Podcasts about 3ds max

[Épisode 250] [Infographie 3D] Je réponds à une demande fréquente, à savoir quel est le meilleur des deux à utiliser dans notre domaine... - Ton interview gratuite : ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://calendly.com/photorealisme-3d/interview⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Mon site: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.photorealisme-3d.fr⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Groupe fb: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/groups/491838749209075/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - ⁠Page fb: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/photorealisme3d⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Contact : kevin@photorealisme-3d.fr

Kris A. Truini was born in Middletown, Connecticut, and was raised in Italy until the age of 15. There, he first discovered his passion for film when he was 8 years old and has been making videos ever since. With little to no help for his first videos, he had to explore and learn as much as possible on every aspect involved in completing a film from start to finish. He acquired a good knowledge of software such as 3DS Max, After Effects, Photoshop, Premiere, Final Cut Pro X, FL Studio, along with other 3D applications, tracking programs and non-linear editors.  At the age of 15, he left his parents to go continue his school studies in the United States. He began to make tutorials and short videos posted on YouTube in the channel Kriscoart Productions. In the summer of 2010, he attended a film school at Maine Media Workshops.  After graduating high school in 2012, he moved to Florida to enroll in Full Sail University. There he continued to make videos and short films. One of his directing teachers offered him the position of Director of Photography, Editor, and Music Composer for his short REVERSE. His next short SPECULUM was a Finalist at the 2013 StartFest Florida Film Festival. Kriscoart currently has over 436 Subscribers. In this Podcast, Allan McKay interviews Kris Truini, the Creator of a successful YouTube Channel Kriscoart, about the inspiration for his Channel, the importance of building a supportive creative community, how to get over creative blocks, the future of AI, why both self-doubt and perseverance are part of the creative process, and so much more! For more show notes, visit www.allanmckay.com/440.    

Welcome to Job Tales: I am Laura Leoncini and this is the podcast where I interview professionals about their personal path to their job.  Adam Rote is VFX Supervisor at various film productions and Professor at Chapman University. He teaches Motion Capture, VR, Motion Builder, Maya, 3DS Max, All Adobe, Digital Illustration, Compositing, Character Animation, Game Design, Facial Capture, and has 20 years + experience in the industry.Listen to this episode of Job Tales to scrape the surface of what it means to be a VFX (Visual Effects) Supervisor.  

Bentornati su Snap!Prende vita da questa puntata la rubrica "Snap - Render Imperfetti" con Mariano Di Benedetto! Iniziamo dalle GPU Intel Arc passando dalla spiegazioni di termini come Supersampling, TDP, Raytracing e Path Tracing, passando dai software di rendering ed i relativi consigli.Buon ascolto!—>

Bentornati su Snap!Dopo aver dato il nostro più caloroso benvenuto a Francesco, è tempo di ascoltare la nuova puntata di Archicad Talks in cui ho parlato con l'Arch. Olimpia Lorenzini di Eutecne del BIM nell'edilizia scolastica.Nella parte centrale c'è posto per un veloce accenno al formato di file gITF ed ampio spazio alla Nordic Open Letter che ricorda agli architetti ed alle software house che il fatto singolo più importante di un libero mercato è che nessuno scambio ha luogo a meno che entrambe le parti non ne traggano vantaggio.In ogni caso, occhi puntati sul cantiere italiano ipersensorializzato in cui passeggia Spot di Boston Dynamic e la nuova versione web di BIM track tutta da provare.Buon ascolto!—>

You can watch this video podcast now on YouTube: https://youtu.be/HXxCkLPmKLM In this #tcipodcast episode we had the pleasure to have on the show, Iranian architect, computational designer and founder of the famous platform Parametric.Architecture: Hamid Hassanzadeh. Hamid started everything simply as an Instagram page, spotlighting first his experiments with tools like 3Ds Max, Rhino and Grasshopper and then he transitioned into broadcasting the best projects based on this technology. Today Parametric.Architecture has millions of followers across all social media platforms and offers numerous workshops and courses to teach parametric design. More on the following links: YouTube: https://www.youtube.com/parametricarchitecture web: https://parametric-architecture.com/ Instagram: https://www.instagram.com/parametric.architecture/ LinkedIn: https://www.linkedin.com/company/parametric.architecture/ Instagram: https://www.instagram.com/hamithz/ We would love to be hearing from you! Drop us a line on the following channels: Instagram: @tcipodcast LinkedIn: The Creative Insider If you want to be a real Insider subscribe to our newsletter here: https://thecreativeinsider.com/subscribe/ To join us on the next "digital aperitivo": https://www.clubhouse.com/club/the-creative-insider If you are getting value out of TCI coffee is always needed: https://ko-fi.com/tcipodcast Stay around soon more content on our YouTube Page: The Creative Insider Thank you for your support, Désirée and Georgi :)!

Download for Mobile | Podcast Preview | Full Timestamps The Kite Arc Begins Icelandic Night Sheep Maddentown ORIGINS Have you heard about Deathloop? HEAT MOVES Will Learn Those Children You can watch us record the podcast live on twitch.tv/castlesuperbeast Go to http://hawthorne.co and use promo code superbeast to get 10% off your first purchase. -- Go to http://boxofawesome.com and use code superbeast for 20% off your first box. -- Go to http://greenchef.com/superbeast100 and use code superbeast100 to get $100 off including free shipping! The SEC is investigating Activision Blizzard over sexual misconduct allegations and improper disclosures, the WSJ reports. It has subpoenaed Activision Blizzard CEO Bobby Kotick among others Digital Eclipse has told both Capcom and Disney that it would like to work on a Marvel vs Capcom 2 Remaster. Quantic Dream Rumoured to Be Making a Star Wars Game Star Wars: Knights of the Old Republic – Remake KOTOR Remake: Jennifer Hale Will Reprise Her Role as Bastila Shan The latest #NintendoSwitch update is now available, including the ability to pair Bluetooth devices for audio output. 3DS MAX switches to a pay-per-day token system Epic lost on just about every count & will have to pay millions, while Apple now has to let apps use external payment processors Twitch's new music deal might be the end of DMCA strikes for streamers Helena Taylor implies she might not voice Bayonetta in Bayo 3

En este artículo de OVACEN nos planteamos una simple pregunta ¿Cuántos días al año utilizas Autocad?. Ahora, Desde la afamada plataforma de sotfware de dibujo, Autodesk, nos ofrecen una nueva modalidad para utilizar todos sus programas. EL Autodesk Flex: Pago por uso ocasional de Autocad, Revit, 3ds max y otros tantos programas de la marca. #dibujo #programa #tenologia #revit #software #cad #autocad #autodesk ---------- Puedes ver más noticias en este blog de OVACEN y en nuestras redes sociales: Twitter - Facebook - Pinterest - Y en nuestro RSS de OVACEN

What is your first impression with 3ds Max? Yes, it's looks intimidating, but some circumstances makes me have to master this software. And the journey of mastering 3Ds Max got me fall in love to this software, until i made it to build my own business and another life goals trough Arch Viz. Now, all i can say to you, this is the ultimate scaling up software that going to help you in this Arch Viz industry. I wish you guys the best of luck in the future.

La conferencia GTC 21 de Nvidia nos deja interesantes novedades GPU Technology Conference.Una especie de Autodesk University para el mundo del HW/SW de la visualización y la inteligencia artificial.Del 12 al 16 de abril.https://www.nvidia.com/en-us/gtc/keynote/ Más info sobre Omniverse En pocas palabras: Omniverse es como un Lumion, pero en la nube y colaborativo.En realidad sirve para muchas más cosas, pero más pensadas para la industria de los videojuegos o películas de animación.Está en beta y se espera lanzamiento oficial para después del verano.Una plataforma cloud (también hay opción de instalarlo en local), que permite:Conectar en tiempo real con muchos softwares distintos (Revit, Archicad, Rhino, 3D max...)Hay que instalar un plugin que se encarga se subir la geometría y mantenerla actualizada en tiempo real.Ver un "modelo federado" de todo lo que está conectado a la plataforma.Utilizar herramientas de la propia plataforma para:Renders en tiempo realAñadir comportamientos físicos y animaciones.Análisis de viento y solarUtilizar herramientas creadas por tercerosTodo está basado en el estándar abierto USD de Pixar.Estándar que también está adoptando Autodesk en Maya y Shotgun (el BIM360 de la producción)Hay varias ponencias de Onmiverse en el mundo AEC:Ejemplos de Foster+Partners usandolo con Rhino y Grasshopper.https://gtc21.event.nvidia.com/media/Collaboration%20Matters%3A%20End-to-End%20Workflow%20for%20AEC%20Projects%20%5BS32167%5D/1_maeinrmtEjemplo de CSN Groep usandolo con Revithttps://gtc21.event.nvidia.com/media/NVIDIA%20Omniverse%20in%20the%20AEC%20Sector%20%5BE32369%5D/1_irl4od64Hace falta registro para verlos.Esto no es el BIM level 3, simplemente porque es un tema geométrico y visual, no hay información ni base de datos. Autodesk está trabajando en nuevo motor gráficos para sus productos Autodesk usa el mismo motor gráfico en casi todos sus productos: Revit, 3DS Max, Autocad, Inventor, Fusion, Maya, Infraworks...No es un motor tipo V-ray, sino el motor básico que hace que las vistas de Revit funcionen.Se llama OGS (One Graphics System) y se desarrolló en 2007.DirectX 9 y Open GLNo aprovecha los avances de la última década en tarjetas gráficas y depende mucho del procesador.Es el responsable de que una vista se abra lento.Presentación nueva versión de OGS:https://gtc21.event.nvidia.com/media/Incorporating%20Real-Time%20Ray%20Tracing%20in%20Autodesk%E2%80%99s%20Next-Generation%20Viewport%20System%20%5BS31676%5D/1_48gt5iygDirectX12, Vulkan (renderizado en tiempo real)... Basado en estándares abiertos como USD o Material X.Comunicación directa con la tarjeta gráfica y uso de varios núcleos del procesador.Va ser más independiente de los software, con lo que se podrá actualizar sin que suponga grandes esfuerzos de desarrollo en Revit y compañía.Hicieron hincapié sobre todo en la parte de renderizado en tiempo real con ejemplos de Inventor, 3DS Max y Maya.Un render en tiempo real para trabajo, no para infografías.Es un desarrollo en estado muy temprano, no creo que lo veamos hasta dentro de 2 años. Archicad lanza su propio Dynamo: PARAM-O Ya existía desde julio de 2020 como beta para windowsAhora con la actualización 3 de la versión 24, ya es oficial y está también para macOS.https://graphisoft.com/downloads/archicad/updates/ac24/up3PARAM-O comparte con Dynamo y Grasshopper la interfaz basada en cajas que se conectan, pero su objetivo es diferente:En archicad, para crear un objeto paramétrico hay que hacerlo con GDL (un lenguaje de programación basado en BASIC).Esto es una importante barrera de entrada a la creación de objetos paramétricos.PARAM-O viene de Parametrizar Objetos. Es como un Dynamo pero específico para el editor de familias.Desde 2016, Archicad tiene una conexión directa con Grasshopper (el referente en programación visual)Si queremos automatizar procesos, o hacer diseños imposibles, tenemos la conexión con Grasshopper.Si queremos crear objetos paramétricos sin aprender GDL, tenemos PARAM-O. Patrocinador: 360 admin Tools Bueno, y lo que viene ahora no es otra noticia sino nuestro patrocinador: ¡360 Admin Tools! este conjunto de herramientas imprescindibles para administradores de CDEs con BIM360. Ya hemos hablado de algunas de estas herramientas, como el sincronizador de archivos y carpetas entre BIM360 y plataformas como SharePoint, Onedrive, Dropbox, Amazon S3 y Google Drive, también de la copia de entre proyectos del propio BIM360, o incluso en asignador masivo de usuarios a los proyectos. Pero es que de todo lo anterior tenemos estadísticas. Podemos saber cuántos archivos se han sincronizado en cada proyecto, cuantos GB, cuáles son los proyectos, empresas, roles y usuarios más activos dentro de BIM360. Podemos ver el número de usuarios que se conectan cada día. Y todas estas estadísticas, las podemos agrupar o filtrar por el criterio que queramos, por ejemplo: quiero ver el número de accesos de todos los usuarios con el rol arquitecto de la empresa X. Todo esto sirve para tener una fotografía de quién y cómo está usando la plataforma, tanto para detectar puntos de mejora como comentaba en el episodio 086 de Implantar un CDE, como para para saber el uso real de BIM360 cuando eres tú el que está pagando las licencias. Entra en https://360admintools.com/ y empieza a usarlo hoy, gratis y sin registro, con un proyecto y el soporte que necesites para configurarlo. Si quieres más 99€/mes para hasta 10 proyectos, y 299€/mes para proyectos ilimitados. También puedes solicitar una demo en https://360admintools.com/ Sale Revit 2022 https://help.autodesk.com/view/RVT/2022/ESP/?guid=GUID-C81929D7-02CB-4BF7-A637-9B98EC9EB38BNotas de la versión:https://help.autodesk.com/view/RVT/2022/ESP/?guid=RevitReleaseNotes_2022release_html Novedades principales Exportación a PDFVarios planos de distintos tamaños en la misma exportación.Posibilidad de poner nombre a cada archivo en función de parámetros del plano.Mucho más rápido que las impresoras pdf.Mejoras en las tablas:Parámetros compartidos en tablas de claves.027 Tablas de clavesFiltrar por familia, tipo y subproyecto.Categorías de sistema en tabla multicategoría.Más categorías en tablas de materiales.Dividir tablas en varios planos.Muros trapezoidalesPara muros de contención y rellenos de trasdós.Nuevas categorías para usar:Equipo de servicios alimentariosEquipo médicoProtección contra incendiosCirculación verticalDispositivos visuales de audioSeñalizaciónPavimentoEstructuras temporalesMejoras en etiquetasMejoras en armadurasVinculación de archivos de Rhino. Otros detalles Ahora se pueden crear familias de carreteras y puentes.Fases en filtros de vista.Exportación STL.Parámetro con el número de capa en las piezas "Índice de capa".RCP en la categoría mobiliario.Podemos apagar las capas de acabado de muros en VV.La disciplina "Fontanería" pasa a llamarse "Tuberías".Mejorada interoperabilidad con Formit.https://formit.autodesk.com/blog/post/introducing-formit-2022Desaparece el Análisis de Cargas de calefacción y refrigeración.Y la pestaña Clima. Datos climáticos en Revit, ¿De dónde salen?¿Son reales?¿Son fiables?Se incluye como opción dentro del análisis de sistemas.Windows 10 versión mínima. Actualización de roadmap Capas de muros reales.052 Midiendo murosTopografía con volumen en 3D.Integración con Microsoft Power Automate.Notificaciones de cambios.Análisis de datosPosible vía para integrarlo en Power BIMejoras de usabilidad en creación de IFCs.Mejoras en el gestor de vínculos.Duplicar planos Me vuelvo a Tenerife He decidido mudarme a Tenerife (llevo casi 6 años viviendo en Madrid).No de forma inmediata, en 2-3 meses.Estoy muy contento en mi actual empresa pero no hemos conseguido llegar a un acuerdo de teletrabajo o externalización de servicios.Primero estoy buscando una empresa que me quiera contratar como empleado.En remoto, o presencialmente en Tenerife.Mis expectativas económicas son un 30% más bajas en una PYME en remoto que en una gran promotora en presencial.ContactarSi no lo consigo, me haré consultor BIM autónomo y empezaré a ofrecer mis servicios de consultoría, implementación, formación, etc.Hoy en día ya hago esto pero muy poco porque no tengo tiempo.Tengo muchas cosas que organizar, también me cojo una semana de vacaciones, así que voy a estar dos semanas sin publicar episodio.Volvemos el 23 de mayo. ¿Quieres escuchar otro episodio? Los tienes todos en la sección de Podcast de esta web. AVISO: Este post es sólo un apoyo al audio del podcast. Leerlo de forma independiente podría llevar a conclusiones incompletas o incluso opuestas a las que se quieren transmitir.

Questo è the Pixels Chips e io sono Matteo Sgherri. News, stampa e scultura 3d per giocattoli e art toys, il mio progetto, eventi e molto altro.

Today's special guest is Dr. Cody Pennetti, a professional engineer, university-level instructor, and researcher. Cody and Sam have similar stories about how they got into the visualization industry, with both of them being somewhat influenced by their brothers' work in the animation and gaming industries, respectively. Cody received his Bachelor's degree from the University of Virginia and had an opportunity for an internship doing site civil design work, which included a variety of projects, from retail and residential buildings to pipeline and infrastructure work. After going down that track for a while, he earned his Master's degree in Systems Engineering, focusing on infrastructure design and management. After spending 18 months working on a textbook widely used by universities across the country, called The Land Development Handbook, he got inspired and returned to school to pursue his PhD and do research work. He got involved in the visualization industry by using a basic workflow that included AutoCAD and Sketchup, but later transitioned to 3DS Max due to better and more realistic results. However, as Cody says, even though we can get much better results now than we did in the past, the civil engineering industry still has a lot of work to do when it comes to visualization. Sam and Cody talk about what they hope for the future of 3D Visualization, which involves having one software program that will allow us to create the model of a project for all disciplines of the field, as well as why Dr. Penneti does not let go of being a practicing engineer and focus entirely on his university lectures. Resources Mentioned Cody Pennetti - LinkedIn / cody@civilsystems.org The Land Development Handbook - McGraw Hill University of Virginia - UVA Beyond CAD - Website / Vision Weekly Update / Video Updates Sam Lytle - LinkedIn / sam@beyondcad.com Subscribe to the podcast - iTunes / Spotify / Google Podcasts

CG Garage’s 300th podcast features a true superstar of CG: 3D Studio and 3ds Max team leader Gary Yost. After working for an Atari magazine, in the mid 1980s, Gary became involved in software, eventually overseeing the development of 3D Studio from its early days as a DOS package to its limelight-stealing Windows release as 3D Studio MAX 1.0. He talks about how his five-person team (including one barely out of his teens) worked from home in the early-90s to create this pioneering, game-changing 3D software. Today, Gary is returning to his artistic instincts with a high-tech short film about the COVID-19 pandemic, using superpowered 360-degree cameras, 3ds Max, V-Ray and Chaos Cloud to produce an immersive experience. It’s fascinating to hear about Gary’s experiences in computing and entertainment over the past few decades. He’s a rare character who can combine creative energy and technical know-how with a knack for choosing the right people for the right roles.

As mentioned in previous episodes, visualization in the civil engineering industry may not be as ‘advanced' as that in the architecture world. Fortunately, there are some visualization firms that we can hire to provide 3D models, renderings, videos, etc., to make our projects look good and help us communicate to all stakeholders what the project will look like. Although 3D visualization services should definitely be something to invest in, hiring such firms may not always be attainable for a variety of reasons. Therefore, most professionals are left with the hard task of creating great 3D models and other visualization-related content out of the existing design and visualization tools, such as LumenRT, InfraWorks, and even SketchUp. Today, Sam talks about such tools and, given his experience in the field, dives deeper into the pros and cons of each one of them. These tools have played important roles and helped in many particular aspects concerning visualization in the civil engineering field, but there's still a gap to be filled. Vision is the software that will fill in that gap, providing an easy-to-use, built-for-civil-engineering, real-time visualization tool. Resources Mentioned CEMENT Podcast Network - Website Civil FX (Now a division of Parametrix) - Website Vision Software (a better real-time, 3D visualization tool for civil engineering) - Website + Weekly Update Existing tools - LumenRT / Twinmotion / InRoads (OpenRoads) / InfraWorks / Lumion / SketchUp / 3DS Max / Unity / Unreal Engine / Maya / Cinema 4D Beyond CAD - Website Subscribe to the podcast - iTunes / Spotify / Google Podcasts Sam Lytle - LinkedIn / sam@beyondcad.com

Brandon Kindred's dad redirected his excess energy and curiosity to learning programming with a teach yourself in 24 hours book. The same thing happened in school, where a chance encounter (getting caught programming) led to a spot on the robotics team. We talk about lessons learned from robotics competitions, using AI and ML to improve software testing, and where the soft powder is in Colorado.   The FIRST robotics organization https://www.firstinspires.org/robotics/frc  Brandon's company https://www.look-see.com/ Autodesk's 3DS Max - https://www.autodesk.com/products/3ds-max/overview?support=ADVANCED&plc=3DSMAX&term=1-YEAR&quantity=1  The conference that recognized Qanairy for Best in class for Transfer learning - https://aidevworld.com/ The company where Brandon's Dad is CTO - https://sqad.com/ The insurance group run by Brandon's old sales mentor Adam Schwartz - http://afoxassoc.com/our-family/

This week Kelly Shipman spends an hour with us to chat and take questions about Unreal Engine, Game Development, Virtual Production, and More! --- Send in a voice message: https://anchor.fm/puget-systems/message

This week Kelly Shipman spends an hour with us to chat and take questions about Unreal Engine, Game Development, and Building a Better Benchmark. --- Send in a voice message: https://anchor.fm/puget-systems/message

Almost everyone has already been into sports as a kid. But, as we grow older and find out the huge range of activities we can devote our time to, not all of us develop the exact same interest in athletics. Today's guest, however, managed to keep his life-long love for sports, and integrated that with his passion for games and 3D visualization. Austin Reed is a 3D visualization specialist at HNTB, a design firm in Kansas City, Missouri. A huge fan of the Kansas City Chiefs since he was a young boy, he actually got into the AEC industry because he wanted to create 3D models of football stadiums. He got his degree in computer animation for video games and film in 2002 and, after returning to Kansas, he discovered that Kansas City was actually “the mecca of sports architecture”, with five of the biggest companies in the country located there. On today's episode, Austin details his experience with the transition period between Render Farms and V-Ray to real-time 3D visualization, his team's workflow, including their participation in the stadiums of the Las Vegas Raiders and the San Francisco 49rs, as well as the high-speed rail project in California, and his 3DS Max learning process, given that his education was based on Maya. Austin and Sam also dive deeper into what the future of visualization may look like. Will everything be processed in the cloud, meaning that we won't need to store some much data locally? Will all the files be processed via our own phones? Who plays a role in determining what this future may look like? Tune in and find out the answers.   Resources Mentioned Austin Reed - LinkedIn / areed@hntb.com Sam Lytle - LinkedIn / sam@beyondcad.com HNTB - Website

This week Kelly Shipman spends an hour with us to chat and take questions about Game Dev, ArcVis, Engineering, Film, and AI/machine learning. --- Send in a voice message: https://anchor.fm/puget-systems/message

Welcome to Dev Game Club, where this week we are beginning to come dangerously close to spending longer talking about Republic Commando than we did playing it. This time, we get a look behind art development for Star Wars through the eyes and voices of two artists who worked on the title: Greg Knight, who was the principal concept artist for the game, and Paul Pierce, who designed the look and feel of the user interface. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Podcast breakdown: 0:45 Interview segment 1:14:39 Break 1:15:14 Feedback Issues covered: how Paul got his start, web design in the 90s, learning 3D modeling, how Greg got his start, the ubiquity of LucasFilm in Marin, making an important connection and getting an unstoppable recommendation, the importance of art in establishing a game, the design of HUDs and menus, the distinction between UX and UI, how UI art got into the game, iterating the UI in response to the game you're building, starting out as a texture artist, imagining rooms as a whole and getting noticed for your control of tone, an exciting time to learn about concept art, being a force multiplier for the art team, the need for concept art with rising fidelity, keeping cohesive style and flow in the art by use of concept art as well as art direction, differences with film, what immersive experiences mean for content, lacking control of camera, good ideas coming from all over, vs auteurism, putting a burden on UI aesthetics by being always first-person, bringing in the visor pieces, losing visual real estate and that conversation, the impact on design on art decisions, putting the ammo readouts on the guns, marking up renders to figure out where UI elements would go, weapons as characters, running into resistance with the programmers, the ways programmers can... avoid work, the conversation you have to have around iteration cost, fitting into a palette, designing vehicles that didn't exist in canon, coming up with the tone of a more deadly clone story, figuring out who the clones even were, figuring out what the side stories were, imagining beyond the borders of the film, morphing to a different scale, how little a Geonosian means to a Jedi and how much to a trooper, colorgrading and how it sells various tones and moods, giving a different interpretation of Star Wars, seeing something of Republic Commando reflected in Rogue One, focusing on what's important to your characters, the heat and contrast of the Geonosians, pulling on the film's UI elements, avoiding drama on a project, checking egos at the door, how collaborative the game was, the value of technical art, the energy of team members, tech artists as glue and bridges, the value of a demo, Neanderthal Tim, when your level is difficulty, the design ideas behind the hangars and bridge, the knobs you had to turn for storytelling through tone, having to die again and again, failure without excessive punishment, the ability level of the team, where your skills are relative to the game, improving communication between branches of the team, setting a vision without falling to design by committee, being able to deliver a new experience for a Star Wars audience, the challenge of making an AI that keeps pace with the player, "The Squad Is Your Weapon," the debate around the efficacy of the squad, building around the game's goals and how other games might attack that differently, the importance of building consensus, trying to find a way to say "yes" to an idea, "everybody can design," being able to have the squad revive you. Games, people, and influences mentioned or discussed: LucasArts, Jedi Starfighter, Bounty Hunter, Galactic Battlegrounds (series), Escape from Monkey Island, Lucidity, Disney, 2K, Transformers, EndeavorRX, Akili, Indiana Jones and the Infernal Machine, The Phantom Menace, EA, Jedi: Fallen Order, NYU Film School, Whole Foods, Cybernautics, Rocket Science Games, Obsidian, Behind the Magic, Haden Blackman, Starcraft, Dan Colon, Lightwave, LucasFilm, Ralph McQuarrie, Hal Barwood, Chris Williams, Unreal, Adobe Illustrator, Peter Chan, Joe Johnston, Doug Chiang, Obi-Wan, Bill Tiller, Jedi Knight, Dark Forces, Nathan Martz, Jeremie Talbot, Hideo Kojima, Metroid Prime, Maya, 3DS Max, Daron Stinnett, Band of Brothers, Saving Private Ryan, Black Hawk Down, Rogue One, Paul Murphy, James Zhang, Adam Piper, Harley Baldwin, Mafia III, Hangar 13, Top Mix, Kovaak's Aim Trainer, Galaxy of Heroes, Reed Knight, TIE Fighter, John Drake, Ryan/biostats, Pat Sirk, Gary Whitta, Book of Eli, Fallout, Nick from LA, Halo Reach/Halo 5, John Hancock, Kirby's Epic Yarn, Epic Mickey, Super Mario RPG: Legend of the Seven Stars, Kirk Hamilton, Aaron Evers. Next time: YET. ANOTHER. INTERVIEW. Twitch: brettdouville, instagram:timlongojr, @brett_douville, @timlongojr, and @devgameclub DevGameClub@gmail.com

O que faz um generalista 3D? O que um artista precisa saber para se tornar um generalista? Como é trabalhar em estúdios fora do Brasil? No episódio dessa semana nosso host Gustavo Ribeiro conversou com o Ale Barbosa, um generalista 3D brasileiro que trabalha no Canadá! O Ale Barbosa tem 35 anos e 10 anos de experiência em publicidade, sempre atuando como generalista o que quer dizer, entre outras coisas, que ele conhece dezenas de softwares: 3Ds MAX, Vray, Arnold Renderer, Redshift, Mudbox, Zbrush, Maya, Xgen, FumeFX, Realflow , FractureFX, Rayfire, After Effects, Photoshop, PFTrack, Yeti e Marvelous Design. Impressionante, né? Ouvindo o episódio, você vai conhecer a jornada do Ale, então não esquece de seguir ele nas redes: https://www.artstation.com/alebarbosa Acesse todo o nosso conteúdo em https://revospace.com.br/, https://www.instagram.com/revospace.c... e https://twitter.com/revospace Tem sugestão de um conteúdo? Escreve pra gente no telegram @revospace ou no email oi@revospace.com.br ♥ Conheça o Topia! topia.com.br/ Conheça os cursos a distância e presenciais da Revolution! ead.escolarevolution.com.br/ escolarevolution.com.br/cursos/ Siga a Revo nas redes sociais: SITE: revospace.com.br FACEBOOK: www.facebook.com/EscolaRevolution INSTAGRAM: www.instagram.com/escolarevolution/ DISCORD: discord.gg/KeqmqdX PINTEREST: br.pinterest.com/revolutionartes/ TWITTER: twitter.com/revolutionartes

Laptop or PC? What specs? How much RAM? What CPU? What GPU? What storage device? How can I choose the best? Which one do I buy? There are so many variations of computers that architecture students can choose from. It can be quite overwhelming.In today's episode of the Successful Architecture Student's Podcast, I explain whether you should buy a PC or Laptop for architecture school and which one is the best. I also explain how you can decide what hardware you need, and the difference your RAM, CPU Processor, GPU Processor and Storage Devices have on the work you do.Prefer listening/reading? Check out the show notes:https://successfularchistudent.com/16▼GET THE FREE ARCHI STUDENT SUCCESS CHECKLIST▼→ https://successfularchistudent.com/ ←Get my new ebook! “How to Ace Any Project in Architecture School” https://successfularchistudent.com/how-to-ace-any-project/When buying a laptop or PC computer, I say there are 4 general rules of thumb.1)You need at least 16GB of RAM (computer memory). RAM is what is used when working on photoshop, rendering programs such as 3DS Max, VRAY and Lumion. If you have less than 16GB of memory, your computer will struggle with these programs.2)You should have at least an i7 processor/CPU. This is what limits how fast you can render 3D models.3)You should have a 1TB SSD (minimum) for your main storage device. Alternatively, you can use a smaller sized SSD and use a Hard Drive to store your files. This is a cheaper option.4)Your Graphics Card, or GPU, determines how quickly and error-free you can view your 3D models in the workspace. A better GPU will allow you to work more efficiently when modelling and creating things in post-render programs such as photoshop.Before making any purchases, I suggest you benchmark the RAM, CPU, SSD OR GPU that you want to buy. This will give you an indication of its ability compared to other hardware out there. You can use sites such as Passmark for this. Just google “CPU benchmark” for example.

In this episode we kick off 2020 with a unique individual who has self-taught himself to now be an expert in a long list of design tools, while engaged in full time studies and work. These tools range from: Adobe - Photoshop, Lightroom, Premier Pro, After Effects, Illustrator; Autodesk – Revit, AutoCAD, Inventor, 3DS Max; Cinema4D, Lumoin and many more. Elvin humbly shares his journey and experience, the do’s and don’ts the pitfalls, the learnings and answers to questions such as: What was the techniques used to learn these tools? Was it the same method for all applications? How long did it take to master each tool? How was this managed while studying full time? Did it affect your grades/other commitments and work-life balance? Was this supplemented and supported through your secondary and tertiary education? Elvin then continues to share his incredibly achievements by passionately sharing some valuable advice for universities and school as well as students who are traveling on his same path. These are just some of the gems presented within this episode. If you are wanting to learn how to be intrinsically motivated to self-teach through ‘play’ – this is the episode for you!

Do you want to learn about 3ds max, if you want hen take the help from Busiello Building SRL and read the blog.

Do you want to learn about 3ds max, if you want hen take the help from Busiello Building SRL and read the blog.

Disculpas por el sonido del anterior episodio, y el retraso de este, pero mis vecinos están de reformas y es imposible grabar en condiciones. Se publica el estándar BIM para proyectos públicos en Chile https://planbim.cl/ Canal de YouTube Plan BIM Antecedentes Se lanzó el 12 de junio de 2019.Tiene 150 páginas, además de plantillas en excel de matriz de LODs y de BEPs (Planes de ejecución BIM).Está desarrollado por CORFO (Corporación de Fomento de la Producción), Agencia del Gobierno de Chile, dependiente del Ministerio de Economía, Fomento y Turismo.El equipo está formado por 8 personas, más 53 personas que colaboraron en las 16 mesas de discusión que se celebraron.El equipo de la comisión BIM esta (estaba) compuesto por 17 personas, más toda la gente que está (estaba) metida en los 30 subgrupos de trabajo.Tienen un presupuesto de 1,4 millones de euros. La comisión BIM española, 0,4 millones.Por PIB nominal, España está el 13º y Chile el 41º.Por población, España tiene 46 millones, y Chile 18 millones.Responde a un plan de implementación (Plan BIM) que comenzó en 2016 y que tiene dos hitos importantes:Año 2020: incorporar el BIM en los proyectos públicos de las principales administraciones públicas del país (Ministerios, Policía, Ejército, etc).Año 2025: incorporar el BIM en los proyectos públicos de las administraciones regionales y conectar el Plan BIM con "DOM en línea".DOM en línea es una plataforma digital, para realizar todos los requerimientos, permisos y resoluciones necesarios de edificación y recepción final de los proyectos de construcción a nivel municipal pero única para todo el país. Flipa!. Base técnica Está basado en estándares internacionales:IFC, BCF y COBie.ISO 19650 1 y 2, y la PAS1192 británica.LODs de la AIA y el BIMFORUM USA.Usos BIM de la Universidad de Pennsylvania.Guía BIM del Departamento de veteranos de EEUU.Manual básico de entrega de información (Building Smart Holanda)Define 4 conceptos clave:Usos BIM.Tipos de información (15 grupos de parámetros).17 Parámetros IFC.80 Parámetros Cobie.206 parámetros opcionales.Niveles de información (LODs).Estados de avance de información de los modelos (información necesaria en cada fase del proyecto). Funcionamiento Cruzamos los usos con los tipos de información para saber qué información necesitamos para cumplir los objetivos.Cruzamos los LODs con las fases del proyecto para saber cuánta información de la definida anteriormente necesitamos en cada etapa.La administración pública debe definir los objetivos y los entregables, pero cuentan con tablas que les dicen qué cosas puede y no pueden pedir según los objetivos que han establecido y en qué fase lo pueden pedir y en cual no.El licitador debe presentar un PRE-BEP explicando en detalle cómo va a conseguir esos objetivos y las características de los entregables.Una vez gane la licitación, se haría un BEP definitivo. Conclusiones Excelente trabajo que posiblemente se convierta en la referencia para todo el mundo ibero-americano, como pasa con las normas británicas en el mundo anglosajón.Además, al no "reinventar la rueda" y estar basado en estándares ya existentes, la empresas Chilenas podrán trabajar en el extranjero sin cambiar su forma de trabajar y las empresas extranjeras podrán ofrecer sus servicios en Chile de igual forma.Lo más importante, el trabajo de estudio y homogeneización de todas las administraciones públicas del país.Todas las administraciones va a pedir de la misma forma.Y van a pedir sólo lo que necesitan aunque no sepan BIM.Y mientras en Chile sacan un estándar en junio del 2019 para empezar a aplicarlo en 2020, en España la noticia es que el 24 de abril se celebró la reunión constitutiva de la nueva comisión BIM (nueva porque con esta van dos, pero esta sin presupuesto). Lo mejor que podemos hacer es un copia-pega de la chilena e irla adaptando según la experiencia y lo que nos vaya viniendo del grupo de trabajo BIM de la UE (otros que tampoco parece que estén haciendo mucho). Leica prepara un escáner láser de mano: BLK2GO BLK2GO Se parece a un termo de café, pero con un agujero para meter la mano y agarrarlo.El sensor LIDAR (lo que se mueve), está encapsulado.Tiene una precisión de 700.000 puntos por segundo.Su hermano mayor el BLK360 captura 360.000 por segundo.Cámara de 12 megapixeles de alto contraste.Tres cámaras panorámicas para navegación visual.Tecnología que estrenaron con el escáner RTC360. Son "ojos" que van mirando el entorno para saber donde estás mientras te mueves.Esta puede ser la clave que minimice los problemas de precisión que tienen este tipo de escáneres móviles.Batería de 45 minutos.Memoria para 6 horas de escaneos.Pesa 775 gramos (como sostener 2 latas de coca-cola llenas, a la vez)Se espera que salga en octubre de 2019.No sabemos precio. Sale Archicad 23 Mejoras en el rendimiento, sobre todo en el arranque del programa y apertura de archivos.Herramientas de Pilar y Viga Rediseñadas: ahora permite modelar más rápido, crear detalles constructivos y mediciones precisas. Los pilares complejos y las vigas curvas, alveolares y de sección variable son más personalizables.Nueva herramienta Abertura, dedicada a modelar y coordinar vanos, nichos y rebajes, como aberturas horizontales, verticales o inclinadas entre elementos, grupos de elementos o incluso entre pisos. Conexión con Solibri, dRofus y Rhino-Grasshopper mejorada, sobre todo esta última que permite conexión en tiempo real.Certificado para exportar a ifc 4 reference View. Aunque no es oficial del todo. En la web de certificado de momento sólo aparece Vectorworks, pero será cuestión de días. https://www.buildingsmart.org/compliance/software-certification/certified-software/ La Fundación Laboral de la Construcción lanza un software de Prevención de riesgos en BIM https://www.fundacionlaboral.org/actualidad/noticias/fundacion/prevencion-de-riesgos-laborales Se llama PRL en BIM.Es gratuita.Desarrollada por CYPE.Basada en formato IFC.Permite modelar barandillas, soportes de barandillas, redes verticales, soportes de redes verticales, andamios, protecciones de huecos, grúas, vallas, casetas de obra, zonas de acopio, señales de seguridad y carteles de señales de seguridad. También pozos, zanjas o vaciados.Se pueden crear fases constructivas tanto para los objetos importados como para los de PRL modelados.Se pueden hacer comprobaciones automáticas de:Recorridos máximo de salidas dentro de una excavación.Separación máxima entre soportes de barandilla.Separaciones máximas y mínimas de redes.Permite exportar la geometría en IFC, los planos en PDF, DWG, DXF, y las mediciones en BC3, PDF Y DOCX. Unity anuncia Reflect Qué es Unity Es un motor gráfico como puede ser Unreal. Se usan mucho en videojuegos pero también en aplicaciones más nuestras como Revizto. Qué es Reflect https://youtu.be/LTYaPOFgC9gTipo Enscape o Lumion.Exportar de Revit a Unity en un sólo click.Federar modelos en vivo de múltiples usuarios.Realicar iteraciones de diseño rápidamente dentro de visualizadores 3D interactivos, inmersivos y en tiempo real.Saldrá en otoño de 2019.La gran ventaja de todo esto es que Unity Reflect no es una aplicación cerrada, sino una nueva funcionalidad, que todos los softwares que usen Unity, podrán aprovechar.Autodesk ha tirado la toalla con la realidad virtual, después de Stingray (que acabó integrado en 3DS Max), y de Revit LIVE, que sigue funcionando pero sin desarrollo y no es compatible con revit 2020, sólo anteriores.Anunció un acuerdo de colaboración con Unity en octubre de 2017. Cambio de trabajo Dejo Asidek Asidek es la 5ª distribuidora de Autodesk más grande de Europa y la 1ª de España y Portugal. También ofrece servicios de formación, soporte, implementación y proyectos.He estado casi 3 años como consultor BIM.Muchas gracias a todo el equipo humano de Asidek. Han sido tres años increíbles. Recomiendo a todos los que sean o quieran ser consultores BIM, que trabajen 2 o tres años en una distribuidora. Me voy a Aelca Aelca es la 5ª promotora que más viviendas construye en España. (Las 4 primeras son: Metrovacesa, Vía Célere, Neinor Homes, Aedas Homes).Entro como responsable BIM (BIM manager). Oscar Liebana era el responsable BIM hasta ahora pero le ofrecieron ser coordinador del proyecto de remodelación estadio Santiago Bernabeu.Muchas gracias a Oscar por recomendarme para sustituirlo y a Aelca por confiar en mí para el puesto. No cambiará nada con respecto al podcast El podcast siempre lo he hecho en mi tiempo libre, así que nada tiene por qué cambiar. ¿Quieres que responda a tus preguntas en el podcast? Envíamelas en la sección de contactar. ¿Quieres escuchar otro episodio? Los tienes todos en la sección de Podcast de esta web.

Continuación del episodio 006 Qué es BIM360. Las 5 claves de "Docs" Gestor documental sencillo y 100% online, pero específico para el sector AEC:Visor de archivos de diseño, comparador de versiones, gestor de incidencias...)Pago por usuario (lo más habitual 130-260€ al año).El mejor para la fase de diseño, si trabajamos en entorno Autodesk (Revit, Navisworks, Autocad, Infraworks...).En proyectos BIM, se puede usar como entorno común de datos (CDE), pero en proyectos públicos medianos/grandes y en empresas privadas que gestionan muchos proyectos a la vez, se queda corto de funcionalidades de gestión y flujos avanzados, con respecto a la competencia (Aconex y Viewpoint).Tienda de aplicaciones de terceros y API abierta que permiten agregar y desarrollar nuevas funcionalidades. Carpetas: lo que entendemos todos Estructura e información completamente separada para cada proyecto. Interfaz sencilla muy similar a una ventana de windows, con iconos de archivos y carpetas en la parte principal, pestañas en la parte superior, y un navegador "en árbol" de carpetas en la vertical izquierda.Podemos crear todas las carpetas y subcarpetas que queramos. Permisos 5 niveles de permisos, pero dos son los más usados:Ver y descargar.Ver, descargar, cargar y editar.Otros son:Solo cargar.Ver, descargar y cargar.Control total (editor que puede modificar permisos).En en roadmap a corto plazo está "Ver sin descargar".Si no tienes permisos para una carpeta, directamente no la ves.Si tienes permisos para una carpeta, los tienes tambien para todo lo que hay dentro. Puedes ampliar permisos dentro, pero no reducirlos.No hay permisos por archivo. "Planos": la carpeta rarita Sólo admite archivos de diseño: RVT, DWG, IFC, PDF y DWF.No se crea un icono por archivo, sino un icono por cada vista 2D, 3D y plano del archivo. Si es un archivo de Revit, puedes elegir qué vistas y planos quieres que aparezcan.Si es un PDF, el número y nombre de cada icono lo saca automáticamente de cada plano. ¿Para qué se usa? Es el equivalente a tener los planos impresos en papel. Facilita el acceso a los planos a personal menos "informático".Hay quién la usa como la zona "Publicado" para poner hay los planos que son contractualmente entregables.Al poder manejar vistas de forma independiente, también es en esta zona donde se suben las vistas 3D que queremos usar para el módulo de detección de interferencias (Model Coordination). Consideraciones en "Planos" Al ver que los planos de Revit aparecen en esta zona, muchos preguntan que si se pueden imprimir o guardar en pdf desde aquí. Si, pero de uno en uno. En el caso de los PDF, puedes exportar cada página como un pdf independiente, y puedes exportar varios a la vez.No se pueden copiar ni mover archivos desde o hacia la carpeta Planos, hay descargarlos de la zona Archivos y volver a subirlos. Fallo épico.La aplicación Desktop Conector no sincroniza con la carpeta Planos.No usar nunca la carpeta "Planos" para guardar archivos "cloud" de Revit, no tendríamos forma de eliminarlos o cambiarles el nombre. Visor online Formatos soportados 39 formatos: los más famosos:Autodesk: Revit, Autocad, Navisworks, Inventor, 3DS Max, FBX...Otros interesantes en BIM: IFC, Sketchup, DGN (sólo 3D), Rhino. Industriales: Catia, Siemens NX, Solidworks... Ofimática: imágenes, PDF y Microsoft Office.Los archivos de Word, Excel y Powerpoint, los podemos editar si tenemos cuenta profesional de Office 365. Gran olvidado: nubes de puntos.Todo se convierte al formato SVF (el glTF de Autodesk), para que se muevan de forma ligera en un navegador web o teléfono. Funcionalidades Ver propiedades.Hacer secciones en 3D.Modo "paseo".Apagar/aislar capas y categorías (revit sólo en 3D).Medir longitudes, áreas y ángulos.Vistas en paralelo.Comparador de versiones. Marcas de revisión.Incidencias. Comparador de versiones La joya de la corona de la productividad en BIM360. 2D superpuesto (azul sobre rojo): DWG, DWF y PDF.2D inteligente: RVT.3D inteligente: DWG, RVT, IFC (sólo de revit, ArchiCAD y Tekla) y NWD.Otras plataformas también tienen comparadores pero sólo de CAD e IFC. Consideraciones del Visor online Cuidado con las vistas 2D rasterizadas en Revit, se pierden las funciones de Propiedades, Medir y el Comparador:Imágenes, estampados o renders.Nubes de puntos.Sombras, vista sombreada o realista.Degradados, jirones de niebla (depth cueing), líneas de croquis (sketchy lines).Materiales con aspectos con imágenes personalizadas, no se ven en el visor. Sólo funcionan los aspectos que vienen por defecto con revit.El visor está capado para funcionar sólo con la versión de Revit actual y las 4 anteriores. (Hoy sería de 2016 en adelante). Otros (otro día) Marcas de revisión.Incidencias.Flujos de aprobación.Transmisiones.Conjuntos. ¿Quieres que responda a tus preguntas en el podcast? Envíamelas en la sección de contactar. ¿Quieres escuchar otro episodio? Los tienes todos en la sección de Podcast de esta web.

Episode description: Game design student Ripley joins the podcast to discuss what he's learning in school about making games and what he's not learning in school. Show notes: KI SHO TEN KETSU - Nintendo design method https://www.youtube.com/watch?v=dBmIkEvEBtA Gesamtkuntzwerk https://www.youtube.com/watch?v=XIx7Ot5Mq2Q Preproduction Blueprint- level design book with Objective-->Obstacle---> Set Piece method https://www.worldofleveldesign.com/store/preproductionblueprint.php GDC Portfolio https://www.youtube.com/watch?v=Bq6PBBOOyVk My current level design workflow notes https://gist.github.com/mdotstrange/04986e38a8f2fce081f2e05816ab43e0 Delaney King on 3DS Max and Spline Modeling https://twitter.com/delaneykingrox/status/1122727137201364992 Extra Credits Youtube Channel https://www.youtube.com/watch?v=PJKTDz1zYzs --- Send in a voice message: https://anchor.fm/gamedevgrit/message

This week we interview the artist and creator of the comic Kings Club, AmeliaP! Her comic was featured and Gunwallace also gave it a theme tune that was featured in Quackcast 335. AmeliaP is a talented professional comic creator and game designer. We couldn't interview her directly because she's not confident enough in her spoken English, so what we've done instead is read out a written interview that I did with her especially for this Quackcast. Amelia has some surprising and valuable insights for comic creators. You can read the full text of her interview bellow. Gunwallace's theme for the week was for Abejitas - This tune bounces in like a wild thing, spinning and buzzing crazily, full of black striped yellow techno sweet honey madness and rapid wingbeats of energy, this will sting you into full awareness! Topics and shownotes Featured comic: ZINC COMIX - http://www.theduckwebcomics.com/news/2017/aug/22/featured-comic-zinc-comix/ Links: Kings Club - http://www.theduckwebcomics.com/Kings_Club/ AmeliaP - http://www.theduckwebcomics.com/user/AmeliaP/ Quackcast 335, Kings Club theme and feature - http://www.theduckwebcomics.com/quackcast/episode-335-dialoguecast Special thanks to: Gunwallace - http://www.virtuallycomics.com Banes - http://www.theduckwebcomics.com/user/Banes/ Tantz Aerine - http://www.theduckwebcomics.com/user/Tantz_Aerine/ PitFace - http://www.theduckwebcomics.com/user/PIT_FACE/ Ozoneocean - http://www.theduckwebcomics.com/user/ozoneocean Featured music: Abejitas - - http://www.theduckwebcomics.com/Abejitas/, by Lazarinho, rated E. INTERVIEW WITH AMELIA.P PART I 1.So your name is Amelia Pessoa but you go by Amelia Woo for your US work, why is that? -Thanks to my grandmother, who changed the surname when her family was running away from Spain, I have a Portuguese surname ahahaha! Woo… Like any kid, I started to draw comics in manga style. One of my first jobs in inside industry was “manga”, but in that time, the audience had a rage against any Western trying to do a manga, so I chose a name from a director I grew up watching his movies, John Woo. I know, it's Chinese, not Japanese, but… it was an Eastern name at least. After that, I did some important jobs under this name, so, for publishers track me, I had to keep this. Slowly, I'm trying to be ME, and erasing this surname from industry. 2. You've had a LOT of work professionally in comic publishing, how did you break into that? I'm assuming you're Brazilian, was it hard to break into the US market from outside like that? - My Glasshouse Graphics portfolio, Comic Vine profile and ComicDB are way too outdated. I have more works on my belt than that. After a boring experience from a 9 to 5 job in my college days, I pretty decided it wasn't my path, so I stepped into the comics industry. I believe in the momentum, so everything I should do is just to start. But before I enter into the comics word, I searched for the easiest way to enter. There were too many barriers to writers (besides the language) and their salary was horrible… AND I didn't want to tell a story about the universe and characters from other creators. It's hard for me having the same agenda. I had to enter on it one way or another. So I improved my art skill enough to be paid for it, because I really wanted to be a professional visual storyteller. (Bachelor degree in Arts at one of the best colleges in my country, doing a lot of personal projects to train myself, all those things). -Yeah, I'm Brazilian. Believe or not, we must be around 30% of the US comic book artistic force. Brazilians are like doppelgangers, with Italian, German, Japanese and other surnames. Even a Brazilian doesn't know if you are Brazilian by surname (pretty different from my case. But, if wasn't for my grandma, you could think I'd be Spanish or Mexican). I found many artists I didn't know they are Brazilians before, like Greg Tocchini and others. I think it's hard to break into US market no matter the country an artist comes from. Even for a North American it's a hard task unfortunately. Many factors make this a hard task, since the unstable incoming to the social contempt. You know, most parents want your kids to grow up as a doctor, or lawyer, etc. Parents encourage their children to get into Arts (or writing) as a hobby usually. CONTINUE IN PART II PART II 3. What was your first professional comic? -I have a double debut, a one shot at Yaoi Press (yeah, it was my first manga experience. Yaoi… not my cup of tea, but, hey, I like to see “Bara” guys in beautiful drawings) and some pages in The Avengers (special edition to military forces). 4. How long have you been in the industry? -About 12 years. 5. Is it hard work? -Hell YEAH! This isn't for weaklings. You have to work under pressure (if you don't meet the deadline day, that super expensive booth from your client will suffer). Long hours working keeps you away from other people (between 10 to 16 hours daily, rare days off). Plus, the financial instability makes an artist a financial wizard… or a control freak of his/her own finances. No health insurance in the Americas (different from Germany, the Estate gives a health insurance for a certified artist). It isn't a glamorous life people think it is. But, I prefer to endure all those things than staying in a job I don't have a slight affinity. 6. Why did you embark on a videogame version of your work? Please tell us about the game. - Games are my passion, since my childhood. I think it's one of the greatest media you can tell a story, because the player has a feedback in real time, in a deep layer. Also, I'm a hardcore gamer, but being a player and being a developer are two different things. After testing the waters, I discovered I like it much more than playing a game. My preferred genre is the third person shooter, and I was pretty unsatisfied about the games with the same gameplay being reproduced over and over again. So I had a vision. After I established the main gameplay, I thought about using one of my ready-to-use stories, and Kings Club fits well. So I polished the gameplay from the idea and I finished with something like that: PC Third Person Adventure Shooter with 4 general skills and a cover system in a Non-Linear Open Level, facing the enemies on your own terms and pace. This first mission takes on Mexico. The player has to discover where the narcos are, taking them off the hideouts, picking a fight or provoking them until they lead to their leader. Exploration and combat mixed into an experimental hybrid game genre. The player skills are based on playing card suits Hearts = Stealth/Infiltration Spades = Assault Club = Escape/Extraction Diamonds = Protection/ Scout The player character will be announced in the last chapter of the comic book (that's why I'm rushing to finish the Graphic Novel and go back to the game. I'm dealing with a limited time; I'm still a comic book artist as my day job). Before focusing on the Graphic Novel, I was building the levels to send to testers before exposing it to the public. (The internet is a goddamn viral thing. If you put an ugly video from your game any place online, it can be spread and your first time to impress will be compromised. I saw it happen to some game dev buddies of mine, with people downloading their WIP videos and posting online. It isn't fair…). 7. What kind of work are you doing on the game? Did you have to learn any new skills to be able to do it? -Other than music/soundtrack/voices, everything. From programming to animation. I'm still in solo production; it's a small, indie and a short introductory game in the series, no big shot here. This first game is a practice to understand the players, the marketing (and how to deal with big operations in the future) and test my skills as game designer and level designer. I just want to know where areas I'm a failure and in what areas I have to hire new members for the next game. I can finish the first game in solo mode, but I'm not sure if I want to. Slowly, I'm changing my mind and considering bringing investors to build a small team after I finish the demo. After the demo game launching, I'll be sure of what path I have to take. -I did. A LOT of them. I still think one of the HARDEST things a person can do is a video game. So many hats to use… I past 5 years studying HOW to do a game before thinking about doing one. And, the basic skills. Now I'm putting the things together, I have to bring testers to adjust the gameplay rhythm. Game devs say you must have a tester for the day one usually. But I had to learn how to make a functional game before someone test it. 8. Why did you choose Drunk Duck to host the Kings Club on? And what did you think if the theme music that Gunwallce did for it? What's the story behind your potato avatar? :) - When I decided Kings Club would be digital-first, I started to search for cool webcomics hosting. I was shocked I didn't find a place where a non-manga esque title could find its audience. The internet is totally dominated by its visual style (I like manga too, but guys, c'mon! It's like a zombie attack!). I was desolated… Ironic, isn't it? My agent oriented me I had to adapt myself or I wouldn't survive in the early days. He was right! In the “printed realm”, if I hadn't adapted myself from manga to something more naturalist/stylized realist, my career would have sunk. And online, we have this. I was unmotivated to release Kings Club online and almost contacting publishers and some buddy editors to a printed edition, forgetting going digital-first… When I remembered Drunk Duck. A decade ago, or so, before being a comic book professional, I was a DD member. No bullshit, but this was the place which motivated me to follow a professional path. Here was the place I exercised my art (I did a fanzine at that time, that's about Warcraft, ugh). I mirror Kings Club to other hosting, but Drunk Duck is one of my favorites, considering a house for Kings Club. One of the reasons I like Drunk Duck is because there are readers and creators with a wide taste here (well, I read ALL comics, Eastern and Western, so I don't understand limited preferences to visual style. For me, the story comes first). -The theme he did was PERFECT! With an urban and gritty touch, love it!I found it so amazing that I asked his permission to add this theme in the game. He was so nice he only didn't ask for payment or royalties and gave me the permission, as he offered me a rearrange in the theme if is necessary. -“Even when something is considered low quality, this thing can produce cool results” or “Never, ever, underestimate someone”. It's a letter of love to indie production ^^ (And it's a real photo I took from a potato with a toy military helmet, because it had to be a real thing!). CONTINUE IN PART III PART III 9. What are the materials and or programs that you use to make your art? -My Wacom Intuos Pro, Photoshop CS2 (old stuff), Sculptris, Blender and an old version of 3DS MAX. I'm goddamn fast 3D modeler and I take advantage of it, doing some background with 3D (and sometimes, I do “freehand”, it depends how many times a background will be present in the story. I modeled N.Y. Central Park Belvedere castle in some hours when it was present in an entire issue of Gates of Midnight. It saved me days and days of work). But, my “analogical” arsenal is: pen, pencil, paper, brush and ink (my favorite technique). If I have to color on paper, I like acrylic, gouache and watercolor. I love Prismacolor markers too. 10. Do you prefer analogue or digital methods of comic creation? .e. pen and ink VS a Wacom tablet and a computer. - Despite being faster on paper and ink, I prefer a digital way to save paper and storage space. 11. How long does it take you to make a comic page? -It depends on the genre and audience my client is aiming for. When it demands a crazy detailed artwork, it took me around 2 days to finish a page. For my simplified and neo noir Kings Club comic, it took around 1 to 3 hours (but much more time to think how the page will look like). 12. What is your comic making process like? i.e. coming up with a script, plots, characters etc,. How does creation a comic for yourself differ for your professional jobs. -Like a bull in a China shop hahaha! For publishers, I read the script and start to walk around my house, thinking and evoking images in my mind before going to paper. I try to remember all references the audience is used to the thing I'm working and extract something they can be related to, but done on my way. After that, I start the thumbnails, defining the composition and keeping the author's storytelling in mind. Then, I do the layout, when it's a new client, or I go to the inking part if it's a client who already knows me and my modus operandi. I do the thing and wait for the editor follow-up. If I have the greenlight, I send the high resolution to the editor, if not; I fix what have to be fixed. Usually I don't have to change a drawing more than 2 times, with the most of part doing no changing in the drawing. It sounds methodical, but as I said, it's like a bull in a china shop, with all those steps happening at once, in high speed in my mind. Sometimes I stop everything and study another technique to improve the results, simply. When I'm creating my own comic, it's an entirely different story. That's the moment I AM the storyteller. My steps to create this Graphic Novel were: -World creation, followed by characters creation, polishing the background first. Everything had to be connected, for me. Establishment of the visual part. -Plot Overview -Some research from real to fictional events to thicken the story. Book time! (Blackwater and Rainbow Six were two different examples used as documentary and fiction work I'm referring to). -Breaking plot to arcs -Check the consistency -Breaking arcs to scenes -Check the pace, overhauling the ideas -Breaking scenes to micro points, dealing with dialogues -Come back again and adjust the pace, having the whole picture in mind. - Thumbnails associated with the script, checking the scenes rhythm while I'm doing the whole chapter. Sometimes I have to change something in a previous chapter or in the next chapter to create a solid link. -Draw! Directly to the digital paper, with minimum sketching. -Color Time! - Lettering (sometimes I check again the dialogue here, changing it. I like to see how it looks like after everything was set up). -Wrap it and happy time to publish online (a sort of. Because I have to slice the pages and dialogues to make a mobile version). YEAH! Game development had a great impact in the way I organize a story. I became an organized bastard. 13. What's in the future for the Kings Club? Will you publish it as is, do a film treatment and sell the rights, release it though a publisher or self publish and sell it that way? - This first Graphic Novel will establish Kings Club series future. I don't like the way I'm doing it now, as a print format and digital format at the same time. An online comic and printed comics can't be treated in the same way. At least, I can't! I saw two different beasts here. It can work for other creators, but not for me. Digital and printed-version, I'm testing test both. I don't want to kill the online version after the first Graphic Novel, even with a printed version, but testing the two versions will give me the necessary feedback to check what the most well received version is. I have some tricks up my sleeve (and an agent) and I'll use it to find a good publishing house for Kings Club. I don't want to do it by myself. I prefer someone helping me with the promotion. I have a game to finish, and a comic publisher will save me some time. I'll bring on board an (famous) editor buddy, who I worked with before, to edit this first Graphic Novel (surprise, surprise. it'll be revealed later). It's interesting a movie being mentioned because I have more contact with this kind of thing than many artists could have, but, I never been thought about a movie. Well, if a contract comes to me; fine! But when I created Kings Club, I had only the comic in mind; the game is being a nice bonus for this IP.

Edwin Braun is the CEO and co-founder of Cebas Visual Technology, the developer of Thinking Particles for 3DS Max, as well as other plugins. Cebas' software has been used in a number of influential films such as Lost in Space, 2012, Transformers: Age of Extinction, Harry Potter.  In this Episode, Allan McKay talks with Edwin Braun about his co-founding the company with Achim Smailus in 1988, in Heidelberg, Germany; and the journey of Thinking Particles through the decades of change and the new demands of the VFX industry. Check out the show notes at www.allanmckay.com/82/

Marcel berichtet von seiner ersten Tutorial-Veröffentlichung und den damit verbundenen Erfahrungen. Weiter geht es mit zahlreichen Einsatzgebieten von Cloth-Simulation, 3Ds Max, Maxscript und einer Prise Photoshop. Ihr merkt schon, es wird ein bisschen Software-Lastig. Wir wünschen euch viel Spaß und freuen uns auf euer Feedback!

Or: Count Chocula Moved to Canada for Love This episode we talked to an artist, a programmer, studio owner and the visual arts education coordinator at the International Academy of Film and Television in Antwerp. Midge Sinnaeve joined the fellas to talk awkward clients, how one becomes a ‘professional’ and the Super Bowl from a European perspective. Chris met today’s guest when he interviewed him for episcura. The confusion of time zones and what is Central European Time? Midge was bitten by the 3D bug during a science competition in Ireland. He was using Strata 3D. Midge worked in web design for a while, and then someone handed him Maya so he could try to get back into 3D. Midge has used a number of 3D software packages. At this point in the podcast he mentioned Cinema 4D. Correction: Chris mentioned that a BMX rider died, it was Dave Mirra. We apologize that Chris said Matt Hoffman. Live long and prosper, Mr. Hoffman. What’s an animatic? Midge’s company is called Daze. Midge said sending clients rough 3D or animatics can frighten them. He said it’s comparable to the Uncanny valley. If he sends something really rough, they’re scared, too polished and they’ll ask for changes not permissible within the time table. Chris mentions his recent viewing of Mad Max: Fury Road. Chris tells Midge & Paul about the Canadian super bowl, The Grey Cup. Dramatic Chipmunk vs. Johnny Carson. Midge got his own 3D department at International Academy of Film and Television in Antwerp by walking down the street? A few of the artists that inspired Midge: Alex Roman and his The Third & The Seventh. GMUNK. Ash Thorp. Midge prefers to show students the “how & why” of the process, rather than teaching the software. So he teaches them how to do the same thing in 3DS Max and Blender. Thanks to Midge for joining us all the way from the land of delicious beer. Hey, we should probably have him on again. In person! At a Belgian pub! You should give us a single dollar over on Patreon to make that happen. Thanks for listening. Talk to us on Twitter or Facebook, we’re desperate for attention. Support Montreal Sauce on Patreon

In this movie, you experiment with a scene based on the low poly column you created with the help of carefully applied normal maps. The scene has 60 such columns and a few additional models created the same way to make a full architectural structure.

In this movie, you unwrap the texture coordinates on the low-poly column, in preparation to extracting normal maps.

In this movie, you extract low-poly models from their respective high-poly counterparts.

In this movie, you explore the high poly components that make the various parts of the column. You also learn about Floater objects, which are meant to provide a very efficient technique to projecting normal maps.

In this tutorial, you learn to use normal maps to provide detail without adding geometry. It's a technique used mostly for gaming but can also be applied to architectural visualization or in any situation where interactive playback is required.

In this episode, I talk to Creative Director, Chad Ashley from Digital Kitchen about his career and how he got started as a CG artist. Chad talks about why he recently switched from 3DS Max to Cinema 4D. We talk a bit about our history together including when we worked together at Digital Kitchen. We talk about how much he inspired me to look at lighting completely differently in C4D. We are really excited to have such a great artist like Chad join us as a contributor to Greyscalegorilla. Look for tutorials, daily renders, and other posts from him on the site in the near future. Show Notes Digital Kitchen Follow Chad On Twitter Chad Ashley's Portfolio

My guest today is Chris Hecker. An excellent sci-fi digital artist using Vue, 3DS Max and Photoshop. There's a recurring theme through part of his portfolio of depicting futuristic large scale cities. And this is a natural response perhaps from growing up in the environment of the industrial landscape of East Germany as well being awed by the production paintings of the sci-fi movies that we all love. In this session we learn:- Which artists and movies inspired Chris the most as he started as a digital artist. How learning about concept art and matte paintings helped Chris gain some breakthroughs in his artwork. How recording workflow speeds up your improvement rate as an artist Creating cityscape scenes with Cinema 4D, Vue and Photoshop. Use of World Machine and Xenodream About being part of the Luminarium group of artists on Deviant Art The making of "Come a Little Closer", "Sky High" (shown above) and "Leaving the Fields of Steel". Resources Chris Hecker's (Tigaer) Deviant Art The Luminarium Deviant Art group E-on's Vue software World Machine 3DS Max  

In this tutorial, you learn to animate TextPlus entities globally but also by separating paragraphs, lines, words and even individual characters. You do so by applying various animation presets to test the concept.

In this tutorial, you learn to wire TextPlus entities to objects and scene parameters to read and update values such as time, transforms and animation controllers.

In this tutorial, you experiment with TextPlus, which replaces the old text tool in 3ds Max. you learn some basic functionality and about the ease of use that enables you to create quick and easy text elements.

In this tutorial, you learn about Animation Offset Controls and Animation Presets, which are tools that make it easy to induce an offset so that the same animation does not occur simultaneously on multiple objects.

In this tutorial, you learn to use the Voxel Solver, which gives you a much better start-up skin solution where most of the skinning is already properly established. From that point, you only need to add the finishing touches.

In this tutorial, you learn to clean up data imported or linked from other 3D applications. This includes using Layers or Selection Sets. You also learn to correct material and mapping problems, as well as fix lights and cameras inaccuracies.

In this tutorial, you explore the Design Ribbon that is part of the Design Standard Workspace. The Design Ribbon combines tools that are useful for Design Visualization. This is easier than hunting for them in various areas of the 3ds Max interface.

In this tutorial, you learn about a command that enables you to find the tools you need by using a simple keyboard shortcut. This can be a great time saver as it prevents you from hunting for commands in various areas of the interface.

In this tutorial, you learn to control the quality of viewport feedback, especially when displaying textures and background images.

Lambda lambda lambda! Hoje Alottoni, Marcelo Souza (O2), Fernando Reule (Seagulls Fly), Anderson Gaveta (Gaveta Filmes) e Azaghal, o anão batem um papo divertido sobre COMPUTAÇÃO GRÁFICA! Neste podcast: Entenda porque alguns efeitos são melhores que os outros, saiba que 3D Max não é 3DS MAX, conheça novos plugins "mágicos" do mercado, aprenda a modelar antes de comprar e compreenda que o melhor efeito é aquele que você não viu! Tempo de duração: 74 min Conheça os cursos e treinamentos em 3D da Cadritech! O LIVREIRO [Discussão JN] O E-Book vai pegar? COMENTADO NA LEITURA DE E-MAILS Música "To Tame a Land" do Iron Maiden Jovem Nerd Lanterna Verde, por Luis de Morais Azaghal na Bienal 2010, por Admilson Almeida PROMOÇÃO NERDTOUR - PS3 Preencha o questionário e concorra a um megaboga vídeo game =D PROMOÇÃO NERDTOUR - BUGIGANGAS Valendo 1 Obi-Wan Kenobi Bobble Head PARA VER NA INTERNET Se os vilões não fossem estúpidos (Gaveta Filmes) Mini-Arcade do Marcelo Souza NOVO FEED DO NERDCAST http://feed.nerdcast.com.br E-MAILS Mande suas críticas, elogios, sugestões e caneladas para nerdcast@jovemnerd.com.br iTUNES Você também pode assinar o Nerdcast em seu iTunes . Saiba como clicando aqui!

Lambda lambda lambda! Hoje Alottoni, Marcelo Souza (O2), Fernando Reule (Seagulls Fly), Anderson Gaveta (Gaveta Filmes) e Azaghal, o anão batem um papo divertido sobre COMPUTAÇÃO GRÁFICA! Neste podcast: Entenda porque alguns efeitos são melhores que os outros, saiba que 3D Max não é 3DS MAX, conheça novos plugins "mágicos" do mercado, aprenda a modelar antes de comprar e compreenda que o melhor efeito é aquele que você não viu! Tempo de duração: 74 min Conheça os cursos e treinamentos em 3D da Cadritech! O LIVREIRO [Discussão JN] O E-Book vai pegar? COMENTADO NA LEITURA DE E-MAILS Música "To Tame a Land" do Iron Maiden Jovem Nerd Lanterna Verde, por Luis de Morais Azaghal na Bienal 2010, por Admilson Almeida PROMOÇÃO NERDTOUR - PS3 Preencha o questionário e concorra a um megaboga vídeo game =D PROMOÇÃO NERDTOUR - BUGIGANGAS Valendo 1 Obi-Wan Kenobi Bobble Head PARA VER NA INTERNET Se os vilões não fossem estúpidos (Gaveta Filmes) Mini-Arcade do Marcelo Souza NOVO FEED DO NERDCAST http://feed.nerdcast.com.br E-MAILS Mande suas críticas, elogios, sugestões e caneladas para nerdcast@jovemnerd.com.br iTUNES Você também pode assinar o Nerdcast em seu iTunes . Saiba como clicando aqui!