Thứ Sáu, 29 tháng 9, 2017

Waching daily Sep 29 2017

blackbear ‒ do re mi (Tarro Remix)

For more infomation >> blackbear ‒ do re mi (Tarro Remix) - Duration: 3:07.

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How to Make Your Wedding Unique - Duration: 2:25.

Your wedding day should be a unique expression of your love story

So how do you avoid falling into a sea of the same thing and make something that's uniquely yours

Stay tuned for my tip on how to make your wedding day different from all the rest

So are you ready for my tip on how to make your wedding day unique different and most importantly fun

So here it is

I want you to pick one wedding tradition that you are not

Totally in love with and I want you to replace it with something that's uniquely yours something that you probably don't see it weddings

But something that you would love to include on your wedding day

See for example if you don't like cake I don't know why people don't like cake

But there's people out there that don't like cake put in a dessert that you actually love do you love pie

How about a fun pie bar?

there's no rules to this you can take out any wedding tradition that you like and

Insert something else that's unique to you and your fiance and something that is meaningful and special to you

I guarantee on your wedding day that people will be blown away by something. That's totally unique and fun

All right

I know what you're thinking you might be a little nervous about

Ditching one of these wedding traditions or maybe there's a family member or friend

That is kind of pushing these wedding traditions on you telling you that you can't change this you can't do it that way

Guess what there are no rules when it comes to your wedding day?

You can change whatever you like and I think you might be pleasantly surprised at people's

Reactions to the different traditions you trying to put into your wedding day

weddings today are more unique than ever before and now's a great time to introduce something new and fun and

Something that is going to be uniquely yours

So tell me in the comments below what wedding traditions are you getting ready to ditch?

Thank you so much for taking the time to watch this video today. Don't forget

I upload new videos every single Friday here on YouTube

So don't forget to hit the subscribe button and stay tuned for the next video next Friday

For more infomation >> How to Make Your Wedding Unique - Duration: 2:25.

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4 Internal Problems The Pimples On Your Face May Be Revealing | What Causes Pimples - Insta Cures - Duration: 3:09.

For more infomation >> 4 Internal Problems The Pimples On Your Face May Be Revealing | What Causes Pimples - Insta Cures - Duration: 3:09.

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Bible College - Christian Bible College - California - Duration: 1:23.

Is it time to take your Bible study to the next level at a great Christian College, and

perhaps also complete your degree?

Northern California Bible College is just what you're looking for!

Many of our graduates have planted churches, labored on the mission field, served in staff

positions at their church, or taught in one of the many venues of Christian Service.

For the past 46 years, Northern California Bible College has served the biblical educational

needs of the greater San Francisco Bay Area and beyond through our distance program.

Our curriculum accommodates busy working students, military personnel, and moms raising families,

all who face time and distance restrictions.

Our faculty consists of former senior pastors who bring years of education, sound biblical

instruction, and practical pastoral experience that translates into "lots of great stories!"

We have tried to maintain an evangelical, charismatic, and yet contemporary approach

to the study of the Bible.

If you are sensing the call to increase your biblical knowledge, or perhaps even prepare

for a career in ministry, Northern California Bible College can help provide you with a

strong biblical foundation.

To get started, we invite you to visit ncbc.net or call 925-846-6464 for more information!

For more infomation >> Bible College - Christian Bible College - California - Duration: 1:23.

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How to Go BEYOND the Law of Attraction (DEEPER PROCESS) - Duration: 7:50.

Welcome back to another video. My name is Aaron and I hope people expand their consciousness.

Now this video I'm going to be sharing with you how to go beyond the surface level of

what we call The Law of Attraction to go deeper in understanding the mechanics of how things

really work and how we can change the perceptual filters for how we see the world so that everything

begins to change that when it comes to the Law of Attraction and of course a lot of the

videos on this channel are about that understand that. I personally like to go even deeper

than just the surface level of the law of attraction because many times we might have

these intentions of attracting certain things into our lives. But the problem with that

or it's not really a problem but a lot of times the missing link for many people is

that unless you actually believe it to be something that is possible and unless you

align your thought processes to what you want to experience will always be some type of

blockage within it. Now what we can do is think of a reality in

a way as a sort of mirror. It is mirroring back to us what our interpretation of reality

is and whatever we believe to be true about ourselves we will get that reflection. Now

when it comes to beliefs realize that what a belief is that it is something that we have

certainty about. It is a thought that we have that we hold to be true. Now most of the beliefs

we have as I've shared a lot on this channel have been developed very young ages. And based

upon our own experiences that's when we started to build upon our own interpretation of the

world. Now in order for us to go a little bit deeper Let's first off realize that at

a fundamental level everything we do in our life is a reflection of what we believe to

be true. So for example going to your job at a certain

level you underneath the beliefs you have believed that you have to go to your job in

order to make a living or that something that you have to do. Now underneath that if we

were to dissect that thought process we would see that it's not inherently true that you

do have to go to work. But under the current belief system you have it is something that

you believe you get benefit from or something you believe that you must do. Now the way

to really depict and to kind of take apart our own beliefs is by becoming aware of what

our lifestyle is and what we do believe to be true.

Now this for me is something that I've recently been very much modifying because under the

old belief system of I have to have some type of you know full time nine to five job or

I have to be doing x y z. Now I'm starting to depict it and see how can I really align

my actions to a new level of belief in a new level of experience. Now a way that you can

do this is first off realize that everything you experience in your life at a certain level

can be seen from my point of choice that what that means is even though we might not consciously

choose to go to our job everyday or we might not think that we absolutely it's something

that we desire to do at a certain level whether it was through consciously or unconsciously

we have agreed to those terms at a certain level.

There are people that are entrepreneurs that could never have a job in their whole life

and they never have because it's something that didn't fit within their own belief system.

Now I'm not telling you that you have to be an entrepreneur. What I am saying is if you

look at what you believe to be true and if you realize that everything you experience

in your life is stemming from a certain belief system or a certain type of perspective what

you can do is get in there and consciously change what you priorly have thought was just

a part of the way reality is. Now you can use this when it comes to understanding relationships.

If you see that there's always a certain type of person you attract take it beyond the attraction

and realize that at the fundamental level of where you are there's a certain degree

of deserve ability that you believe that you're worthy of.

And there's a certain degree of what you think and define relationships to mean to you. There's

a certain interpretation that's there. Now the easiest way to go about this and the process

for changing beliefs and I've shared a lot of those on my channel all link the end cards

at the end of this video to some of those videos is understanding that first off we

have to become aware of what we believe to be true. We must realize that our interpretations

for the way and the experiences we've had in our life has shaped what we rigidly think

as part of what reality is. But the good part is that we are architects in our own life

depending upon our beliefs and that we can go in there and change whatever that is.

Now that change always comes from awareness. So the first step is becoming aware of what

you already believe to be true. You can do this in a more general sense and also a wide

in scope sense as well. Now what do I mean by that. Well you could see that in general

you believe that you might have to go to a nine to five job in order to make a living

and maybe you like that. I'm not saying that you need to change that but just be aware

that if it's a career maybe that's something that you do believe and maybe you do or don't

believe that you can be doing your passion for a living maybe you are telling grown up

you were told growing up that you couldn't do certain type of passion because it just

wasn't something that made the money you could become aware of that you could become aware

of the kind of relationships you're in and realize that there's a certain belief that's

under who line them all type of experience that you've been having in your life as you

start to look at these you'll see and what you can then do is decide that that was based

on choice even if it was an unconscious choice. You can be aware that it's there. And the

point with this is that you cannot change what you do not own. So you must actually

believe it or choose and see it as a choice those thoughts those unconscious patterns

have. Then at a certain level some type of choice that we've made now from this point

what we can decide to do is to let them go once we become aware of it.

The next step after we become aware of it is simply deciding that we it no longer serves

us. And what we can do is then just let it go to let it go. There's many different ways

of doing that. The most powerful way I have found is to neutralize the effect over in

most of the thoughts we have in most of the beliefs we have come at a certain level with

some type of charge that kind of keeps it active within us. Now if it was a negative

situation in our past that stemmed from that belief then we'll see that that makes us feel

a certain way. The best way to go about that is to observe it rather than react to it and

not to be attached to it. So it's really just the observation alone.

Now a lot of the beliefs we have as well are based in reference experiences of memories.

So when you become aware of what those are. You can then decide that you're going to let

it go. And now that you've made the unconscious conscience that's where the power is and that's

when you can really begin to change it. So like I said I believe that this process is

even more powerful than what we call the secret or understanding even the law of attraction

because it gets to the fundamental base of who we are. And it allows us to really do

the inner work to change everything from the inside out. So remember everything in life

is fundamentally a choice once you become aware of it. And that's why from this point

going forward you can be aware of the beliefs that you have and you can decide to let the

ones go that no longer serve you. So with that being said I hope you guys enjoyed

this video. Feel free to like this video if you liked it subscribe if you haven't already.

And also hit that little notification gear right next to subscribe button so that you're

able to see the daily videos that I upload so please. Much love. Namaste.

For more infomation >> How to Go BEYOND the Law of Attraction (DEEPER PROCESS) - Duration: 7:50.

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When is Open Enrollment for Small Business Health Insurance Plans? - Duration: 1:12.

When is open enrollment for small business health insurance plans?

There are three things you should know about enrolling in small business health insurance.

When you can apply for a new plan.

When you can make changes to an existing plan.

And, how you can add and remove new employees and dependents from a plan.

Let's look at each of these in more detail.

First, if you're a qualifying small business owner, you can apply for small business health

insurance at any time of year.

Second, once you've enrolled, you may make changes to your current benefits with the

same insurer once per year.

Third, you can add new employees or remove former employees or dependents from your plan

at any time of the year.

Your licensed agent or the insurance company can help.

You can add dependents to the plan after a qualifying life event such as marriage or

the birth or adoption of a child, among other things.

If dependents miss their special enrollment window for a qualifying life event, they generally

have to wait until the next annual open enrollment period.

To learn more about your small business health insurance options today, visit eHealth.com.

For more infomation >> When is Open Enrollment for Small Business Health Insurance Plans? - Duration: 1:12.

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TF2 - 10 Heavy mistakes You should never do! - Duration: 12:16.

For more infomation >> TF2 - 10 Heavy mistakes You should never do! - Duration: 12:16.

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Sign It: American Sign Language (ASL) Made Easy www.SignItASL.com - Duration: 0:49.

♪ Upbeat Funky Music

♪♪ Funky drums

♪♪

♪♪ Beatboxing

♪ SIGN IT! SIGN IT! SIGN IT!

♪♪ Beatboxing

♪♪ Funky drums and xylophone

♪♪

♪ SIGN IT! SIGN IT! SIGN IT! Music Ends

C'MON!

For more infomation >> Sign It: American Sign Language (ASL) Made Easy www.SignItASL.com - Duration: 0:49.

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3ds Max Getting Started - Lesson 11 - Modeling Tools - Duration: 10:35.

Modeling with modifiers will only take you so far. Ultimately, you want more control over your models in a way that resembles sculpting.

For that you need poly modeling.

This method of modeling starts with a simple primitive object,

so you need modeling tools to let you shape the surface.

In this lesson, we'll introduce a number of modeling tools, and then set to work using them on a model in the next lesson.

Let's start by creating a Box, go to the Create panel > Geometry > Box.

Click and drag to draw out the box,

then in the Modify panel, set the Length, Width, and Height values all to an even 20 units to make a perfect cube.

You need to convert the primitive to an editable object so that the sub-object modes like vertices or polygons can be accessed and manipulated.

There are a few ways to convert your object to an editable polygon.

First, you can access convert to poly through the modeling ribbon,

also the right-click quad menu,

or the Modify Panel by right-clicking in the stack.

This lesson focuses on using the tools in the modeling ribbon.

Also turn on edged faces using the shortcut F4.

Once you convert your model, you will have many options for accessing the sub object modes.

The most common way is to use the buttons in the ribbon modeling panel or Modify Panel.

Or, you can right-click for the quad menu under the Tools 1 section.

Lastly you can use the keyboard shortcuts: 1 for Vertex, 2 for Edge, 3 for borders, 4 for Polygon and 5 for element.

Basically, a sub-object is the underlying geometry that can be edited on a 3D mesh.

An editable polygon has 5 sub-objects modes available.

Vertex, is a simple point in space.

An Edge is a line connecting two vertices, which forms a side of a polygon.

A Border is generally the edges around a hole in an object.

A Polygon is a closed sequence of three or more edges forming a surface,

and finally, the Element sub-object allows you to select and edit groups of contiguous polygons.

The edge between two vertices is always straight.

To curve or bend a surface, you must add more detail by subdividing the polygons, creating more vertices and edges.

These additional vertices could be moved to create a faceted curvature from what used to be straight.

The more facets, or subdivisions, you have, the smoother and more detailed the curvatures of the model can be,

ultimately giving you more flexibility in shaping your model.

You can shape your model in many ways using sub-objects.

Let's start at the Polygon sub-object level to explore some modeling tools.

I'll select a polygon on this model. In the ribbon, Polygons panel, I'll select the Extrude button.

Back to the selected polygon on the model, and with a simple click and drag,

Extrude lets you push or pull the selected polygon in a direction perpendicular to its current orientation.

This is not merely moving the polygon, it's actually adding more geometry to the object along the extrusion.

Once you have extruded it, you can move, rotate, or scale the extruded polygon any way you like to further shape the object.

The Bevel mode is like the Extrude mode, but it also lets you scale the extrusion for a more interesting effect.

This means that in Bevel mode, you drag a selected polygon to extrude it,

but then, when you release the mouse button, you can move the mouse further to scale the polygon to your liking.

Just click to release. This is quite a handy tool.

Extrusions and Bevels can also be used to punch holes into the geometry, by pushing the extrusion into the object.

This is especially useful if you combine it with Inset.

The Inset command is essentially a Bevel, but without the extrusion.

It's great for creating quads, (which are 4-sided polygons), while retaining the object's shape.

Once you created the inset polygon, you can then Extrude or Bevel it as well,

giving you finer control than just Extrude or Bevel alone.

These tools offer different ways to achieve the look you need for your model,

giving you freedom in figuring out your own workflow.

Let's talk about duplicating geometry.

I am going to select these parts of the object in Element mode.

Then, I will Shift-drag to duplicate the selected polygons.

You'll want to select Clone To Element to keep these duplicated polygons as part of the same object, then click OK.

When you select two polygons that face each other, you can click Bridge to create polygons that span the gap between them.

When working at the sub-object level it is important to be able to select efficiently.

For example, Ring selects all edges parallel to the selected one,

and Loop selects all connected edges by their end points.

The Loop is lost, however, when it encounters a 5-edge vertex as you see here.

You can also double click an edge to select a Loop;

or select an edge then Shift + click on the next parallel edge, and this will select the ring of edges.

With this ring of edges still selected, look at the Connect and Connect Settings commands.

Click the Connect button to connect all selected edges with an additional edge.

Vertices are added where the edges cross.

Better yet, press Ctrl-Z to undo this, and click the Connect Settings button by clicking on the arrow next to the Connect button.

In the caddy that appears, you can specify the number of edges you want created.

You can also pinch them, and slide them, to get the new edges where you need them.

Once you're done, you can click the check mark to accept the changes and close the caddy.

As you just saw, the connect tool has extra settings, many other tools have the same when you use their Settings.

Another useful tool is Chamfer.

Chamfer is most commonly used on edges, as it's an effective way of creating a beveled corner.

Chamfered corners add a level of detail to a model, and help edges and corners catch light better.

Chamfer also works at the Vertex sub-object level, too.

Another helpful feature set are the use of Constraints, which are in the Edit panel.

They let you use existing geometry to constrain sub-object transformation, to make shaping a model easier.

There are three types: Constrain to Edge, Constrain to Face and Constrain to Normal.

For instance, I will enable Constrain to Edge, and then move this vertex, and it will only move along an edge.

Just remember to turn off the option as soon as you've finished with it, or it may cause problems later.

You can select two or more vertices, and Weld them together.

Select multiple vertices and then open Weld Settings caddy,

then specify a Threshold value to draw together and weld those vertices into one vertex.

Another more interactive way to weld vertices together is to use the Target Weld mode,

where you force a vertex to weld onto another by clicking and then dragging from one to the other.

Since shaping a model requires subdivisions, or vertices and edges to manipulate,

in the Edit panel, you can turn on the SwiftLoop to add edges and vertices exactly where you want them.

SwiftLoop creates edge loops which are a series of continuous edges on the surface of an object.

As you model and sub-divide, here are some guidelines to keep in mind for a cleaner workflow.

When sub-dividing and creating polygons, it's best to create the polygons to have four sides, making them quads, whenever possible, to create a clean model.

Additionally, you'll want to create smoothly-flowing edge loops in an even grid pattern as much as possible.

These guidelines are especially important when creating curved surfaces and areas that bend during animation, such as with a character.

Otherwise, you can end up with unpredictable smoothing, and smoothing artifacts such as bumps and holes.

Creating an even mesh is also important for unwrapping, rigging, animation, and so on.

The next lesson describes how to build a bench seat using the techniques introduced in this lesson.

For more infomation >> 3ds Max Getting Started - Lesson 11 - Modeling Tools - Duration: 10:35.

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Hugh Hefner's Smoking Jacket: 5 Fast Facts You Need to Know | CaCao TV - Duration: 8:28.

Hugh Hefner's Smoking Jacket: 5 Fast Facts You Need to Know

Hugh Hefner poses at Playboys 60th Anniversary special event on January 16, 2014 in Los Angeles, California. Playboy Magazine founder and sex icon Hugh Hefner has died of natural causes at the age of 91.

Hefner was an entertainment industry legend, creating the Playboy empire in 1953 and building it into one of the most recognizable brands in the world.

Beloved and reviled, he has both been credited with sparking a sexual revolution and with co-opting feminismfor the purposes of female exploitation.

The media titan made innumerable contributions to pop culture, from the legendary parties at the Playboy mansion, to the reality TV show that examined the daily lives of his three girlfriends.

Perhaps the most iconic is his ubiquitous burgundy smoking jacket, an essential part of any Hugh Hefner Halloween costume. Here's what you need to know about Hefner's signature smoking jacket:.

Smoking Jackets Were Popular in the 19th and Early 20th Century, Worn by Hollywood Icons Like Cary Grant and Fred Astaire.

Gettycirca 1929: Warner Baxter (1891 – 1951 ) the distinguished American leading man who started his career on the stage and became a popular hero of silent melodrama although he was also successful in talkies.

Pictured, sitting in a velvet smoking jacket, smoking a pipe. The smoking jacket was born in the late 19th century.

As imported Turkish tobacco became more popular, colorful silk or satin robes were designed for men to wear over their evening attire while retired to the smoking room after dinner, preventing their clothes from getting covered in ash.

Mid-thigh length, the jacket's wide lapels easily caught falling ash, which would then slide off of silk or satin material.

Edward VII, the Prince of Wales at the time, commissioned a more casual, outerwear smoking jacket from Henry Poole & Co. on Saville Row, and the trend took off.

Soon, men were having their portraits painted in smoking jackets instead of formal attire. Hollywood legend Fred Astaire was buried in a smoking jacket when he died in 1987; other famous fans included Cary Grant, Dean Martin and Frank Sinatra.

The trend didn't fell out of fashion in the mid 19th century, but after Hugh Hefner rose to fame, his signature smoking jacket became synonymous with the Playboy brand.

At the turn of the 21st century, designer brands like Tom Ford and Louis Vuitton attemptedto stage a comeback for the elegant style, but without success. Hef's Signature Jacket Was Burgundy Velvet With Black Silk Lapels.

GettyPlayboy Playmates Kendra Wilkinson (L) and Bridget Marquardt pose with Hugh Hefner at the premiere of The Travel Channel's "Bridget's Sexiest Beaches" held at the Playboy Mansion on March 10, 2009 in Los Angeles, California.

Hefner was most often photographed wearing black pajamas beneath a burgundy velvet smoking jacket with black silk lapels. However, another favored style was a patterned dressing robe made of red silk, also usually worn over black silk pajamas.

He was also occasionally spotted wearing a black smoking jacket with a patterned burgundy silk lapel, or a black silk dressing robe over pajamas.

"I always wear black during the day – black is serious, for taking care of business," he wrote in the Daily Mail. His iconic look was immortalized in the Hollywood Wax Museum in 2001 complete with burgundy smoking jacket.

Hefner Reportedly Owned Over 200 Custom-Made Smoking Jackets and Pajamas.

GettyHugh Hefner and Crystal Hefner attend Playboy Mansion's Annual Halloween Bash at The Playboy Mansion on October 25, 2014 in Los Angeles, California.

"I have 200 pairs of silk pyjamas," Hefner told the Daily Mail in 2007, adding: "I also wear black velvet loafers, which are custom-made for me by Di Fabrizio in Los Angeles. I have 12 pairs.".

According to Hefner, he needed that many pairs of pajamas because he and his girlfriends would spend up to 12 hours a day in bed.

"We watch TV and movies, play games and listen to music. I have a six-foot high-definition TV, Xbox 360 and video projector. Everything is operated by a touch-screen panel next to the bed," he said.

He Started Wearing Smoking Jackets While Working Nights, Then Wore Them All the Time Because He "Could Get Away With It".

GettyHugh Hefner (C) poses with Playboy Bunnies, Playmate of the Year 2013 Raquel Pomplun (2nd L) and Miss December 2009 Crystal Hefner (2nd R) at Playboy's 60th Anniversary special event on January 16, 2014 in Los Angeles, California.

Hefner has become so synonymous with his signature pajamas that the occasions where he donned one of his 35 custom-made Armani suits were rendered disappointing.

"I started wearing them all the time because I was working at night, and then I started wearing them when I entertained," he wrote in the Daily Mail.

After a while, the mogul realized he could wear his pajamas and smoking jacket all the time without consequences. "I realised I could get away with it," he said. "Then, of course, people were disappointed if they didn't find me in pyjamas.".

Who wouldn't wear pajamas to work if they could get away with it?. You Can Buy a Knockoff Online for as Low as $20, or a Tasteful Replica for $450.

Cheap versions of Hef's signature look abound online, and you can snag one for as low as $20 from retailers on Amazon or eBay.

For those looking to complete the look with black pajamas, a Halloween costume like this $55 gem from Amazon might be the way to go. Then there are the die-hard fans who are looking for a near-perfect replica of Hefner's famous jacket.

If you're deep in the pockets, this $450 beautiful jacket from Smokey Joe's Clothing in Chicago might be just up your alley. But fear not, authenticity is still in reach for the rest of us—the Historical Emporium sells this vintage velvet gem for a reasonable $130.

For more infomation >> Hugh Hefner's Smoking Jacket: 5 Fast Facts You Need to Know | CaCao TV - Duration: 8:28.

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Survive in Real Estate with These Budgeting Tips - Duration: 2:30.

Hey guys, did you know 87% of realtors are failing within the first five years?

And one of the main reasons why is because they're just not good at

managing money. I'm gonna give you some tips on that today.

Alright, so 87% of Realtors are failing within the first five years because

you're just not good at managing your money and most people don't understand

how powerful a budget is and a powerful tool to help you plan and guide

your business to success and it specifically helps you know what's

working and what's not working in your business so what I want to do is give

you guys three tips that you can apply to your business specifically your

budget the first is once you create a budget

you have to stick to that budget now I know that sounds simplistic guys but so

many businesses fail because they give in and they don't stick to their budget.

You have to commit and stick to your budget to judge your success. The second

tip is you want to make sure you lead with revenue. What does that mean? Well

Gary Keller always says that agents tend to have this Field of Dreams model where

they feel that if they just spend a bunch of money the listings, the buyers,

are just gonna rain from the sky. It's not gonna work that way, you want to

guide your budget, guide your business, off of this principle of leading with

revenue. You don't spend money unless you're making money and you don't spend

more money unless that's gonna make you more money, so you want to lead with

revenue because everybody's gonna try to sell you everything under the sun. You're

gonna be approached with every shiny new object and if you don't stick to your

budget and if you don't have the principle leading with revenue you're

gonna fail. Now the third tip I'm going to give you

is you want to audit your money and hold your money accountable to results. I'm

talking every bit of what you do when you look at your operating expense. I'm

talking the paper that you use to print out your contracts, tie back your money

and how you spent it either indirectly or directly to results to how it helps

you close a deal. Hold your money accountable to results

all right guys there you have it so many agents are failing within the first five

years because they're not applying these principles to their business and to their budget. If you like

these tips subscribe to our YouTube channel, as always comment below, let me

know your tips on budgeting, where you've had successes and failures, check us out

on Instagram and Facebook, but most importantly guys Take Action On This

Today!

For more infomation >> Survive in Real Estate with These Budgeting Tips - Duration: 2:30.

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Jetwing Lighthouse in Galle, Sri Lanka (Asia). The best of Jetwing Lighthouse in Galle - Duration: 5:02.

For more infomation >> Jetwing Lighthouse in Galle, Sri Lanka (Asia). The best of Jetwing Lighthouse in Galle - Duration: 5:02.

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3ds Max Getting Started - Lesson 12 - Polygon Modeling Part 1 - Duration: 9:02.

For this lesson, we will be creating the bench seat from the Train Station Scene we've seen in earlier lessons.

Start in a new 3ds Max scene.

We need to change the unit setup to match the train station scene, since we will need to eventually merge both files together.

Go to the Customize menu > Units Setup > Change to Generic units.

In the System Unit Setup make sure 1 unit = 1 inch, as this is what is used in the Train Station Scene. Ok the dialog.

Start in the Command Panel > Create > Geometry > Box.

If you know the exact size and location, you want the box you can create the object using the rollout Keyboard Entry:

Leave the X, Y and Z values at 0 to create a box at the center of the scene.

Change the Length to 115, the Width to 53 and the Height to 20.

Make sure the perspective viewport is selected. Then click the Create button.

Right-click on the box and in the Transform section of the quad menu, choose Convert to Editable Poly;

or you could instead go to the ribbon, and in the Polygon Modeling panel, choose Convert to Poly.

These tools are both accessible in the Modify panel and the Modeling ribbon.

As a matter of fact, most tools can be found in both locations, though the ribbon often contains additional features.

So, in this lesson, we will concentrate on primarily using the modeling ribbon.

When modeling, press F4 to turn on Edged Faces mode to see the sub-objects better.

Let's start at the Polygon sub-object level, which you can access in the ribbon or by right-clicking and going to the Tool 1 section of the quad menu.

Select the polygon at the top of the box. A sub-object turns red when you select it.

In the case of selected polygons, you can press F2 to toggle the shading on and off. For this lesson leave it on.

In the ribbon > go to Polygons, click the arrow next to the Inset tool to access the setting button. This will bring up the caddy.

Change the Inset amount to 15 and then click the checkmark to Ok the caddy.

What the inset has done is create a new polygon that is inset into the old polygon.

Go again to Polygons, click the arrow next to the Extrude tool to access the Settings button.

By default, Extrude has an amount of 10; change it to 25. Click the checkmark to Ok the caddy.

Now orbit the perspective viewport so that you can see the bottom polygon and select it.

Instead of using Inset and then Extrude, we will use Bevel since it will essentially do both.

Select the arrow next to the Bevel tool to access the settings button.

Change the Height to 0 and outline amount to -3,

but instead of pressing the check, click on the plus sign which Oks the change but allows you to continue using the bevel.

Now change the Outline amount to 0 and the Height amount to 5.

Now select the checkmark to OK the dialog.

So, the rough shape for the seat is done, and now it needs to be refined.

The original seat model has curved sides and is very smooth. A tool that can achieve this is NURMS which means Non-Uniform Rational Mesh Smooth.

NURMS will round over corners and edges as if they had been filed or planed smooth.

In the ribbon > Edit > click on the NURMS button.

The seat will smooth out but lose some detail and definition.

The way we can add back in some lost detail, is by adding or even removing polygons.

You should still be in Polygon mode but if not go to the ribbon and select Polygon.

Click the NURMS button to turn it off.

Select the bottom polygon on the seat, and press delete to remove it.

Click the NURMS button again to turn smoothing back on.

See how the side is now straight, but the overall shape is still curved? Now turn NURMS off again.

Delete the edge below the seat by selecting one polygon, hold shift, then select the polygon next to it, which then selects the ring of polygons.

Delete the ring of polygons.

Turn on NURMS again to see the smoothed results.

The seat is still looking rough; it needs more smoothing.

In the ribbon, in the use NURMS panel,

If you don't see the NURMS panel look for a floating panel somewhere in the viewport.

Change the Iterations from 1 to 2.

Use caution when increasing the number of iterations though, not to go too high.

The number of vertices and polygons in an object (and thus the calculation time) can increase as much as four times for each iteration.

This gives the overall shape of the seat more smoothness, but the seat and backrest need to be more straight and flat.

But we can't really delete polygons that are going to show as holes in the model.

So instead, we need to add more polygons by subdividing.

Adding edges that are close together will create a tighter curve when the object is smoothed.

The farther apart edges are in a model, the looser and rounded the curve will be when the model is smoothed.

Click the NURMS button to turn it off.

In the ribbon, select SwiftLoop tool. The SwiftLoop tool places edge loops by clicking on the mesh.

An edge loop is a series of continuously connected edges.

These are important in modeling because having edges that flow continuously around the model creates cleaner, more predictable results,

especially when smoothing, such as with NURMS.

When you move the mouse over the seat model you will see a preview of the edge loop.

Move until you have an edge close to the edge at the seat/back and then click to place it.

Then create a second near the corner where your knees would be when sitting on the seat, and click to place it.

Place a third edge loop along the length in the middle.

Turn on NURMS again to see the results.

The seat is looking good, but still rough.

Go to use NURMS panel again and change the iterations to 3.

With the model selected, go to the modify panel and name the object "seat_GEO_003" and then save the 3ds Max file.

Open the main train station file.

Go to File > Import > Merge and navigate to the seat file you just saved and select it.

Select the seat model from the dialog and Ok the dialog box.

The seat will be in the same location as it was built in, which in our case is at the origin point.

Select the seat. Make sure the Move tool is selected and go to the Transform Type-ins.

Change the X to 800, Y to 70 and Z to 166.

This will move the seat into position on the train station platform, so people can wait comfortably for their train.

For more infomation >> 3ds Max Getting Started - Lesson 12 - Polygon Modeling Part 1 - Duration: 9:02.

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3ds Max Getting Started - Lesson 18 - Unwrapping and Maps - Duration: 14:10.

In this lesson, we want to add some signage to the trash and recycle cans.

The idea is to add a logo to the back face and the trash/recycle title to front.

I am going to introduce you to UVW Unwrapping.

Unwrapping allows you to map textures onto the geometry in a more precise way.

UVs provide a coordinate system to be able to map 2D images onto 3D geometry.

Since unwrapping is a pretty deep topic, we'ill keep it simple.

Start by selecting the trash can, then from the modifier list add the Unwrap UVW modifier.

In Selection section of the modifier, select the Select by Element button.

Now select the trash can object, this will select all the polygons on the trash can in one click.

In the Edit UVs section, select the Open UV Editor.

The view window displays the UVWs in the 2D space of the map, superimposed over a grid.

It is important to keep all the UVs inside the grid square.

In the Explode section of the editor, select the Flatten by Polygon Angle button,

This creates UV Mapping Coordinates for the object based on its shape.

Notice how the Uvs look as if they are panels taken off the model itself.

This will help greatly in creating a map for it.

Now select all the Uvs. In the toolbar, use the Rotate tool and rotate the UVs -90 degrees.

Most of these UVs we won't be using.

The two where we want the text and logo are the two UVs on the right of the grid.

Now we need to export the UVs as an image to use in an image editor to line things up in the design.

Go to Tools > Render UVW Template, leave the parameters at the default and select Render UV Template.

The UVs will render as white lines on a black background.

Save the file by clicking on the Save icon in the upper left corner of the image.

This UV Template image will need to be taken into an image editing program like Photoshop to create the texture.

If you lay out the desired design elements using the flattened wire in the UV template as a guide,

the texture should fit perfectly on the model when finished and used on a material in the scene.

Here is an example of the texture for the trach cans. Now let's create a material for it.

In the Slate ME, create a Physical Material,

double-click on the Base Color input socket,

and apply the Trash_Color.jpg.

Change the material mode to Advanced and change the Reflections amount to 0.5.

Assign the material to the trash can, and display the map in the viewport.

Now we will repeat the same procedures on the recycle can, this time with a little sped up video playback as a review of the process,

since it is identical to what we did with the trash can.

This time though, we need to use the Recycle_Color.jpg bitmap image for the Base Color map of the recycle bin.

Assign and show the map in the viewport and we're done.

Unwrapping the train models to flatten the UVs is how the textures for the train were completed.

To add those unwrapped bitmaps to the train you only need to create the material,

add the unwrapped image to the base color and apply the material to the appropriate part of the train.

As an example, select the engineerCabHull_Color_GEO_001 object.

In the Slate ME, create a physical material in the view.

Double-click on the base color input socket, navigate to the images folder and select the engineerCabHull_Color.png.

Change the material mode to Advanced, change the Reflections to 0.5 and Roughness to 0.1.

Select the Apply Material to Selection button to apply the material to the object.

Click Show Map in Viewport.

Rename the material engineerCabHull.

Continue to add materials to the remainder of the train.

You can clone the engineerCabHull material by holding shift and moving in the Slate.

Rename the material and replace the Base Color Map with the next train bitmap.

Here you can watch as I apply the map for the train engine's door by applying EngineerCabDoor.png to the Base Color of the copied material.

This way we don't need to set up the reflection parameters again, and we're assured the materials will match.

Once it's done, simply apply to the door geometry and make sure to turn on the map display in the viewport.

Using the guide provided with the downloaded assets, match the maps to the other train objects,

and continue making duplicate materials until the train is completely textured.

Now that the train has textures, it is more obvious that the windows on the train are black.

Time to explore creating glass. The great thing about Physical Material are those templates.

The templates set basic parameters for a material based on the chosen template, to get you on the road to the desired material. We'll start there.

Add a physical material to the view.

Change the template to Glass (Thin Geometry), then adjust the viewports so you can see the windows on the train.

Rename the material Glass.

Go to the main toolbar and from the Selection Set drop-down menu, choose windows.

Now apply the Glass material to the windows using Apply Material to Selection.

Adjust your viewport so you can see the windows on the train.

Render the viewport.

You can see the windows are glass and you can see a bit of reflections but it doesn't look realistic.

This is because the renderer we are using is the Scanline Renderer.

It is versatile and fast renderer but isn't the best choice when rendering more realistic reflections and any advanced material.

We need to change to use another Renderer.

We will cover rendering in later lessons, but for now, go to the Main toolbar, and open the Render Settings dialog,

From the renderer dropdown menu, choose the ART renderer.

The ART renderer is a physically-based renderer that is fast and works with most materials, but is especially powerful with the Physical Material.

As an example, on the left is the Scanline renderer and on the right is the same viewport rendered with the ART renderer.

The only change that was made between the images is the exposure in the scene had to be turned up a bit to make it brighter in the ART render.

It is clear how superior the reflections look in the ART renderer.

It is fast but it will take more time than the Scanline.

If you render your scene with ART, compared to the Scanline render, it will be dark a little like this.

To get it to be brighter as in the Scanline render, we can adjust the Exposure control.

Go to the Rendering menu and open Environment.

In the Exposure Control section, choose Linear Exposure Control from the drop-down menu.

Render the scene. Things should look brighter now.

The next thing we want to do is add some chrome material to the lamps.

Select the Lamp hanging over the ticket booth door, and in the Slate ME, create a Physical Material, and rename it Lamp metal.

From the template list choose Polished Aluminum.

Now assign the material to the lamp object and render.

and the material you'll see is way too shiny and bright for the look we want for the train station.

In the material parameters, in the Base Color section, select the color swatch and change the color to a dark gray.

That is the beauty of the templates, as they only require simple changes to get the material to what you need.

Now render and the lamps look much nicer.

Apply the same material to the remaining lamps.

The large support that hangs over the train is a simple gray.

Let's create a cool metal material and add a bump map to give it some pop.

Add a Physical Material to the Slate view.

Rename the material Support,

Add the Support_GEO_Color.png to the Base Color Map section.

Apply it to the support object.

Press the Show Map in Viewport button so that the image shows on the object in the viewport.

It looks a little low quality, but it won't render that way.

Add the Support_GEO_BUMP.png to the Bump Map section.

Also grab the output socket of the Support_GEO_BUMP.png and plug it into the input socket for Reflectivity Map.

Render to see how it looks.

If the scene seems too bright, go into the Render menu > Environment,

and in the Exposure Control section set it back to no exposure control.

Now back to the support material, in the reflections section set Metalness to 1.0.

Metalness is how much the material reacts like a metallic surface.

Metal surfaces reflect light more directly, preventing light rays from penetrating or scattering into the surface,

when compared to a non-metal material that would have a lower Metalness value.

Change the Roughness to 0.2, this value will soften the reflections.

Render the viewport, you can see it looks pretty good.

Materials, lighting, and rendering all go hand in hand, and we will explore these further in later lessons.

For more infomation >> 3ds Max Getting Started - Lesson 18 - Unwrapping and Maps - Duration: 14:10.

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5 Things You Should Never Do After Eating! - Duration: 3:21.

5 Things You Should Never Do

After Eating 5 Things You Should Never Do After Eating

5 Things You Should Never Do After Eating 5 Things You Should Never Do After

Eating 5 Things You Should Never Do After Eating

For more infomation >> 5 Things You Should Never Do After Eating! - Duration: 3:21.

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Concierge Box Quilted Down Alt Blanket w/Satin Trim - Duration: 5:52.

For more infomation >> Concierge Box Quilted Down Alt Blanket w/Satin Trim - Duration: 5:52.

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WATCH: Elon Musk's Rocket Travel Takes You Anywhere on Earth in Under an Hour | CaCao TV - Duration: 6:07.

WATCH: Elon Musk's Rocket Travel Takes You Anywhere on Earth in Under an Hour

YouTube SpaceX founder Elon Musk says travel from New York City to Shanghai in just over 30 minutes is possible with rocket travel.

Traveling from New York City to Shanghai in under 40 minutes for the price of a plane ticket could be here in the not-so-distant future, if Elon Musk has his way.

Musk, the SpaceX and Tesla founder, revealed plans for his newest streamlined travel concept Thursday at a space conference.

It involves using a rocket system to send humans long distances and has the capability of traveling anywhere on Earth in under one hour. Some may think traveling that far in such a way would cost a fortune.

But Musk vows that the price tag would resemble that of an economy airline ticket. Musk briefly demonstrated his newest idea to those in attendance at the conference.

According to The Verge, he's proposing using SpaceX's mega-rocket that's in the works — codenamed Big F****ing Rocket or BFR — to lift a spaceship into orbit.

The aircraft would re-enter the atmosphere and land on landing pads located in bodies of waters near major cities.

Musk didn't reveal any concrete plans for the project, as of yet, but The Verge said he hopes to start the rocket's construction "in the next six to nine months. SpaceX released a jaw-dropping video demonstration of Earth-to-Earth travel late Thursday night.

In the illustration, passengers in NYC board a boat and head toward a launch pad where the same rocket Musk wants to use to send humans to Mars by 2024 awaits.

Once on board the rocket, it blasts off and heads into orbit while traveling at a maximum speed of nearly 18,000 mph before moving back toward Earth and safely landing on a launch pad in Shanghai just 39 minutes later.

The video concludes by saying the rocket travel is capable of sending passengers from Los Angeles to Toronto in 24 minutes and from London to NYC in just 29 minutes.

"Most long distance trips less than 30 minutes," the video says. "Anywhere on Earth in under an hour.". Watch the demonstration of the new type of travel in the video below:.

Musk posted the video demonstration to social media late Thursday evening, saying he intends the cost per seat being "about the same as a full fare economy in an aircraft.

The fresh idea from Musk came as a major surprise to many, especially because he announced it near the end of his speech. He was mum on additional details and logistics regarding the proposal.

The premise of his speech at the conference, according to The Verge, was to talk about how he intends to colonize Mars by stockpiling SpaceX's vehicles and putting every resource toward the production of the new rocket.

All our resources will turn toward building BFR. And we believe we can do this with the revenue we receive from launching satellites and servicing the space station.

The Earth-to-Earth rocket transportation process is just the latest innovative concept from the 46-year-old entrepreneur.

Two years ago, Musk announced that SpaceX would fly two private "tourists" around the Moon in 2018, and tests are already underway and the tickets for the unidentified passengers have been purchased.

In 2013, Musk announced the Hyperloop, a high-speed transportation system that's a network of passenger capsules which travel through tubes at an extreme rate of speed. Musk said the Hyperloop would get people from San Francisco to Los Angeles in about 35 minutes.

In May 2016, Hyperloop One announced $80 million in funding and partnerships to help in the project, and its first public test was performed in August.

Musk also formulated and implemented SolarCity, which aims to be the largest solar plant in the United States. In addition to that, Musk also launched The Boring Companyin December 2016 after tweeting about his frustration with rush-hour traffic.

Musk's newest venture is a company that aims to enhance tunneling speed so that an underground tunnel network is financially feasible, he said in February. In April, The Boring Company used SpaceX's location in California to start digging.

Musk said that the first route created would run from LAX to Culver City and then to Santa Monica before ending in Westwood. He claims the trip would take just five minutes, where doing so in traffic would take about 45 minutes.

In July, The Boring Company received governmental approval to build an underground Hyperloop on the East Coast.

For more infomation >> WATCH: Elon Musk's Rocket Travel Takes You Anywhere on Earth in Under an Hour | CaCao TV - Duration: 6:07.

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3ds Max Getting Started - Lesson 14 - Spline Modeling - Duration: 13:20.

Now we are going to learn some great modeling tools by creating another type of lamp.

This lamp design would be a challenge using traditional polygon modeling, so we are going to build it starting with splines.

A spline is a collection of vertices and connecting segments that form a line or curve.

You will find different splines in the Shapes tab of the Create panel.

Start with the TrainStationLamp.max scene file.

This file already has a side view image of the finished lamp loaded so that we can trace over it.

Go to the Create panel, click Shapes, then click the Line button.

Keep the creation method at the default, Corner.

Click the start point on the right of the screen, at the end of the lamp arm.

Click again at the first curve moving left, then moving up add two more vertices at the curve and a last vertex at the top of the lamp head.

Right-click to finish.

When we clicked with the Line tool, we created a corner vertex;

but when you click and drag when placing a vertex, creates a Bezier vertex, which give you handles that you can edit the curve with.

When we created the Line, we created corner vertices that are sharp, but we need Bezier vertices to create curves.

Go to the Modify panel, in the stack, click on the arrow next to Line to open the sub object access, select Vertex.

Use Ctrl+click to select the middle vertices of the line we made.

Then right-click and from the quad menu in the Tools 1 section, choose Bezier to change those over.

To adjust the Bezier handles you need to use the Move tool.

It's best to use the square formed by the plane handles so you can move the handle in both directions.

You don't need to get the line exactly the same as the picture; just follow the general shape.

In the Modify panel go to the Rendering rollout and check both Enable in Renderer and Enable in Viewport; this makes the curve a renderable 3D object.

In the radial section change the thickness to 40, and sides to 18.

Now go to the Interpolation rollout and change the Steps to 12.

The Interpolation controls set how 3ds Max generates a spline.

All spline curves are divided into small straight lines that approximate the true curve.

The number of divisions between each vertex on the spline is called steps.

The more steps used, the smoother the curve appears.

Select the Vertex button again to exit sub-object mode.

Rename the object LampArm_001

Now for the lamp "shade". Go to the Create panel > Shapes and select the Line tool again.

First you will need to uncheck enable in Renderer and Enable in viewport, since they are still active from the last object.

Also in the Interpolation rollout change the Steps to 6.

Start by clicking at the top center of the lamp shade, move to the left and click to create 3 vertices on the first curve,

move down and to the left to where a next curve begins and click to create another 3 at the top middle and bottom of the curve.

Move to the left and create 3 more vertices at the top middle and bottom of this curve.

Continue until you reach the bottom,

then move to the right along the bottom of the shade and create a vertex in the middle,

and then click on the first vertex you created. This will close the shape.

Go to the Modify panel, in the stack, click on the arrow next to Line to open the sub-object access to the Line, then select Vertex.

Now select all the vertices on the side of the shade.

Right-click and from the Quad menu, choose Bezier, and edit the handles so you can follow the shape of the shade.

We only created half of the shade's outline because the next modeling tool we are using, Lathe, creates a 3D object by rotating a shape profile about an axis.

Select Vertex to exit sub-object mode and with the line selected, add the Lathe modifier from the modifier list.

In the parameters change the Align to Max and the Segments to 30 and check the Weld Core.

This gives us the lamp' shade object. Rename the object to LampShade_001.

Switch to a Perspective viewport, you can do this by using the keyboard shortcut P.

Right-click and from the quad menu choose Unfreeze All, then select the plane with the picture of the lamp and delete it.

Select the shade again, and go to the Modeling ribbon > and in the polygon panel, select Convert to Poly.

This collapses the Lathe modifier and creates an editable polygon.

Turn on Edged Faces mode (F4)

Enter Polygon mode and select all the polygons on the bottom of the shade.

The easiest way to do this is to switch the Selection mode from Crossing to Window mode.

Orbit the viewport so you are viewing the side of the shade, and drag a selection box around the bottom of the shade;

then, delete those polygons.

but make sure you check you've only selected the polygons on the bottom of the shade.

Now we can see on the inside, and there is a weird set of polygons hanging doen from the top like a stalactite.

It's an easy fix but it's hard to select those polygons.

Back to the Side view.

In the ribbon > Visibility panel, select Hide Selected. Select the bottom section of the shade.

This will make the polygons easier to select.

In the Main toolbar switch back to Crossing selection type. Select and delete the stalactite.

In the ribbon > Visibility panel select Unhide All to get back the lamp shade. Exit Polygon mode using the shortcut.

Polygons in 3ds Max are one sided so the inside of the lamp won't render properly.

So, go to the Modify panel and add a Shell modifier.

Leave the modifier at the defaults.

To finish the lamp, we will go back to the lamp arm, go to the ribbon and convert to poly.

In Polygon mode, select the end polygon and delete it.

In Border mode select the border edge.

Turn on Edged Faces (F4)

Switch to the Scale tool, hold shift, and scale up 200%.

Switch to the Move tool and hold Shift and move the border edge out about 4 units.

Now switch to Edge mode and double-click an edge to select the corner edge loop, go to the ribbon > Chamfer Settings,

change the Amount to 3 and the Connect Edge Segments to 3, Ok the caddy.

Save the file under the name TrainLamp_final.

Open the last train scene we used (06_ModelingD_Train_001.max).

Go to File > Import > Merge > TrainStationLamp_Final.max

From the dialog choose both objects from the list and Ok the dialog.

With the parts of the lamp still selected, go to the Main menu > Group and then choose Group.

Name it TrainLamp001. When building the lamp, we didn't focus on scale so the lamp is quite large.

Select the scale tool and scale the lamp down to 5%. It is always best to model to the scale of your scene.

Now move the Train Lamp so it shines down on the train station platform.

The Move Transform type-in values are X: 650 Y: 365 Z: 270,

also switch to the Rotate tool and in the transform type-ins, only change the Z to 90.

Make a clone of the lamp using the Shift + Move method, and move it to the opposite side of the platform,

use the Move transform type-ins X: 650 Y: -250 Z: 270.

You can also clone one and put it over the Ticket Booth door. The move transform value is X: 832 Y: 335 Z: 270.

Scale it down slightly to a value of 4%.

Select all 3 lamps and change their color to a dark gray.

Now in the Scene Explorer Select all the lamp parts and drag and drop them into the Lamps layer.

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