with NURBS in 3ds Max and VIZ - Scott Onstott, AECbytes, February 21, 2007

Making Light Work: Part I - radiosity rendering in 3ds Max, Darren Brooker, AEC Magazine, December 7, 2006

Making Light Work: Part II - dealing noise and sampling issues using mental ray rendering in 3ds Max, Darren Brooker, AEC Magazine, January 30, 2007

Maps and Mapping - texture mapping for computer games can enliven architectural designs, an analytical look at gradient ramp and three 3ds max 7 specific tools for architectural users, Ted Boardman, CGarchitect.com, March 7, 2005

Using the Unwrap UVW Modifier - 3ds max tutorial, Jacquelin Vanderwood, DesignerToday.com, February 2005

Back Online - February 2005 - 3ds max / Autodesk VIZ tips, Ted Boardman, CGarchitect, February 2005

Dramatic Titling - 3ds max tutorial, Jacquelin Vanderwood, DesignerToday.com, January 2005

Camera Map Modifier or Blend Into Background - 3ds max tutorial, Jacquelin Vanderwood, January 2005

Make Primitives Via the Keyboard - 3ds max tutorial, Jacquelin Vanderwood, DesignerToday.com, January 2005

How to Set Up the UOmniFlect Space Warp Deflector - 3ds max tutorial, Jacquelin Vanderwood, DesignerToday.com, February 2005

Master Point Controller - 3ds max tutorial, Jacquelin Vanderwood, DesignerToday.com, January 2005

MaterialByElement Modifier - 3ds max tutorial, Jacquelin Vanderwood, DesignerToday.com, January 2005

UVW Mapping with Power Solids - 3ds max/Power Solids video tip, nPower Software, February 8, 2005 (downloadable wmv file)

Making Revolutions - 3ds max/Power Solids video tip, nPower Software, February 8, 2005 (downloadable wmv file)

Making Sweeps - 3ds max/Power Solids video tip, nPower Software, February 8, 2005 (downloadable wmv file)

Display Settings and Tessellation - 3ds max/Power Solids video tip, nPower Software, February 8, 2005 (downloadable wmv file)

Remove Material Assignments - Autodesk VIZ / 3ds max tip on how to remove the material assignments for the objects in your scene, Beau Turner, Will Render for Food, January 8, 2005

How to Create Microscopic Cell Scenes - 3ds max tutorial, Stryker, 3DM, January 6, 2005

Church Window - 3ds max 7 video tutorial demonstrates how to model and render a church window, and add volume light that takes the colors of the glass, Charbel Koueik, 3dquakers.com, December 21, 2004

Rendering Effects Film Grain, Color Balance and Blur - 3ds max tutorial, Jacquelin Vanderwood, DesignerToday.com, December 2004

Making Metals in Max - 3ds max tutorial, The123d.com, December 2004

Create a Christmas Ball Ornament - 3ds max tutorial, Jacquelin Vanderwood, DesignerToday.com, December 2004

Caustics 101 - Autodesk VIZ / 3ds max tutorial explores caustics (and photons in general) in mental ray, Jeff Patton, Vizdepot.com, November 24, 2004 (requires free registration)

Intro to Character Modeling - 3ds max video tutorial presents the basic steps in creating low poly characters to use in architectural visualization, Charbel Koueik, 3dquakers.com, November 16, 2004 (19 MB wmv file)

Mazda RX8 - 3ds max tutorial creates 3D model of a car from blueprints, 3DM, October, 2004

3ds max 7 Videos - tutorials demonstrate modeling, rendering and design visualization techniques in the latest version of 3ds max, discreet.com, October 14, 2004

Power Solids for 3ds max Tutorials - video tutorials show how to use the Power Solids plug-in for 3ds max / Autodesk VIZ, nPower Software, October 14, 2004

Lightscape Attribut to Architectural Material Converter for max 6 / VIZ 2005 - use a script to convert any Lightscape attribut Library (material) to an Architectural material, Christian Bauer, CGTechniques, October 7, 2004

Enter Relative Values - Autodesk VIZ/3ds max tip, Ryan Small, The Autodesk Informer, October 6, 2004

Customize Scene Defaults in 3ds max and Autodesk VIZ - 3ds max / VIZ tips, Ryan Small, The Autodesk Informer September 17, 2004

Creating High Quality Landscapes - 3ds max tutorial, Eumel3d, 3D Kingdom, September 3, 2004

Area Lights - video tutorial illustrates how to control Area Lights in mental ray rendering software, using 3ds max 6, 3dquakers.com, September 13, 2004

Daylight System - Adding Locations - VIZ / 3ds max / Architectural Desktop tip, Beau Turner, Will Render for Food, September 8, 2004

Edge Editing - Autodesk VIZ / 3ds max tutorial explores the use of Edge editing, Reference cloning and Lattice modifier tools, Ted Boardman, CGarchitect, September 2004

Chain Link Fences and Slicing Planes - Autodesk VIZ/3ds max tutorial, Ted Boardman, CGarchitect, August 2004

Exposure Control Lighting Effects - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, August 1, 2004

Creating Shiny & Smooth Metals - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, August 1, 2004

Creating Planet Material - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, August 1, 2004

Transparent Pan in 3D Studio - 3ds max tip, Ryan Small, The Autodesk Informer, July 13, 2004

Creating Loft Shapes - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, July 1, 2004

Creating Photometric Lights and Using Place Highlights - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, July 1, 2004

The AutoGrid and You - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, July 1, 2004

How to Create a Checker Map - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, July 1, 2004

Making a Dent Texture - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, July 1, 2004

Creating A CV Surface - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, June 1, 2004

How the Affect Region Modifier Works - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, June 1, 2004

Melt Modifier - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, June 1, 2004

How to Use the Bevel Profile - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, June 1, 2004

Drawing CV Curves for Beginners - 3ds max tutorial, Jacquelin Vanderwood, TIEMdesign.com, June 1, 2004

Arched Stairway Tutorial Part #2 - 3ds max tutorial focuses on modeling a handrail, William Alexander, CGarchitect.com, June 7, 2004

Arched Stairway Tutorial Part #1 - Max has the capability to create circular stairs, however to get reasonable architectural detail close up it does become problematic, William Alexander, CGarchitect.com, June 1, 2004

How to Create a Simple 5 Spoke Wheel - 3ds max tutorial, Tobe & Stryker, 3DM, April 30, 2004

Chrome Chair - 3ds max tutorial illustrates how to create a NURBS curve to fit a chrome chair frame, Vikki Olds, TIEMdesign, March 15, 2004

Table Lamp

- 3ds max tutorial uses lines and lathe to create a table lamp, Vikki Olds, TIEMdesign, March 15, 2004

Inverse Kinematics - explores some fundamentals of using several tools in Autodesk VIZ and 3ds max that allow you to set up relationships between objects in the scene that can make animations and the movement of objects easier, Ted Boardman, CGarchitect, April 2004

Understanding Attenuation - Autodesk VIZ/3ds max tutorial explains how attenuation settings effect scene environments, Alex Casanova and Steven Papke, Vizdepot, March 16, 2004 (may require free registration)

Using an Animation Constraint to Create Blinds - Autodesk VIZ/3ds max tutorial illustrates how to use the animation orientation constraint to create mini blinds, Alex Casanova and Steven Papke, Vizdepot, March 17, 2004 (may require free registration)

Blending the Edges of Adjacent Materials - Autodesk VIZ/3ds max tutorial illustrates a method of blending between two adjacent materials that have been assigned to faces by Material ID number, Ted Boardman, Vizdepot, March 14, 2004 (may require free registration)

Running Water - explains how to create running water effects in both 3ds max and Autodesk VIZ, Ted Boardman, CGarchitect, March 2004

Materials and Lighting Tips - VIZ/3ds max tips dealing with modeling and materials, Ted Boardman, CGarchitect, February 2004

Railings in 5 Minutes - VIZ/3ds max tutorial on using editable poly to draw railings, Montree T., CGarchitect, February 2004

Railway Station: Building 3D Models Using AutoCAD and 3ds max - tutorial creates a 3D model from a real model, Jozef Zajac, CGarchitect, October 28, 2003

Mapping - 3ds max/Autodesk VIZ tutorial illustrates how to apply different mapping coordinates to a single map used in different locations in a single object to place slate roofing on a hip roof, Ted Boardman, CGarchitect, October 2003

Making the Scene - 3ds max tutorial creates a street scene using 3D Total Textures, Julien Noel, CGarchitect, October 1, 2003

Trains, Boats, Planes - tutorial offers tips on modeling in 3ds max and Autodesk VIZ, Ted Boardman, September 2003

CgFX in 3d Studio Max - explores the language invented by NVIDIA for programming the hardware shaders for 3ds max, Igor Sivakov, X-bit Labs, August 20, 2003

Importing AutoCAD Drawings in 3ds max - tutorial shows how to import AutoCAD 3D models as Editable Meshes and how to modify them as necessary, Alireza Parsai, CADdigest.com, August 18, 2003

Tips - August 2003 - collection of random tips for 3ds max but should be applicable for VIZ 4, Ted Boardman, CGarchitect.com, Aug 4, 2003

Changing the Color of RPC Cars - tutorial shows how to change the color of RPC cars with 3ds max and Autodesk VIZ, Marc Lorenz, CGarchitect, April 4, 2003

Modeling and Texturing Glass - a 3ds max tutorial, Domagoj, 3dkingdom.org, April 3, 2003

Spring Foliage - 3ds max/Autodesk VIZ tutorial shows how to create relatively low polygon foliage that looks fine in the distance and from directly above, Ted Boardman, CGarchitect, April 2003

Introduction to ArchVision’s RPC Helpers and Mass Populate Tools - tutorial explains the use of these new tools for 3ds max and Autodesk VIZ, March 18, 2003 (pdf)

Astronaut - Patchmodelling - 3ds max tutorial explores spline modeling, Adel Adili, 3D Total, March 6, 2003

Exterior Radiosity - VIZ and 3ds max tutorial explores using the new Autodesk VIZ 4 Radiosity or 3ds max 5 lighting and rendering for an exterior scene with sky mapped to a dome, Ted Boardman, CGarchitect.com, December 2002

VIZ 4/max 5 Self-Illuminated Objects Tutorial - how to use self-illuminated objects and how to setup radiosity, Christian Bauer, cgtechniques.com, December 1, 2002

Using the Virtual Viewport - a 3ds max tutorial, nawyecky.com, October 18, 2002

Material Masking - tutorial on masking at both the map and the material level in Autodesk VIZ or 3ds max, Ted Boardman, CGarchitect.com, October 2002

Creating Volumetric Clouds in 3ds max - tutorial illustrates how to create volumetric clouds, Greg LaClé, Creativecow.net, September 24, 2002

The Advantages of 3D Visualization - tips on exporting Pro/E geometry into 3D rendering programs such as PhotoRender and 3ds max, Mark Tyler, Pro/E: The Magazine, September 2002

Material Libraries - explores the tools and concepts available for storing and locating materials in Autodesk VIZ and 3ds max, Ted Boardman, CGarchitect.com, August 2002

Architectural Photomontage Tutorials - how to combine real photographs and computer-generated graphics using AutoCAD and 3ds max, Stephen Leworthy

Tutorial: Populous Part 2 - how to edit the walking spline for ArchVision’s and House of Moves’ 3.5D Populous Walking People in 3ds max, ArchVision, February 2002

Tutorial: Populous - how to get the most from ArchVision’s and House of Moves’ 3.5D Populous Walking People in 3ds max, 2 part series, ArchVision, January 2002

max 7

2009-03-31T14:18:00.002+03:00

Kısayol tuşları 3d max 7 versiyonu içindir..

Snaps Action Table

Snap To Edge/Segment Toggle Alt+F10
Snap To Endpoint Toggle Alt+F8
Snap To Face Toggle Alt+F11
Snap To Grid Points Toggle Alt+F5
Snap To Midpoint Toggle Alt+F9
Snap To Pivot Toggle Alt+F6
Snap To Vertex Toggle Alt+F7

Main UI

Adaptive Degradation Toggle O
Align Alt+A
Angle Snap Toggle A
Arc Rotate View Mode Ctrl+R
Auto Key Mode Toggle N
Background Lock Toggle Alt+Ctrl+B
Backup Time One Unit ,
Bottom View B
Camera View C
Clone Ctrl+V
Cycle Active Snap Type Alt+S
Cycle Selection Method Ctrl+F
Cycle Snap Hit Alt+Shift+S
Default Lighting Toggle Ctrl+L
Delete Objects .
Disable Viewport D
Display as See-Through Toggle Alt+X
Environment Dialog Toggle 8
Expert Mode Toggle Ctrl+X
Fetch Alt+Ctrl+F
Forward Time One Unit .
Front View F
Go to End Frame End
Go to Start Frame Home
Hide Cameras Toggle Shift+C
Hide Geometry Toggle Shift+G
Hide Grids Toggle G
Hide Helpers Toggle Shift+H
Hide Lights Toggle Shift+L
Hide Particle Systems Toggle Shift+P
Hide Shapes Toggle Shift+S
Hide Space Warps Toggle Shift+W
Hold Alt+Ctrl+H
Isometric User View U
Left View L
Lock User Interface Toggle Alt+0
Material Editor Toggle M
Maximize Viewport Toggle Alt+W
MAXScript Listener F11
New Scene Ctrl+N
Normal Align Alt+N
Open File Ctrl+O
Pan View Ctrl+P
Pan Viewport I
Percent Snap Toggle Shift+Ctrl+P
Perspective User View P
Place Highlight Ctrl+H
Play Animation /
Quick Align Shift+A
Quick Render Shift+Q
Redo Scene Operation Ctrl+Y
Redo Viewport Operation Shift+Y
Redraw All Views `
Render Last F9
Render Scene Dialog Toggle F10
Restrict Plane Cycle F8
Restrict to X F5
Restrict to Y F6
Restrict to Z F7
Save File Ctrl+S
Scale Cycle Ctrl+E
Select All Ctrl+A
Select Ancestor PageUp
Select and Move W
Select and Rotate E
Select By Name H
Select Child PageDown
Select Children Ctrl+PageDown
Select Invert Ctrl+I
Select None Ctrl+D
Selection Lock Toggle Space
Set Key Mode '
Set Keys K
Shade Selected Faces Toggle F2
Show Floating Dialogs Ctrl+`
Show Main Toolbar Toggle Alt+6
Show Safeframes Toggle Shift+F
Show Selection Bracket Toggle J
Snap To Frozen Objects Toggle Alt+F2
Snaps Toggle S
Snaps Use Axis Constraints Toggle Alt+D, Alt+F3
Sound Toggle \
Spacing Tool Shift+I
Spot/Directional Light View Shift+4
Sub-object Level Cycle Insert
Sub-object Selection Toggle Ctrl+B
Top View T
Transform Gizmo Size Down -
Transform Gizmo Size Up =
Transform Gizmo Toggle X
Transform Type-In Dialog Toggle F12
Undo Scene Operation Ctrl+Z
Undo Viewport Operation Shift+Z
Update Background Image Alt+Shift+Ctrl+B
View Edged Faces Toggle F4
Viewport Background Alt+B
Virtual Viewport Pan Down NumPad 2
Virtual Viewport Pan Left NumPad 4
Virtual Viewport Pan Right NumPad 6
Virtual Viewport Pan Up NumPad 8
Virtual Viewport Toggle NumPad /
Virtual Viewport Zoom In NumPad +
Virtual Viewport Zoom Out NumPad -
Wireframe / Smooth+Highlights Toggle F3
Zoom Extents All Selected Z
Zoom Extents All Shift+Ctrl+Z
Zoom Extents Alt+Ctrl+Z
Zoom In 2X Alt+Shift+Ctrl+Z
Zoom Mode Alt+Z
Zoom Out 2X Alt+Shift+Z
Zoom Region Mode Ctrl+W
Zoom Viewport In [, Ctrl+=
Zoom Viewport Out ], Ctrl+-

Track View

Add Keys A
Apply Ease Curve Ctrl+E
Apply Multiplier Curve Ctrl+M
Assign Controller C
Copy Controller Ctrl+C
Expand Object Toggle O
Expand Track Toggle Enter T
Filters Q
Lock Selection Space
Lock Tangents Toggle L
Make Controller Unique U
Move Highlight Down Down Arrow
Move Highlight Up Up Arrow
Move Keys M
Nudge Keys Left Left Arrow
Nudge Keys Right Right Arrow
Pan P
Paste Controller Ctrl+V
Scroll Down Ctrl+Down Arrow
Scroll Up Ctrl+Up Arrow
Snap Frames S
Zoom Horizontal Extents Keys Alt+X
Zoom Z

Material Editor

Background B
Backlight L
Cycle 3X2, 5X3, 6X4 Sample Slots X
Get Material G
Go Backward to Sibling Left Arrow
Go Forward to Sibling Right Arrow
Go to Parent Up Arrow
Make Preview P
Options O
Schematic View
Add Bookmark B
Display Floater D
Filters P
Free All Alt+F
Free Selected Alt+S
Invert Selected Nodes Ctrl+I
Move Children Alt+C
Next Bookmark Right Arrow
Previous Bookmark Left Arrow
Rename Object R
Select All Nodes Ctrl+A
Select Children Ctrl+C
Select None Ctrl+D
Show Grid G
Toggle Shrink Ctrl+S
Use Connect Tool C
Use Select Tool S
Zoom Selected Extents Z

ActiveShade

Close Q
Draw Region D
Render R
Select Object S
Toggle Toolbar (Docked) Space

Video Post

Add Image Filter Event Ctrl+F
Add Image Input Event Ctrl+I
Add Image Layer Event Ctrl+L
Add Image Output Event Ctrl+O
Add New Event Ctrl+A
Add Scene Event Ctrl+S
Edit Current Event Ctrl+E
Execute Sequence Ctrl+R
New Sequence Ctrl+N

NURBS

CV Constrained Normal Move Alt+N
CV Constrained U Move Alt+U
CV Constrained V Move Alt+V
Display Curves Shift+Ctrl+C
Display Dependents Ctrl+D
Display Lattices Ctrl+L
Display Shaded Lattice Alt+L
Display Surfaces Shift+Ctrl+S
Display Toolbox Ctrl+T
Display Trims Shift+Ctrl+T
Local Select Sub-Object By Name Ctrl+H
Lock 2D Selection Space
Select Next in U Ctrl+Right Arrow
Select Next in V Ctrl+Up Arrow
Select Previous in U Ctrl+Left Arrow
Select Previous in V Ctrl+Down Arrow
Select Sub-Object By Name H
Set Tessellation Preset 1 Alt+1
Set Tessellation Preset 2 Alt+2
Set Tessellation Preset 3 Alt+3
Soft Selection Ctrl+S
Switch To Curve CV Level Alt+Shift+Z
Switch To Curve Level Alt+Shift+C
Switch To Imports Level Alt+Shift+I
Switch To Point Level Alt+Shift+P
Switch To Surface CV Level Alt+Shift+V
Switch To Surface Level Alt+Shift+S
Switch To Top Level Alt+Shift+T
Transform Degrade Ctrl+X

Editable Poly

Bevel Mode Shift+Ctrl+B
Border Level 3
Chamfer Mode Shift+Ctrl+C
Connect Shift+Ctrl+E
Constrain to Edges Shift+X
Cut Alt+C
Edge Level 2
Element Level 5
Extrude Mode Shift+E
Face Level 4
Grow Selection Ctrl+PageUp
Hide Unselected Alt+I
Hide Alt+H
Object Level 6
Quickslice Mode Shift+Ctrl+Q
Repeat Last Operation ;
Select Edge Loop Alt+L
Select Edge Ring Alt+R
Shrink Selection Ctrl+PageDown
Unhide All Alt+U
Vertex Level 1
Weld Mode Shift+Ctrl+W

Edit/Editable Mesh

Bevel Mode Ctrl+V, Ctrl+B
Chamfer Mode Ctrl+C
Cut Mode Alt+C
Detach Ctrl+D
Edge Invisible Ctrl+I
Edge Level 2
Edge Turn Ctrl+T
Element Level 5
Extrude Mode Ctrl+E
Face Level 3
Polygon Level 4
Vertex Level 1
Weld Selected Ctrl+W
Weld Target Mode Alt+W

Edit Normals

Break Normals B
Copy Normal Ctrl+C
Edge Level Ctrl+3
Face Level Ctrl+4
Make Explicit E
Normal Level Ctrl+1
Object Level Ctrl+0
Paste Normal Ctrl+V
Reset Normals R
Specify Normals S
Unify Normals U
Vertex Level Ctrl+2

FFD

Switch To Control Point Level Alt+Shift+C
Switch To Lattice Level Alt+Shift+L
Switch To Set Volume Level Alt+Shift+S
Switch To Top Level Alt+Shift+T

Edit Poly

Bevel Mode Shift+Ctrl+B
Border Level 3
Chamfer Mode Shift+Ctrl+C
Connect Shift+Ctrl+E
Constrain to Edges Shift+X
Cut Alt+C
Edge Level 2
Element Level 5
Extrude Mode Shift+E
Grow Selection Ctrl+PageUp
Hide UnselectedAlt+I
Hide Alt+H
Object Level 6
Polygon Level 4
Quickslice Mode Shift+Ctrl+Q
Repeat Last Operation ;
Select Edge Loop Alt+L
Select Edge Ring Alt+R
Shrink Selection Ctrl+PageDown
Unhide All Alt+U
Vertex Level 1
Weld Mode Shift+Ctrl+W

Physique

Copy Envelope Ctrl+C
Delete Ctrl+D
Next PageDown
Paste Envelope Ctrl+V
Previous Selection Level Shift+
Previous PageUp
Reset Envelopes Ctrl+E
Unwrap UVW
Break Selected Vertices Ctrl+B
Detach Edge Verts D, Ctrl+D
Edit UVW's Ctrl+E
Filter Selected Faces Alt+F
Freeze Selected Ctrl+F
Get Face Selection From Stack Alt+Shift+Ctrl+F
Get Selection From Faces Alt+Shift+Ctrl+P
Hide Selected Ctrl+H
Load UVW Alt+Shift+Ctrl+L
Lock selected vertices Space
Mirror Horizontal Alt+Shift+Ctrl+N
Mirror Vertical Alt+Shift+Ctrl+M
Move Horizontal Alt+Shift+Ctrl+J
Move Vertical Alt+Shift+Ctrl+K
Pan Ctrl+P
Planar map faces/patches Enter
Show Seams In Viewport Alt+E
Snap Ctrl+S
Texture Vertex Contract Selection[/color] NumPad -, -
Texture Vertex Expand Selection[/color] NumPad +, =
Texture Vertex Move Mode Q
Texture Vertex Rotate Mode Ctrl+R
Texture Vertex Weld Selected Ctrl+W
Texture VertexTarget Weld Ctrl+T
Unwrap Options Ctrl+O
Update Map Ctrl+U
Zoom Extents Selected Alt+Ctrl+Z
Zoom Extents X
Zoom Region Ctrl+X
Zoom To Gizmo Shift+Space
Zoom Z

Crowd

SolveS

Biped

Change Leg State Alt+Ctrl+S
Collapse Move All Mode changes Alt+M
Copy Posture Alt+C
Fix Graphs Alt+Ctrl+F
Lock Selected Keys (toggle) Alt+Ctrl+L
Paste Posture Opposite Alt+B
Paste Posture Alt+V
Play Biped V
Reset all limb keys Alt+K
Scale In Transform (toggle) Alt+Ctrl+E
Set Key 0
Set Range Alt+R
Toggle Biped Keys in TrackBar Alt+T
TV Select end of footsteps Alt+D
TV Select entire foostep Alt+S
TV Select start of foosteps Alt+A

Biped Curve Editing

Pos Curve Relative To Bip Root Ctrl+A
Pos Curve Relative To World Ctrl+A
Show Pos Accel Curve Ctrl+A
Show Pos Curve Ctrl+A
Show Pos Jerk Curve Ctrl+A
Show Pos Speed Curve Ctrl+A
Show Quat Curve Ctrl+A
Show Rot Accel Curve Ctrl+A
Show Rot Speed Curve Ctrl+A
Toggle Draw Every Frame Ctrl+A
Toggle Layered Edit Ctrl+A
Toggle Limit Quat Curve to 180 Ctrl+A
Toggle Manipulate Subanims Ctrl+A
Toggle Show Z Ctrl+A
Toggle Show X Ctrl+A
Toggle Show Y Ctrl+A
Toggle Subanims Ctrl+A

Reaction Manager

Set Max Influence Ctrl+I
Set Min Influence Alt+I

Particle Flow

Particle Emission Toggle ;
Particle View Toggle 6
Selected Particle Emission Toggle Shift+;
Copy Selected In Particle View Ctrl+C
Paste In Particle View Ctrl+V
Select All In Particle View Ctrl+A

ActiveShade (Scanline)

Initialize P
Update U

ToneOperatorAndRadiosityActionTable

Advanced Lighting Panel 9

Object Display Culling

Object Display Culling Alt+O

WalkThrough

Accelerate Toggle Q
Back S, Down Arrow
Decelerate Toggle Z
Decrease Step Size [
Down C, Shift+Down Arrow
Forward W, Up Arrow
Increase Step Size ]
Left A, Left Arrow
Level Shift+Space
Lock Vertical Rotation Space
Reset Step Size Alt+[
Right D, Right Arrow
Up E, Shift+Up Arrow

Macro Scripts

Add/Edit Parameters.(TV) Ctrl+1
Cap (Poly) Alt+P
Collapse (Poly) Alt+Ctrl+C
Collect Parameters SV Alt+3
Collect Parameters TV Alt+4
Create Camera From View Ctrl+C
Cut (Poly) Alt+C
Extrude Face (Poly) Alt+E
Geometry Selection Visibility Toggle Alt+G
Isolate Selection Alt+Q
Meshsmooth (Poly) Ctrl+M
Parameter Collector Alt+2
Parameter Editor Alt+1
Parameter Wiring Dialog Alt+5
Render to Texture Dialog Toggle 0
Smart Scale R
Smart Select Q
Start Parameter Wiring Ctrl+5
Sub-Object Level 1 1
Sub-Object Level 2 2
Sub-Object Level 3 3
Sub-Object Level 4 4
Sub-object Level 5 5
WalkThrough View Mode Up Arrow

Quad Menu Sets

Animation [Alt+RMB]
Custom [Shift+Ctrl+Alt+RMB]
Custom [Shift+Ctrl+RMB]
Lighting Render [Ctrl+Alt+RMB]
Modeling [Ctrl+RMB]
reactor [Shift+Alt+RMB]
Snap [Shift+RMB]
Viewports V

vray tutorials

2009-03-31T14:00:00.003+03:00

tutorials

2009-03-31T13:30:00.002+03:00

Yeni bir dosya açın ya da Max'i resetleyin. Geosphere objesini alın ve perspective ekranına bir geosphere çizin.

Objenizi çizdikten sonra ekranınızın sağ tarafında Geosphere ayarları yer alacak. Burada yapmanız gereken iki şey var. Geodesic Base Type menüsünde yer alan Smooth seçeneğini kaldırın ve Tetra sekmesini seçin.

Yaptığınız ayarlar sonucunda objeniz tırtıklı bir hal alacak. Şimdi objenizin üzerinde sağ tıklayın ve Convert to Editable Patch'i seçin.
Convert To>Convert to Editable Patch...
Tekrar objenin üzerinde sağ tıklayın ve Extrude Patch'i seçin.</STRONG> Şimdi objenizin üzerinde herhangi bir yere tıklayın. Farenizin sol tuşuna basılı tutarak yandaki şekilde olduğu gibi dışarı doğru bir çıkıntı oluşturun. Objenizin diğer kısımlarına da tıklayarak aynı işlemi tekrarlayın.

Objenizin arkada kısımlarına da aynı işlemi yapmanız gerekir. Bu yüzden objenizin etrafında dönmelisiniz. Bunun için Arc Rotate aracını kullanın. Bu araç ekranınızın sağ alt köşesindeki bir menüde yer alıyor. Yandaki şekilde olduğu gibi bir görünüm elde edinceğe kadar işlemi tekrarlamaya devam edin.

Objenizi yumuşatmak için Mesh Smooth ayarlamalarını yapmanız gerekecek. Bunun için Mesh Smooth ayarlarını açın. Modifiers>Subdivision Surfaces>Mesh Smooth...
Ekranınızın sağ tarafında yer alan Mesh Smooth ayarlarında yer alan Iterations sekmesine 2 değerini verin.

Objenizi bir kere çoğaltın. Ctrl+V ya da Edit>Clone... Kopya objenizin üzerinde sağ tıklayarak Scale'i seçin ve objenizi biraz küçültün. Yine objenizin üzerinde sağ tıklayarak Rotate'i seçin ve objenizi biraz döndürün. Yandaki şekilde olduğu gibi bir görünüm elde etmeye çalışın.

Artık objelerinizi renklendirebilirsiniz. Bunun için klavyenizdeki M harfine basarak Material Editor'u açın. Get Material butonuna tıklayın. Daha sonra Reflection Lake Gold adlı materyali bulun. Bulduktan sonra üzerine çift tıklayarak materyalinizi Material Editor'a taşıyın.

Materyal penceresinde yer alan Opacity sekmesini işaretleyin. Opcity'nin yanında yer alan None butonuna tıklayın ve açılan pencereden Fall Off'a iki kere tıklayın. Şimdi Assign Material to Selection butonuna tıklayarak hazırladığınız materyali her iki objenize de uygulayın.

Artık objeniz hazır. Rendering menüsündeki Quick Render butonuna tıklayın ve çalışmanızı

3d model

2009-03-31T09:51:00.001+03:00

free bhv files

2009-03-31T01:28:00.005+03:00

free bhv files site link !

'click here'

3d tutorial

2009-03-31T00:29:00.005+03:00

3d max beginners tutorial rig and bones system 30 min.

3D Studio Max´a yeni başlayanlar için faydalı olacağını düşündüğüm, karakter modelleme ve rigleme (kemik sistemiyle ilişkilendirme) Dersi. Yaklaşık olarak 30 dk.

Linkler güncellendi:
http://rapidshare.com/files/215439029/3d-karakter_ders.part1.rar.html

http://rapidshare.com/files/215450555/3d-karakter_ders.part2.rar.html

3d model

2009-03-30T23:26:00.001+03:00

3d model

2009-03-30T23:22:00.002+03:00

3d model

2009-03-30T23:20:00.003+03:00

3d model

2009-03-30T23:15:00.002+03:00

3d model

2009-03-30T23:12:00.002+03:00

3d model

2009-03-30T23:07:00.002+03:00

3d model

2009-03-30T22:41:00.002+03:00

3d model

2009-03-30T22:30:00.003+03:00

3d model

2009-03-30T22:02:00.005+03:00