Soft focus refers to an effect where the image isn’t in focus, yet it’s not entirely out of focus either. In Photoshop we can control the way light falls onto an image to replicate this traditional photographic lens effect.

Before

After

Step 1

Add a slight blur to your image by going to Filter>Blur>Gaussian Blur. Set the Radius slider to 2px, just to reduce sharpness.

Step 2

Load your Channels palette from inside the Window menu, and Cmd/Ctrl-click on the RGB Channel’s thumbnail. This will load a selection over the bright parts of your image.

Step 3

In your Layers palette, press Cmd/Ctrl+J to create a new layer containing the selected highlights. Change this layer’s blend mode to Screen.

Step 4

Go back to your Gaussian Blur filter and finish off the effect by applying a blur of 9px. Hit OK and control the opacity of the layer if needed to reduce the effect.

Swift-fix fixturing and work holding system works with range of measurement equipment.

Includes updated material wizard and cost models.

Direct modeling technology for casting design and simulation.

Automatically feed engineering data to NetSuite manufacturing solution.

Includes automatic decomposition tool and true domain decomposition.

Enables developers to display 300 different file types on a website.

Supports Revit MEP 2014 and DWG file import.

Maxwell Render features its own powerful material manager – Rob Redman demonstrates how to make the most of it

Download the supporting files and video for this tutorial.

Many people set up their scenes in a host application, and then export to Maxwell. This can make life easier if you’re used to setting up textures and shaders in your favoured host, but you may miss out on some of the options Maxwell offers.

So next time you work on a scene, don’t use your host’s material manager, but use the Maxwell one instead. It offers many kinds of surfaces, all of which are easily layered for complex and realistic results.

The trap people seem to fall into here, though, is not knowing which control to use to set up what’s showing from the lower layers through to the top. Each layer has a weight control with a slider and a textured control slot. This seems like the place you’d load in an alpha image, which enables you to blend layers, but in fact it isn’t. To load an alpha image, you need to go up a level, so click the word ‘layer’ for the layer that houses the uppermost part of the material. You’ll now see the opacity control. Click the texture slot of mask map, then the folder icon at the bottom right to navigate to your alpha file. It’s also worth noting that you have control over other aspects of the image here, such as inversion, brightness, and contrast, so you may not need to edit the image in Photoshop if there’s a small fix needed.

This layering system is very flexible, and allows you to build hugely complex shader systems all within one material. For example, you could start with a matte ceramic finish; add a layer of dust and scratches (note that you could just add bump here – you don’t have to have colour in every channel); followed by a glossy SSS layer, as if the dust is trapped under a lacquer; and on top of that you could have a light-emitting layer. Maybe you want to add some surface detail that a bump isn’t suitable for? Well, just add a displacement layer.

The opportunities are endless, and layering up elements is not only easy, but fun, and with Maxwell Fire running you get instant feedback, too.

Layering multiple textures together in Maxwell Render is easy and fun

Layer materials

Create a layer

Add a layer to a basic material by right clicking the layer panel. This will give you the option of the available layer types, such as a BSDF or Displacement layer. For this example use a normal layer.

Load a texture

Load a texture for your top layer using the texture map button to navigate to your chosen image. I used this mossy texture to go with a grungy alpha to control its placement. If it’s too saturated or too bright you can use the image controls to adjust it.

Add layers

Your preview will show a pure mossy sphere. Click the word ‘layer’ in the layer panel (ensuring it’s the top, mossy layer) and in the opacity control, load your alpha image. I used a simple gradient with some noise and grunge. It was the wrong way round, so I chose the invert option in the image controls.

3D World technical editor Rob Redman is a CG artist and trainer with over 10 years of experience in the field

What’s next for Augmented Reality? Find out at our sister site, Creative Bloq.

The conference was well attended. With quality professionals
from around the world, the DCS staff was excited to discuss current trends and activities
with companies from Australia, India, South Korea, Japan, China and Europe. With the
world of quality constantly evolving, it is important to keep in touch with other
professionals and experts.

The conference was well organized and executed. Between lunches,
keynote speaking engagements, sessions, activities and evening networking, the ASQ
Conference kept all of its attendees busy. Look below at some pictures from the event.

DCS is looking forward to attending more ASQ events in the
future. Are you looking to be involved? Visit
ASQ’s site here. For more information about DCS’s
quality solutions, and how they can increase the quality of your product while reducing
production costs, visit www.3dcs.com.

The Dimensional Control Systems Team

The installer for the Autodesk Building Design Suite Ultimate doesn't show the Civil View option under 3ds Max Design, therefore Civil View will not get installed. 

The Civil View installer file is present on the media in the x86\Components\CV\ folder, to install it all you need to do is run CivilView2014.msi

As you can see
from the infrequency of the posts on this blog, it's been a busy few months.

At the end of March we announced the 2014 release of products,
with most applications being available to download to subscription customers
soon after.

In the run up to and subsequently since the launch, most of us at
Autodesk have been busy running around presenting at customer launch events and
partner launch / training sessions. Although there are still a few to support,
hopefully we can start to breathe again and spend at least a few nights at
home!

Anyway, in the course the last couple of months a few common
questions have arisen, which I thought it prudent to highlight to the wider
audience.

Apart from what’s
new in the individual applications, for those of you on subscription with a product
suite will notice that you now have access to a wider toolset.

New applications for Design Suite customers

For example, standard
design suite such as Autodesk Product Design Suite Standard you will notice within the
installer that you have now have AutoCAD
Raster Design and Autodesk Recap.

AutoCAD Raster Design has been available to
purchase for a number of years, however with this now being included in the
standard suites, if you do receive or still have a need to convert raster based
drawings into vector then you now have a tool to help achieve this included in
the box.

See here for an overview.
http://www.youtube.com/watch?v=1-Wg6BOOS2c

Autodesk Recap is a new application that gives the
user the flexibility to combine, filter, navigate and annotate point cloud
data.

If you’ve already used point cloud information
within 2013 versions of Autodesk Inventor, Autodesk Revit and Autodesk AutoCAD
you will notice in the 2014 that we no longer directly read in the native point
cloud data such as those generated from Faro, Lieca or any of the other scanner
vendors. The reason for this is, you can now process these point clouds via Autodesk
Recap, which will allow a user to combine multiple files, filter noise, remove
unwanted points, set units and co-ordinate systems, visualise and analyse (such
as elevation or intensity) and a whole host more.

See here for an overview with Factory Design Suite..
http://www.youtube.com/watch?v=lyrhXux5YCE

A significant change for users of Autodesk Product Design Suite Premium is that it now includes Autodesk Inventor Professional. All the
simulation tools such as FEA and Dynamic Simulation plus mold tool design and
plastic fill analysis are now available to these users.

Autodesk
Product Design Suite Ultimate now includes Autodesk Navisworks
Manage, giving you the capability to run clash detections with aggregated data from
a variety of sources including point cloud information.

Autodesk Inventor Fusion

That’s all well and good but something that has popped up
is, “Where has Inventor Fusion disappeared too?”

Well this product is no longer being included in the
Suite installations, and although it is available to download from Autodesk
Labs, you can expect to see its replacement Autodesk Fusion 360 coming to
market soon.

To download Inventor Fusion, use this link http://labs.autodesk.com/technologies/fusion

For customers using our simulations tools such as Autodesk
Simulation Mechanical and Autodesk Simulation CFD, a supported version of Autodesk
Inventor Fusion is still included in the media.

Autodesk Simulation 360 Pro

Talking about simulation tools, if you are
currently using Autodesk Sim360 Pro,
for 2014 in addition to cloud based Simulation Mechanical and Simulation CFD, this
toolset also now includes Autodesk Robot
Structural Analysis which gives users the power to be able to simulate full
structural analysis including code checking.

Autodesk Inventor Publisher

If you are currently a user of Autodesk Inventor Publisher 2013 on subscription you will have
noticed that there has been no 2014 flavour released. To confirm the state of
play, 2013 R1 was made available on
subscription center a couple of weeks back, this version give users
compatibility with 2014 file formats.

Autodesk Vault

One of the big changes for this product line is
that Autodesk Vault Collaboration has been discontinued. Although there is no
need to panic, as all customers with 2013 versions of this product on
subscription will be auto fulfilled with Autodesk Vault Professional. Customers
that have Autodesk Vault Workgroup will see the 2014 version ship in the not
too distant future.

Well what else is new?

I’ve only highlighted a few of the overall changes
to some of our offerings, for FY14 you can expect to see a whole host of new
technologies being made available to customers, so we’re not finished yet.

On March 26th, in a blog post titled “Announcing Airstone and the closure of Tinkercad“, Kai Backman, founder and CEO of Tinkercad, announced an “updated roadmap” for his company involving two things: (1) development of a new simulation environment called Airstone, and (2) shutting down of Tinkercad, their browser-based easy to use 3D geometry creation [...]

Those of you who activley read the press releases will have seen that on Saturday, Autodesk announced the aquisition of Tinkercad an easy-to-use browser-based 3D design tool.

Although it's way too early to say exactly how the roadmap will look, you can expect to see this offering add to and enhance the 123D family of applications.

See the business wire release here

http://www.businesswire.com/news/home/20130518005006/en/Autodesk-Acquire-Tinkercad-Easy-to-Use-Web-Based-3D-Design

Or the announcement from Kai Backman, Founder & CEO of Tinkercad here

http://blog.tinkercad.com/2013/05/18/autodesk_tinkercad/

Designers who can remain focused on the finer details are uniquely positioned to grasp the opportunities presented by our brave new digital world, argues Dean Johnson

Des Plaines, IL, May 17, 2013 -- URISA's Vanguard Cabinet is pleased to announce that an Outreach Committee has been established to focus on student e

Maine, Portland, May 17, 2013 -- SPAR Point Group, organizer of SPAR Europe 3D Measurement & Imaging Conference and European LiDAR Mappi

Darmstadt, Germany, May 2013 – PROSTEP supports the annual PTC Live Global convention in 2013 as a Gold Sponsor. PTC Live Global is the premier

Any Autodesk Inventor user who has spent time creating drawings will be familiar with the frustrations of non-sequential identifiers for view labels. You know what I’m talking about; you create a few views, delete one or two, create a few more and so on and so on. Then you have to go back through all [...]

Earlier this year, Autodesk announced a series of new releases amongst its range of products, including updates to its Entertainment Creation Suites, Autodesk Maya, Autodesk 3ds Max, Autodesk MotionBuilder, Autodesk Mudbox, Autodesk Softimage and Autodesk SketchBook Designer.  These enhancements 3D animation enhancements were launched recently at a the Autodesk Unfold Virtual Event, and it’s now Australia’s turn to get a first hand look at the award-winning 3D animation, visual effects and creative tools, that are used by award-winning artists and the rest of us too.

Join Autodesk in Melbourne on 3^rd June and in Sydney on 4^th June and hear from industry experts who will share their experiences in creating award-winning, high-end effects for films and advertising. 

Confirmed as one of the speakers is Matt Estela, the Lighting Lead from Animal Logic, Australia’s premier film, animation and visual effects studio.  Fresh from working on "The Great Gatsby", we spoke to Matt about the challenges he faces daily, his experiences on Gatsby and his insight into working with Autodesk’s creative software.

Currently leading a team of 10 people, Matt’s responsibilities cover the tricky terrain of combining complicated technical aspects with artistic and emotional notes.  On a visually demanding film like "The Great Gatsby", the complications are multiplied when you add in the fantastical, hyper-real world typical of Baz Lurrman films.

The sheer amount of work that went into Gatsby was one of his most recent challenges.

 “For example, we’d be rendering a street outside of New York. So we’d assume that we’re doing a road and some buildings. And we’d get a note back saying "No, no we want cars parked everywhere, we want cars careening down the street, we want people in every car, we want people walking down the street, we want pigeons, we want rats, we want dogs, we want kids playing, we want to see ferns and flowers in every window, ' said Matt. “It just kept going on and on and on and by the end of it, we went easily 3, 4, 5 times above how much we thought we could handle, with crazy amount of stuff packed into every frame” said Matt.

The other challenge, synonymous with Baz Luhrmann films was the elaborate sets and beautiful costumes and trying to match that so that things would look real, but not too real.  “It’s a difficult balance, how do we capture that hyper-real, over-thetop magic, but not make it look fake.  Trying to balance those things that were real, but not quite real and make it look fantastical, but still make it look real,” said Matt.

It took an incredible team effort of lighters, artists and technicians to face those challenges, come up with theories and tests, suggest great ideas and go above and beyond to deliver what is undoubtedly one of the most anticipated films of the year.

Animal Logic has long been at the forefront of VFX technology, always pushing the boundaries and customising the available tools to suit their specific requirements.  They have developed many proprietary systems themselves that sit on top of other applications like RenderMan from Pixar as well as the Autodesk suite. “We don’t tend to use a lot of the stock standard stuff, we have customised Maya end to end, which is one of its strengths” said Matt Estela

“Autodesk M&E software forms the foundation of our VFX platform here at Animal Logic. So the modeling team will be modeling in Maya, the effects stuff is all done in Maya, shading in Maya, and the lighting team loads all the assets into Maya,” said Matt.

“Same with the effects side, we had our own way of doing the effects simulations, which we implemented within Maya. And same with the material shading side, just using a plugin for Maya made by Animal Logic but it all sits in Maya.”

Even though everything that Animal Logic has is customised, it is still based on Maya, which means that new team members are able to get up to speed very quickly, saving valuable production time, while giving people more creative freedom to work with the best tool for the job at hand.

 “If you worked in an office environment, people would assume that you know, Microsoft Office.  Maya is just the same kind of base expectation, that you should know how to run scenes, you should know how to run the lights, how to run the camera.  Maya is really fundamental business knowledge in this industry,” said Matt.

Come and find out more about Autodesk Maya 3D animation and visual effects software and Autodesk Smoke professional video editing software at the Autodesk events in Melbourne and Sydney.

Autodesk announced yesterday at Maker Faire which is essentially the center of the universe event for DIY & Makers our intent to acquire Tinkercad. Tinkercad is an easy-to-use browser-based 3D design tool and will become part of the popular Autodesk 123D family of apps and supports Autodesk’s vision to help anybody imagine, design and create anything.. The addition of Tinkercad to Autodesk will help broaden the The acquisition will also revive the Tinkercad service and community, despite a previously announced shutdown by its founders and creators.

Tinkercad has been one of the favorite tools of many Makers just wanting a simple web based 3D design tool to create 3D models for 3D printing. With Autodesk as a new parent and placed into 123D Family it is not only not going away as was the case before Autodesk, but it will be improved and given much love and attention.

Tinkercad Blog Post:
Tinkercad has found a new home at Autodesk

Go give Tinkercad a try, its super simple and a fun way to create 3D geometry for 3D printing or just for fun.

http://www.tinkercad.com

We caught up with graphic design, typographer and D&AD winner Paul Barnes after his talk at at TYPO Berlin 2013. It was a presentation that featured lots of graveyards. Here's what he had to say about it ...

In Greek mythology there’s a king called Midas who, as the story goes, had the power to turn anything that he touched into pure gold.

Inspired by that tale, we will turn a simple vector line into a 3D, minimalistic gold typography using Illustrator, CINEMA 4D (C4D) and Photoshop.

Over the next few steps you will learn how different tools and software can come together to produce a richly designed artwork with killer execution.

The project will take, at most, four or five hours to create, including render time. You will be spending that time perfecting the curves in Illustrator, as well as getting the perfect lighting and shaders in CINEMA 4D.

To complete the tutorial you will need to use the V-Ray plug-in and the GreyScaleGorilla HDRI Light Kit in CINEMA 4D (http://tinyurl.com/GorillaPlug). These are not strictly necessary, but are recommended for getting the best results.

Once we’ve rendered the objects in C4D we’ll move to Photoshop for post work. You’ll learn how to adjust lights and shadows by applying different adjustment layers and filters.

After completing this tutorial you will have all the skills for creating 3D typography using your own handwriting.

Read more in Advanced Photoshop 109, now on sale at www.imagineshop.co.uk and www.greatdigitalmags.com

In a world where gadgetry rules, operation has become just one more thing to tick off in our already crammed workflows.

This isn’t the case with Canon’s PIXMA Pro-100. As a print solution, it’s as simple as it could possibly get, giving you one less thing to worry about.

This plug-and-print device personifies its straightforward functionality with its sleek exterior and the minimalist design will appeal to styleminded consumers. Yet this doesn’t make the PIXMA Pro-100 an outmoded machine. Quite the opposite.

Hidden inside is a range of advanced functional features, such as the eight-cartridge system. The one black and two-greys deter shadow saturation to produce superb black and white prints.

Canon has also improved tonal presentation by including lab-quality print heads with this device. These apply micro ink droplets for precise details and smooth gradients.

By using micro ink droplets, the printer’s laying of ink is more controlled and so print head cleaning becomes minimal when swapping between paper types.

This makes the PIXMA Pro-100 a very low-maintenance device, which is great for those working in busy photo or print studio environments.

Professional users will also appreciate how the picture is matched with performance; an A4 full colour, full bleed print at the highest quality takes a little under a minute to print. Moreover, ink drying times were almost instant, even when printing heavy  areas of black to A3 sizes on glossy paper types, not to mention the machine’s 4800dpi print resolution.

At a recommended retail price of £469, the PIXMA Pro-100 will no doubt become value for money – if you have that sort of funding to spare, that is. Its simplicity of use, discreet size and fast production times mean that you will soon make your money back while producing commercial quality prints every time.

Killer Features

Footprint

The PIXMA Pro-100 is small for an A3 printer and folds into a compact design. However, this may lure you into thinking it’s weightless, which it isn’t.

It’s packed with advanced technology, and fairly heavy. Make sure you’re happy where you initially put it – you won’t want to keep repositioning it.

Longevity

When we spoke with Canon experts during our tests, they assured us that the print life of this device has never been better.

When used with Canon’s ChromaLife 100+ inks and papers, the PIXMA Pro-100 prints are guaranteed a 50-year shelf life, so your holiday snaps won’t fade anytime soon.

Less noise

A smaller build size is also coupled with well-oiled loading and printing mechanisms. This means that you won’t hear any jarring noises as the PIXMA
Pro-100 churns through your pages.

It simply goes about its business quietly, making it the ideal print solution for a serene and focused workplace.

Wireless

Printing over Wi-Fi is simple with this printer. You can download the Canon Easy-PhotoPrint app from iTunes in order to get remote access to the printer from an iOS device.

Set the paper size, media type and then press print on your touch screen – the PIXMA Pro-100 kicks into gear instantly.

A joint effort where character modelling skills and environment creation combine to create a fun image. Buon appetito!

Artist: Amir Akbarshahi and Navid Khezli
Title: Dinner Dream
Software: 3ds Max, V-Ray, After Effects

Amir Akbarshahi says: “In my career, I work on animation and special effects projects, and have experience in other areas of 3D. I take my inspiration from life in general, and from things I see in my environment.

My friend Navid Khezli and I created this image, which we call ‘Dinner Dream’. Navid made the character model, and I created the location, shaders for the character and objects in the scene, plus I did the lighting, compositing and rendering. To composite the image, I used five render passes.

“I used 3ds Max to create the scene, composited the image in After Effects and rendered with V-Ray. I also used some models from www.evermotion.org. It took us about four days in total to finish the project. I wanted to immortalise the image of a gluttonous boy eating his dream meal!”

Get published

If you would like to see your work featured in 3D World, email us, attaching a low-res version of the image.

We caught up with Steffen Fiedler, Jonas Loh and Stephan Thiel – collectively known as Studio NAND – to find out more about their forward-thinking talk at TYPO Berlin 2013

It’s hard to quantify what makes good digital art and how traditional media ties in with this. Its application was once perceived as an opposition to synthetic styles.

However, in recent times the pair became an inevitable coupling of creative resources, producing stunning mixed-media works.

At present, digital paper craft is trending and the appeal of this technique/style is apparent. Digital paper craft is both imaginative and playful, concerned with vibrant colour and expressive shapes.

Geometric styles are particularly popular, no doubt due to being highly accessible and ultimately retro.

So, in this Resource Project, we explain how to construct, shoot and edit paper craft elements, which can be used in our own digital artwork. We also talk to some professional designers who promote this trend.

Read more in Advanced Photoshop 109, now on sale at www.imagineshop.co.uk and www.greatdigitalmags.com

WantedDesign, an international design event of lectures, exhibitions, and workshops, is now showing in New York City at the Tunnel at the Terminal Stores building.

David Trubridge returns to the event, having just returned from the Milan Design Fair, where he exhibited 'The Elements', an installation of hanging sculptural forms with Swarovski crystals, acrylic, and anodized aluminum.

At WantedDesign David is launching his new light, Manuka.

Quarter-to-quarter negative 2.9%—Desktop discrete sales up

TIBURON, Calif. — (BUSINESS WIRE) — May 17

Discover the latest 2013 NCSIMUL SOLUTIONS features
Hall 4 - Booth D-143
May 17, 2013 - SPRING Technologies, vendor of solutions that enhance the

When I go biking during the summer, I rely on the frame of my bicycle to withstand stresses such as vibration and impact. As I speed down the trail, I think about the engineers and their process of designing a product that adeptly serves the needs of their customers. How did they test out the bicycle to make sure it doesn’t fall apart if the path becomes rocky? If the bike falls over, how did they make sure that the pedals don’t fall off? How do the engineers evaluate which loads can highlight problems in the design?

As it is ridden over rough ground the bicycle frame has to withstand not only the loads from the pedals and the weight of the rider but also the vibrational loads from the suspension system.  The danger is, if the vibrational loads are at the same frequency as the products natural modes of vibration, resonance can occur and the bicycle could literally shake itself apart.

Some design issues are hard to detect because you can’t see them visually. The SolidWorks Failure Mode Analysis video series will allow you to figure out some of the ways to detect hidden flaws in your designs using SolidWorks Simulation so that you can avoid product recalls and save time and money. The video on Vibration vulnerabilities will show you how you can use SolidWorks Simulation to fix your vibration vulnerability by allowing you calculate resonant frequencies, visualize natural vibration modes and dynamically test for vibrational stresses as you model product operation.

Whether you design complex machinery, hi-tech, or consumer products, Simulation helps every engineer vanquish their own design demons.

With its easy to use, powerful capabilities SolidWorks Simulation is the ideal tool to ensure your designs avoid this complex failure mode. SolidWorks Simulation allows you to easily calculate resonant frequencies and visualize the natural modes of your product design. 

To learn more about how you can revise and enhance your product design, such as a bike frame, for optimal service, watch the video.

Forum to focus on emerging technologies for the mining and resources industry.
TEMPE, AZ, May 16, 2013 – CADsoft Consulting Inc., a premier pro

May 17, 2013
Ellison Machinery Company is hosting a special event on May 22 organised by Edgecam reseller Solid Products, to demonstrate how the righ

May 17, 2013 - To most of the CAD users, the UI is the first look of a new program, and the entire experience would be impacted by the acceptance of U

Aachen, May 15, 2013: KISTERS has announced the release 12.0 of the 3DViewStation. The KISTERS 3DViewStation is known for the modern user-interface, h

DesignX - ICFF 2013
May 18-21
Jacob Javits Convention Center, New York, NY

DesignX starts tomorrow! Join the DesignX meetup and attend the launch party. Limited seats are still available in the Grasshopper workshop. If you haven't registered yet, sign up today!

Workshops include:

• Intro to Parametric Design: Visual Programming with Grasshopper
• 3D Printed Fabrics: Modeling Interlocking Elements with Rhino 
• Intro to Physical Computing for Designers (Arduino)
• Interactive Modeling: Responsive Design with Firefly
• Hands-on Desktop Prototyping for Designers

May 17, 2013 - (Chicago, IL) – SIGGRAPH 2013, 21-25 July at the Anaheim Convention Center in California, released its list of 2013 Emerging Tech

Autodesk University call for proposal deadline is this Sunday. Here's the link with all the information.

Do you make regular use of AutoCAD Architecture (ACA), AutoCAD MEP (AME) or AutoCAD Mechanical (ACM)? If so, I’d be interested in hearing from you. First, some background. Something I haven’t yet talked about on this blog is an additional...

May 17, 2013 -- Getmapping has won a bid to supply Scottish Government with matched ‘True Colour’ (TC) and ‘Colour Infra-Red&rs

/* Style Definitions */
span.prnews_span
{
font-size:8pt;
font-family:"Arial";
color:black;
}
a.prnews_a
{
color:blue;
}
li.prnews_li

Marine Propeller module for torsional vibration analysis approved.

Combines reverse engineering, CAD, inspection tools.

3ds Max failed to find any “RuntimeRequirements” nodes under “ApplicationPackage” node in

“C:\ProgramData\Autodesk\ApplicationPlugins\Autodesk DrawingTabs.bundle\PackageContents.xml”. 

Please check its format. 

3ds Max failed to find any “RuntimeRequirements” nodes under “ApplicationPackage” node in

“C:\ProgramData\Autodesk\ApplicationPlugins\UDSG-LayerOrder.bundle\PackageContents.xml”.

Please check its format. 

Otherwise, the software seems to function okay after the error message window is closed

If you want to turn off these message, put the following entry in 3dsmax.ini.

[ExchangeStore]

ShowExchangeStoreMessageDialog=0