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Brush Shader Last Update: Aug. 01. 2014 Bring Photoshop-like painted layers to Maya By looking at how our artists create textures and background in Photoshop, we thought about bringing this to Maya into shaders. That is what Brush Shader is about. It takes some textures, multiplies it, overlays it and generate layers you can then composite through our Blend Compositing tool. You can get the equivalent of textures with 10-100k of resolution easily. MAYA

Blend Compositing Last Update: Aug. 01. 2014 Bring Photoshop-like layers compositing to Maya By looking at how our artists create textures and background in Photoshop, we thought about bringing this to Maya into shaders. That is what Brush Shader is about. It takes some textures, multiplies it, overlays it and generate layers you can then composite through our Blend Compositing tool. You can get the equivalent of textures with 10-100k of resolution easily. MAYA

Auto Color Keep Last Update: Aug. 01. 2011 Cut your anime cel by color If you want to cut an anime cel in meaningful parts, you can cut by colors. For example, you can use Color Keep and keep the main color and shadow colors of each needed parts. Auto Color Keep is a tool that analyzes all color connections, and all frames of an animation to generate layers with the different parts of the cel isolated. After Effects

Line Keep Last Update: Aug. 01. 2011 Recover cel outline after rotoscope Anime cel have one outline color. It is then impossible to split it just by using color information. After having rotoscoped some parts using color information (like with Color Keep), we recover each connected outline by using Line Keep. This plug-in has been developed to rotoscope cel animation during 2D/3D conversion. After Effects

Alpha Separation Last Update: Aug. 01. 2011 Separate area using alpha channel This AE plug-in assign an ID to each alpha area by using connection information. When using Color Keep, you may get multiple area of the same color (for example face and area with skin color). You can then use Alpha Separation to process it separately. This plug-in has been developed to rotoscope cel animation during 2D/3D conversion. After Effects

Magic Wand Last Update: Oct. 26. 2012 Easy selection of regions Point a region, set a range and the tool will gather for you the parts of the drawing you need. The algorithm use region detection and is specifically designed to handle cartoon drawings and uses fill and outline colors. After Effects

Stroke Select Last Update: Oct. 26. 2012 Paint your selection Use any tool you want to paint roughly some stroke on your drawing. Stroke Select will use a customized Watershed algorithm to fill up the drawing with the given colors, enabling simple rotoscope of your drawings. Even if it has been designed to handle cartoon animation, the tool can handle any kind of pictures. After Effects

Color Rotoscope Last Update: Oct. 26. 2012 Cut it with colors (pick up color regions with Stroke Select) This tool has been designed to work with the Stroke Select tool. Using a color map on a pictures, it enables to extract the pictures from the given colors. This simplifies the rotoscope process and makes it visual. After Effects

Alpha Track / Alpha Track Params Last Update: Aug. 01. 2011 Follow your alpha automatically For example you got to render a 3D object flying in your scene. Then, when you enter in your composite phase, you want to add some glow or light effect, and you want it to move the same way as your object. Manually tracking the object and edit each effect to follow it is a really tedious task. By using Alpha Track you can use the alpha channel of your rendering to get the position, rotation and scale of your object. After Effects

Color Rescale Last Update: Aug. 01. 2011 Autolevels + alpha Autolevel is a process that automatically remap colors from [min, max] to [0,1] range. With Color Rescale you can map [min, max] to a [a,b] range you defined. Moreover you can use an alpha threshold to ignore small alpha values during the min/max determination process. This is very useful for example when creating stereoscopic pictures with various depth layers. You can adjust each layer depth range easily. After Effects

Color Constraint Last Update: Aug. 01. 2011 Force the color connection When you pile two layers, you will see it as two different things. but sometimes, those two things touch each other at some point. This connection often implies that the color would be the same at that point. For example, if you have depth layers, you want foot color to match the ground color. Adding some blur can make the trick, but it will end up… blurry. That’s why we developed Color Constraint. Choose the point of connection, choose the color you want to enforce, and the layer color will be adapted to match your constraint. After Effects

Point Gradations Last Update: Aug. 01. 2011 Interpolation of colored points This effect interpolates some point colors. The difference with existing effects is in the number of points (up to 10), and the number of interpolation scheme available. After Effects

Path Gradations Last Update: Aug. 01. 2011 Interpolation of colored curves Write some curves, affect them colors and weights, and you get some smooth gradation of the colors between the curves. The curves are just standard AE masks, so you can animate them with key frame the same way. After Effects

Highlight Shader Last Update: Aug. 01. 2011 Edit highlights just with mouse clicks and drags Highlights are the result of a complex combination of lights, camera and object shapes. It’s really difficult to control there appearance or shape. Highlight Shader gives you the possibility to tune intuitively your highlights. Without changing lights or camera you can keyframe your highlight position. You can alter the shape in size and even get some Anime-like square highlights. The techniques behind Highlight Shader has been presented at NPAR 2006 "Tweakable Light and Shade for Cartoon Animation". MAYA

Shade Painter Last Update: Aug. 01. 2011 Control highlights and shadows by painting The physically realistic computation of 3DCG rendering software makes it difficult to edit locally the final result. Modifying the resulting shadow or highlights usually involves to modify the lights which will result in a global and not local modification. With Shade Painter, you can edit locally the shading result while keeping the global result of the rendering. You can conform then more easily to artistic direction that may be non compatible with realistic rendering and lighting. The techniques behind this tool has been presented at Siggraph 2007, "Locally Controllable Stylized Shading". MAYA

oppo Last Update: Aug. 01. 2011 NURBS generation along animated path oppo is used to add some artistic expression of the path of an object after you animated it. For example you can achieve some light trails of lights in motion or the smoke trail of a bullet. You may add noise, fluctuations or extinction to the generated NURBS curves. The name oppo means "tail" in Japanese, which pictures the kind of generated effect. MAYA

Anime Pers Deformer Last Update: Aug. 01. 2011 Apply Anime exagerated perspective to your 3D scene In hand written animation, perspective is used as a storytelling tool. The emphasis of some story traits can result in unrealistic distortion of the perspective that are difficult to replicate in mathematically and physically right CG environment. Anime Pers Deformer had been developed to simulate this kind of Anime specific perspective. By manipulating imaginary vanishing points you can adjust and distort the perspective. MAYA

MAZE Last Update: Aug. 01. 2011 Simulate complex crowd within Maya This is a crowd simulation plug-in for Maya. After setting up your scene, simulated characters move while avoiding obstacles and without colliding each other. This tool use some basic "goals" and "events" concept and enable the simulation of a wide range of scene (people walking and crossing at an intersection, large scale battle scenes…). MAYA