Cebas ScalpelMax 1.1.6.0 For Max4-9 (切片工具)

Cebas ScalpelMax 1.1.6.0 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。

功能说明
-最有效率的使用记忆体
-进行剪下作用前会先进行物件的修正,使贴图不会出错
-自动切片作用,让你可以用一个简单的指令製作出上千个切片
-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)
-可以将你选择的物体面自动切片(切下或选择留下)
-独立切片UV Mapping 控制

51Files镜像下载(国内服务器):
http://www.91files.com/?9N7529PE708UDZJIFKUN
解压密码(Password):51render.com

看来第三世界国家的骗子也很多啊—_—!!

看来第三世界国家的骗子也很多啊—_—!!
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。

IP查询(搜索IP地址的地理位置)

您查询的IP:201.78.78.249

  • 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)

下面是mail的原文

——————————————————————————————

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.

http://201.78.78.249/www.bankofamerica.com/sslencrypt218bit/online_banking/

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:http://www.highend3d.com/3dsmax/tutorials/rendering/vray/147.htmlLinear 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: sRGB_Linear_demo.zip

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 : linear_demo.zip

Here is a scene prepped for Brazil by Rune Spaans : linear_demo_brazil.zip

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.

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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:

Brazil
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]
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eMule资源

下面是用户共享的文件列表,安装eMule后,您可以点击这些文件名进行下载
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

 介绍:
本套“学院派”教学系列节目,是全国八所重点美术学院设计类专业的同步教学类节目。该系列节目,是将各美术学院设计类专业的优秀教学课件作为内容。同时结合大量的设计案例与图片资料进行讲解,其中部分节目还增加了专业示范的内容。节目中的学术内容,既体现了现代美术设计思潮的最前瞻性理论,同时也代表了,当今美术设计领域的学术思想。该教学节目内容专业性高、学术性强,是你开阔设计视野的良师益友。

目录:
家具设计
室内设计
商业展示设计
环境景观设计
壁饰环境艺术

这套光盘共有14个VCD,已经全部转成DVD格式,方便大家下载,因为在现在有很多设计师对设计理论和设计的历史不了解,很难会有大的突破,以前我也觉得这些理论对我的设计没有什么帮助,现在发现这个理论是很重要的,所以发这个资源,希望对大家有所帮助。因为本人的硬盘有限不可以一下全放出,请下完的朋友帮助分流!本人万分感激!我会继续更新,谢谢大家了!!

 讲师介绍:
主讲:汪建松,清华大学美术学院环境艺术设计系讲师,中国室内装饰协会资深环境艺术设计师。
部分获奖情况:
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;
部分著作:
1999年《美术名家指导——环境艺术篇》湖南出版社出版;
1999年《商业展示与设施设计》中国建筑工业出版社出版;
2001年《商业展示与设施设计》湖北美术出版社出版;
中国室内装饰协会资深环境艺术设计师;
部分科研成果:
国务院外宾接待楼室内设计;
首都国际机场航站楼室内设计;
新加坡中国银行室内设计;

主讲:王庆珍,鲁迅美术学院教授,染织服装系副主任。
部分获奖情况:
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;
部分著作:
1996年《壁饰环境艺术》(黑龙江美术出版社)
2001年《现代室内配饰艺术》(辽宁美术出版社)
2002年《染织图案设计》(上海书店出版社)
部分作品、论文
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

主讲:张克非,鲁迅美术学院,工业设计系副教授。
部分获奖情况:
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;
部分著作:
辽宁美术出版社《破译效果图表现技法》、《工业设计》及《环艺设计》;
《破译效果图表现技法》如今已被沈阳大学,丹东大学等院校作为教材使用;
部份论文:
2000年 论文《坐具设计课作业评点》发表于《美苑》;
2002年论文《论工业设计系的毕业设计》发表于《美苑》;

主讲:马克辛,鲁迅美术学院教授,环境艺术设计系主任,硕士研究生导师。
部分获奖情况:
1997年“沈阳绿岛森林公园规划设计”全国设计大展金奖;
1998年沈阳《中山公园》改造方案,获市政府奖;
2001年大连《绿之梦》景观设计获全国设计大展金奖;
2004年大型不锈钢壁画《源》获全国壁画展大奖;
部分工作业绩:
大连市主题地标建筑《绿之梦》方案设计;
大连滨海路《海之韵》广场景观及主题雕塑设计;
机仙机场大型不锈钢壁画;
福州左海《五洲风光游乐园》景观雕塑;
重庆中国三峡博物馆室内展陈设计;
部分社会任职:
国际室内装饰设计协会IFDA中国理事;
中国美术家协会环境艺术委员会副主任;
中国建筑协会室内设计协会理事;
中国室内装饰协会设计委员会委员。