Cebas ScalpelMax For Max4-9 (切片工具)

Cebas ScalpelMax For Max4-9 (切片工具)

ScalpelMAX is a 3ds max object modifier, offering advanced slicing functionality with many specialized features. ScalpelMAX is perfect for users who create complex CAD viszualisations with polygon counts above 100.000. Also the games and video effects people will love SclapelMAX because of its incredible texture slicing feature. Mapping coordinates won’t be affected by ScalpelMAX operations and this makes it possible to cut down any geometry without losing the materials and mappings!

ScalpelMAX can handle much higher polygon counts in realtime than the standard slice feature. ScalpelMAX also uses less memory to process the slice operation and this makes it also much faster than the built in feature. Another feature is it´s very high accuracy! ScalpelMAX won’t fail doing the cut operation while the standard feature gives up and creates unusable “data rubbish”. Everybody who ever used the standard Slice function for complex tasks, knows what that means. The standard Slice often is not able to do the job accordingly, Scalpel is able to do it because it simply calculates more accurate/efficient.

ScalpelMAX 是一个3ds max 的物件修改器,主要的功能是可以将物件切片,ScalpelMAX 非常适用于创造复杂 polygon 的使用者,既使polygon 面数超过10000面!游戏製作者以及影片后者也会喜欢 SclapelMAX,因為它令人难以置信的结构切片特色;更棒的是,贴图并不会影响 SclapelMAX 作用,他甚至可以切下任何部位物体结构而不会损坏物件结构及材质。

ScalpelMAX 处理高阶 polygon 物体切片的功能,比基本功能更加即时而快速,并且使用更少的记忆体都是重要的特点,另一个特点是它非常的精准!当基本功能放弃执行或是製造错误资讯时,ScalpelMAX 在执行剪下作用的时候绝对不会失败。任何人都会使用基本功能来处理一些复杂的3D物件,并且知道如何使用,但是基本功能却不能处理任何的高阶物体,ScalpelMAX可以做得到,因為它简单的计算方式跟更精準的结果。

-可以自动產生接合缝隙(常使用于NURBS 表面重建)
-充足的材质ID 切片控制(上方、底部等等)
-独立切片UV Mapping 控制



今天收到一封邮件,是‘银行of美国’发来的, 点过去后页面是空的,大概他们还不知道有我这样热情的用户吧。



  • 本站主数据:巴西
  • 查询结果2:巴西
  • 查询结果3:美国 中部/南部(IANA)



Dear Bank of America client,

You have received this email because you or someone had used your account from different locations.For security purpose, we are required to open an investigation into this matter.

In order to safeguard your account, we require that you confirm your banking details.

The help speeed up to this process, please access the following link so we ca complete the verification of your Bank of America Online Banking Account registration information.

If we do no receive the appropriate account verification within 48 hours, then we will assume this Bank of America account is fraudulent and will be suspended.

The purpose of this verification is to ensure that your bank account has not been fraudulently used and to combat the fraud from our community. We appreciate your support and understanding and thank you for your prompt attention to this matter.


——LWF——Linear Workflow in 3DSMax

原帖: Workflow in 3DSMax and VRayUsers of other apps/renderers, I am starting to put pertinent info at the bottom of the pageHave you ever wondered why your GI renderings start out so dark? Well, in fact they are not so dark. The problem lies with the display device (the CRT or LCD) and that the software is not making adjustments for the gamma that the displays put on our images. That gamma is specifically called »sRGB. Technical information about sRGB can be found at that site.

Let’s take a look at what your monitor does to image data you send it. This is called non-linear a display. The spotted green line here is the data you are feeding the display and the solid green line is what response the monitor has normally.

What’s important to note here is that this correction is not just for filmic response. In fact, it has almost nothing to do with filmic response. It’s essentially correcting for the display. Those of you working for video (aka not film) don’t worry. This applies to you as well. The rec.709 curve is -very- similar in nature.

Ok, that’s nice and all but now you want to know how to solve this problem. Yes, it’s a problem 🙂 Well, friends, we apply a curve that takes the data and “linearizes” it. That means we negate what the monitor does. Here is the curve. Once again, the spotted line is the data we are sending to the display. The solid line, this time, is the correction that’s made for the non-linear display.

To explain a bit further…sRGB is the correction your software makes for the non-linear response that your monitor has. Your digital camera applies an sRGB lookup to your photographs but you may not even know it. So, when you work in true linear space you are actually working in a space that represents more what light does in the real world. Let’s show you what I mean by that with yet more graphs but with a gradient this time.

This is a 0 to 1 ramp with 32 steps. Notice the 0.5 value is in the middle. This is the original image data as sent to your monitor. This is a linear image!

This is what your monitor does to the image. The .5 we had before is certainly not .5 anymore. This is your non-linear monitor.

This is the correction we put on our viewing system to correct for the monitor’s display. Yes it’s much brighter. However, this is needed to correct for image #2 which makes the display turn your gradient back into the original linear image.
Hopefully that makes a bit more sense

Keeping on with the flow of information, check out another test to show you what linear is all about.

Here are two images. The grey swatch in the center or each image has a value of .18 (the mid grey point) in the 3D app. The one on the left is gamma encoded to sRGB, where the one on the right is linearized via the sRGB monitor correction. This turns the grey into .46 which is the spec for sRGB.

Gamma Encoded image Notice the total lack of shadow detail

Linearized Image Notice the amount of detail we gain!

If you want to get a copy of the max file (it’s using vray but doesn’t require it) go here:

Let’s get into the meat of the 3D app in question : 3DS Max 7.0 and VRay 1.46.xx.

For this example I have provided a scene that I used for testing :

Here is a scene prepped for Brazil by Rune Spaans :

You will need the »Greeble plugin to properly open this scene.

The first result we get from this render is so:

Now, we must linearize this image if we are to get more of a photographic response. What am I talking about? Well, look at the amount of light hitting those objects. It seems that with 1000 GI bounces that we’d see a bit more detail right?!? YES! Let’s get to that stage now.

First go to Customize -> Preferences -> Gamma tab and change the values to:

This allows us to see correct linear values in the material editor and the original max render view.

* Brazil users, you’re pretty much done. Go to the end of this page for the rest of the Brazil settings.
* Mental Ray users – you are done! Now you’re working in a more correct linear method.
* Scanline render users – you are also done. You’re linear all the way now.

Now, for the VRay part, go to the VRay renderer menu and in the Frame Buffer rollout change a few things:

Why did we do this? Well, the VRay vfb allows us to do some post render color correction to the image. Thanks to Vlado and the rest of the dev team for these changes!

Next be sure to turn off any color clamping in the GBuffer/Color Mapping rollout:

Now, do a quick render to get your VRay vfb up. Once you do we need to turn on a few things.

First, click on the curve correction and then open the color correction panel

The basic color correction panel looks like this. We’ll be changing that of course…

Start by right clicking on the lower point of the curve and pick the bezier smooth option

Now, drag the tangent point to where is indicated here. Important!!! Make sure your numbers at the top read like what I have.

Right click on the high point of the curve and change it to reset tangents.

This may not be exactly the correction for sRGB but it’s pretty darn close.

Now look at your image:

What we’ve done is apply the correction for sRGB on your image (aka we’ve linearized the image). The viewer is doing this because that’s its job. This is a linear response and also shows the HUGE amount of detail truly visible in this render.

We are now looking at an image that is perceptually linear. You’ll notice that without tons of multiplying of the colors using the Color Mapping option we get a lot of detail in the dark areas.

So, there you go. Working in linear space means that you get a more realistic look and that your lighting will actually be more correct and true to what a real camera does. This should allow you to achieve your desired results with more ease and possibly faster render times too.


Other Apps Info

Maya / Mental Ray

For you Mental Ray/Maya users, go to the Render Globals and click the mental ray tab. Go to Framebuffer Attributes and change a few things:

In the Brazil render settings, go to the General Ottions rollout and make sure your setting match this
Now, inside the vfb, open up the exposure/color panel
Set the gamma to 2.2

Questions or comments can go here :

主题: 《学院派:环境艺术设计教学系列(14VCD)》全部更新完毕[DVDRip]

主题: 《学院派:环境艺术设计教学系列(14VCD)》全部更新完毕[DVDRip]
返回组首页 | 相关分类: 资料 其他资料


壁饰环境艺术2.VOB 详情 652.7MB
壁饰环境艺术1.VOB 详情 642.1MB
环境景观设计1.VOB 详情 695.8MB
环境景观设计2.VOB 详情 603.1MB
环境景观设计3.VOB 详情 449.4MB
家具设计1.avi 详情 103MB
家具设计2.avi 详情 106.5MB
家具设计3.avi 详情 101.5MB
商业展示设计1.avi 详情 128.3MB
商业展示设计2.avi 详情 115.8MB
商业展示设计3.avi 详情 112.9MB
室内设计1.avi 详情 120.7MB
室内设计2.avi 详情 115.7MB
室内设计3.avi 详情 108MB




1998年 全国“中国室内设计大展”获室内设计银奖;
2000年 全国“中国室内设计大展”获室内设计银奖;
2002年 全国“中国室内设计大展”获室内设计优秀奖;

2001年 图案作品参展全国首届纺织品图案设计大赛获优秀作品奖;
2001年 纤维艺术作品《放晴》参加《西部·西部》艺术大展;
2003年 纤维作品参加亚洲纤维艺术展获优秀作品奖;
1988年 论文《美的观察与体验》发表于《美苑》第三期
1998年 壁饰作品入选中韩教授作品集(韩国)
1998年 文章及作品5件发表于《美苑》第三期
2003年 论文《透视现代纤维艺术》发表于《布艺世界》杂志

2000年 作品“水晶系列家具”获字宁省家具协会颁发的设计新奖;
2002年 任第九届全国家具设计大赛的评委;
2003年 主讲的家具设计课被评为省级优秀课程;
2004年 任“2004中国家具设计大赛”评委;
2000年 论文《坐具设计课作业评点》发表于《美苑》;