Finally here we have the CS6 Master Collection for MacOsX ! It s the LS16 version (english US UK / Jap), but you can use the crack provided bellow with any trial downloaded from adobe download manager. Don t forget to read crack instructions. Enjoy.
Adobe Creative Suite 6 Master Collection software is the ultimate design environment for realizing your creative vision. Use industry-leading tools with unlimited creative possibilities, precision, and power to capture and develop your ideas. Deliver for print, the web, tablets, smartphones, and the silver screen. Build standards-based websites and mobile applications, design for the latest platforms and devices, and work with pristine-quality video in native formats. Intuitive interfaces and blazing-fast performance allow swift work on your most complex projects. Create amazing interaction, tell stories, and inspire your audiences with complete experiences that go anywhere. And it s all yours, for one great price.

This tutorial is a guide to using HDR panoramic images for lighting with Maya and mental ray. Throughout the tutorial, we ll cover all of the hidden details that are needed to use HDR imagery for lighting in Maya. We ll start with physically based lighting, world scene scale, color management, proper render preview and verification of valid floating point linear color images. Once the rules for using HDR images are clearly laid out, we will take a look at how you can create your own HDR images at home using a DSLR camera, tripod, nodal head and software. Lastly, we ll go over examples of using and editing these images for a variety of indoor and outdoor lighting situations as well as covering light extraction and making HDR kooks from an HDR photo of a light.

In this tutorial we will learn the efficient use of tools and techniques for creation of a time-lapse video. Throughout these lessons we'll delve into the animated growth of a tree branch as a time-lapse video. We'll learn everything from modeling, texturing and shading to the animation and final compositing. By the end of this tutorial, you'll have a better understanding of how you can employ efficient and productive techniques for a time-lapse video that can be used when up against a tight deadline.

In this Maya tutorial we will learn time-saving techniques and workflows for creating a digital creature maquette in Maya, ZBrush and TopoGun. When creating a creature concept for the film industry, it is common for a director to ask for a detailed character rendering or even a 3D print of the creature before approving a character concept. Throughout these lessons we will look at the creative process of taking a 2D concept and turning it into a 3D digital maquette that is detailed enough to show a film director for approval. Once approved, before the VFX studio can integrate the character concept into it's pipeline it must first be fully retopologized into a clean mesh that is ready for rigging and animation. By the end of this tutorial we will have gone through the entire conceptual process of creating a film-ready character concept that is posed, prepared in accordance with 3D printing standards and rendered for a dramatic presentation.

In this series of tutorials, we will talk about the steps that we went through in order to build the character and weapon models for our Unity mobile game project. We will start by referencing our game document, which will be our guide through the process of creating our Unity game. We can find information on the look of our models but also on the desired resolutions of the models and textures. We will concentrate on creating game topology for our two characters and two weapon models. We will also cover map generation and texture painting as part of the process. In the end we will have models ready to be rigged and animated or plugged directly into the game engine. We will use a variety of software packages from Maya, to TopoGun, to ZBrush and Mudbox in order to prepare our assets so there will be a lot of back and forth. This course references some pre-made assets and covers methods for modifying and prepping those assets for this particular game. In most of these cases, if you'd like to learn to build these assets from start to finish, there is a tutorial that will fill your need. For instance, in this course we look at the steps we went through to modify the biker character from Creating High Resolution Characters in ZBrush 4 and Creating Game Characters with Maya 2011 and ZBrush 4. So if you'd like to build the character from scratch, those two courses will take you through the process. The same goes for the enemy tick creature, which is from the Introduction the Mudbox 2011, and the assault rifle from Creating Next-Gen Game Assets in Maya.

In this Maya tutorial we will look at creating functional, efficient topology and learn how to utilize it to model a detailed character. Throughout these lessons we will take an in-depth look at some mixed polygon modeling techniques using Maya 2011. We'll focus on creating animation-friendly topology for our fantasy style character that will not only deform correctly but will also showcase detailed anatomy. By the end of this tutorial, we will have learned how to model clothes, props, books, candles and a human skull while covering a wide variety of modeling techniques to produce detailed and accurate meshes. While this tutorial uses Maya 2011, the techniques used are transferrable to any other polygon modeling software program.

In this tutorial we will learn about designing the user interface graphics for a game as well as how to prepare these graphics to bring into Unity. We ll get started by discussing the needs of our game in terms of user interface graphics and then learn how to set up a document in Photoshop to design them in. Next we ll learn some strategies for building graphics and examine some possible pitfalls. Moving on, we ll learn about different states of a specific graphic and how we can setup our file to make saving this type of graphic out a bit easier. After all the graphics for our game have been created, we ll shift our focus to preparing them for Unity. We ll learn about important things to consider when cropping and saving our files. Then we ll wrap this course up by learning how unity handles transparency and some workflows we will need to utilize to accommodate this. After going through this course, you will gain insight into the process of creating and saving user interface graphics for our mobile game.

In this Unity tutorial, we ll learn how to save data between play sessions with PlayerPrefs and create a highscore level for deployment to iOS or Android. Through these lessons we ll learn how we can use the GUI class to draw various text and images on our screen. From there, we will examine time-saving techniques for placing our GUI elements with the inspector accurately. We'll learn how we can use arrays to store multiple pieces of data and how we can display lists using for loops. Then we'll refactor our array into a highscore class. With our display set up, we will learn the commands to access our player prefs and the logic we need to sort and store our data. Finally we'll see how we can use mobile keyboards and examine a faster method of saving data for mobile platforms. From basic preferences like display settings to more complex structures like high scores, it's important to understand how to save data after we close our game.

In this tutorial, we will learn the rigging and animation process for our Unity game. We'll start by taking a look into our rigging process. We'll learn about bone and influence limits that we should adhere to. We'll learn techniques for creating rigs with a sufficient amount of control, despite our limitations. We'll cover repurposing and optimizing control rigs to work more efficiently. In the end, we will have given the animator a very flexible rig with more than enough control to successful create appealing performances in the characters they've been tasked with. In animation, we'll learn some neat animation tricks and techniques to bring your game assets to life in an fun away; techniques that consist of: reversing an animated sequence, avoiding weightlessness, and tricks for animating a crawling creature with several legs. By the end of this course, you'll have a greater understanding of tools and techniques you can use to create exciting game animations; animations that can then be then handed off to programmers to start polishing the game's functionality.

In this series of tutorials, we will talk about some of the steps that we went through in order to build the subway level for our Unity mobile game project. In this course we will examine the process of creating the game level for our Unity mobile project. We will start by referencing our game document, which will give us a great deal of information, not only on the look of our models, but also on more technical aspects like geometry and texture resolutions. We'll talk about basic modeling techniques for creating the different parts of our game level and we'll concentrate on creating portions of the level that can be seamlessly tiled. We'll go over how we can break down our reference art and where we can add unique details to break up the repeating geometry. We'll finish by talking about methods for making sure all of the pieces match up properly and are saved out for uv and texture work. This course goes over the process for creating our game level and the thoughts behind the decisions but it is not a step-by-step modeling tutorial. If you'd like to get up to speed on modeling in Maya, I'd recommend the Introduction to Modeling in Maya which goes over the tools we use here in greater detail. If you want a more step-by-step look at game-type environments in general, try Creating Low Resolution Environments in Maya and Photoshop.

In this Unity tutorial, we ll learn various ways our scripts can access and talk to each other. We'll begin the tutorial by learning about all the built-in methods Unity gives us to talk between scripts and between objects. We'll learn the how to find and access scripts on any game object using either direct connections, finding the object or the physics system. Finally we'll examine how a script can call methods on many other scripts using the messaging system in Unity. Each of these methods has limitations, so next we'll introduce the 3rd party script 'Notification Center' which acts as a central hub for easily communicating between multiple scripts. We'll learn how to post a new notification, how to observe a notification and how to pass data through the Notification Center. We'll wrap everything up by examining each of these methods and discuss which we should use in various situations. Understanding how our scripts will talk to each other lets us break our game into many script components, while still creating the functionality we need with the least amount of effort.

In this series of tutorials, we will teach you the techniques and steps used when creating the UVs and textures for the subway level used throughout our Unity Mobile Game Development series. We will start by talking about some steps for starting your UV layout process as well as some important concepts that you should keep in mind whenever preparing your UVs and your textures for use inside of Unity. We will talk about the importance of hiding UV seams on your geometry, planning texture layouts on your objects to maximize efficiency, you will learn UV layout and geometry modification tricks that can dramatically enhance the use of your UV texture space, and we will spend time in Photoshop learning how the textures in our level were created.

In this collection of lessons we will learn about the different methods of moving artwork back and forth between Illustrator and Photoshop. We will get started by learning how to place files into both Illustrator and Photoshop. Next we will compare this workflow with both the copy and paste method as well as the drag and drop technique for moving artwork back and fourth. Along the way we will learn about smart objects, paths as well as shape layers and how we can work with each in Photoshop. We will also learn how Illustrator can open, import and receive pixel based artwork. To wrap things up, we will examine a workflow that will allow us to bring a layered Illustrator file into Photoshop without rasterizing our vector objects. After completing this course, you should have a good grasp over how these two powerful programs can pass artwork back and fourth to achieve top notch results on a project.

In this series of lessons we will learn how to use MatchMover to track an object as if it was our scene, then finish the shot with Maya and After Effects. Using MatchMover we can find the movements of a real life object and move a 3D object to match. We will begin this project by manually tracking our sequence in MatchMover and exporting it for use in Maya. We will then take our solved camera into our Maya scene and move our object into place. We will then learn how to capture our 3D environment reflections and create some helpful matte layers. Once we have rendered our Maya sequence, we will learn how to combine all of our images in After Effects. We will learn about processing our background footage to capture traveling mattes, as well as many different ways to combine our various mattes to create effects. We will finish by adding a silhouette and color correcting our images.

In this series of lessons, we will learn how Softimage can be used to model an appealing, cartoony character in a way that allows for a wide range of movement and emotions when animating. When rigging and animating, it's always nice to have an appealing character to work with. In these lessons, we'll cover the building of a simple character with emotive eyes and eyebrows which you can then rig and animate. We will look at methods for building the head, body, arms, and legs and methods for connecting them all together. During the modeling process, we will emphasize the use of proper topology and discuss how topology and edge flow can impact the outcome of the rigging and animation process.

In this series of lessons we ll learn how to begin using the powerful ICE procedural modeling tools in Softimage. By harnessing the speed and flexibility of ICE, we can create some amazing effects and unleash our artistic creativity. We ll begin this project by learning the new terms and nodes we have access to, such as the topology data type, modeling ICE Trees, and empty meshes. Next we'll learn about some limitations of the topology nodes by creating an ICE tree that deletes all polygons outside a Null. We'll then begin our main shatter project by creating all the objects and nodes to shatter our own object. Then we'll learn methods of controlling our shatter points and correctly setting the Chunk IDs. Finally we will break our chunks out into separate meshes with a compound we will create using the topology nodes. As a bonus, we will set-up a basic rigid-body simulation and learn how to set the center of mass using a quick custom compound.

The colorist working in film and video is the individual responsible for breathing life into characters, bringing a mood into a scene, and making the final product polished and professional-looking. This craft is an art form that often takes years to perfect and many trial-and-error attempts at getting it right. Here to help both the newcomer and professional who needs to brush up on their skills is the first book to cover a wide variety of techniques that can be used by colorists, no matter what system they re using. Whether you re using a video editing package with a color correction tool built in (Final Cut Pro, Premiere Pro) of a dedicated application (Apple Color, Assimilate Scratch, Baselight, or DaVinci), this book covers it all. From the most basic methods for evaluating and correcting an overall image, to the most advanced targeted corrections and creative stylizations typically employed, you ll find this highly organized book a solid reference that s easy to navigate. The accompanying DVD contains footage as well as cross-platform exercises and project files for readers to experiment with.

With this highly-requested series of tutorials, we ll take an in-depth look at the entire production pipeline for creating a transforming robot effect using industry-standard CG software. This process was created by bringing together our top designers, illustrators, modelers, texturers, riggers, animators, lighting and rendering artists and compositors to focus on the specific hurdles and production decisions that goes into each step of creating a transforming robot shot. You ll get a look at the entire production pipeline from the conceptual phase through the composition of the final shot. This series is intended for intermediate to advanced artists and a strong understanding of your preferred choice of software in the various steps of the pipeline is highly encouraged. This series is specifically created to have the techniques be applicable to any industry-standard CG software. If a certain step in the pipeline, software or an equivalent application in the pipeline is new to you, check out our Beginner s Guide and Introduction courses to quickly get up to speed before beginning.

In this course we will be teaching you the essential workflows, terms and techniques to help you get started with MARI. In this course we will be giving you an introductory look into MARI so you can learn essential terms and definitions and start to build a solid foundation in this powerful texturing application. We will start off by covering the basics of MARI- working with projects and looking at the interface. We will then take a look at some key concepts in MARI, like projection painting and the paint buffer. After that, you will learn about channels and shaders and how to use masking to get the best texturing results. And to wrap up, we will look at how you can export your finished texture maps. This series of step-by-step videos was developed with artists new to MARI in mind so we will be moving at a steady, easy-to-follow pace making sure you understand terms and basic techniques. To view more Beginner Guide courses; visit our library where you will find the largest collection of free, high-quality CG training videos.

In these lessons we will learn about Autodesk Composite and compositing in general so you can understand essential terms and definitions. We will start off by covering what compositing is and what a tool is. We will then take a look at importing images into Composite so you learn how to begin work on your own projects. After that, you will learn to use the common tools to build compositions. And to wrap up this project, we will go over how to render your projects out of Composite to show the world what you have accomplished. This series of step-by-step videos were developed with artists new to Composite in mind so we will be moving at a steady, easy-to-follow pace making sure you understand terms and basic techniques.