The second part focuses on the structure of a good character model guide to the basics of the Blender program so even a reader who has never worked with the .. before and only have background in 3D programs like 3DS Max or Maya. Today: Maya & Animation Preliminaries – Ross Tutorials. ✸ Maya interface: Preview of character models: PolyFacecom (aracer.mobi). ○ Next Class. Note: This tutorial assumes a basic understanding of Maya's interface and The first step to creating any model is looking at reference images of what you are.
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Second, I want to acknowledge all of the Maya authors and artists I've encountered Creating Your First Biped Character: Modeling Basics. 41 aracer.mobi: A 26 page Rigging Checklist that is the shortened step-by- step. Character Animation Tutorial. aracer.mobiew. aracer.mobiing. aracer.mobiing. 5. you the exporting data process from Maya to Virtools for a character animation scene. tutorial, we'll look at polygon modelling Create a cage mesh in Maya and begin modelling the mouth . though if the character is going to have hair, you.
This basic tutorial teaches you how to use Maya Live. Hotbox Hotbox is a great feature of Maya that will increase your speed and productivity. It allows artists to access every tool in Maya with the keyboard space bar, without having to waste time searching for tools and menu items all over the large Maya interface.
Irradiance Particles in Mental Ray Learn how to use the powerful irradiance particle system in Mental Ray to lower your rendering times while balancing the rendering quality of your image using custom techniques and settings.
For Advanced Users The tutorials featured below come from skilled professionals who work in the CG industry and are intended for advanced users of Maya software. You can use these techniques in other 3D software packages as well. Some of the tutorials use other packages like ZBrush, Mudbox and Photoshop in combination with Maya for best results. Before you begin any of these tutorials, make sure you have enough processing power: most of these tutorials are resource hungry.
If you perfect the basic techniques covered above, try to use your skills to work on some of the high-quality projects featured below. Practice is the key to success.
This tutorial focuses more on texturing. Sohrab Making Sohrab, by Farzad Dalvand. Male Green Frog Tutorial teaches you how to create a photorealistic render and 3D model that can be used for animation. Spitfire War Plane In this tutorial, you see how to model a Spitfire war plane. Swimsuit Babe Make an attractive woman, by Jimmy Chow. Fruit Tarts Make lovely fruit tarts, by Hau Ming.
The author, Piotr Fox Wysocki, has done everything in detail to give it a real-life look. Prince Making Prince, by Robert Vari. Prehistoric Animals A demonstration of how this artist renders realistic-looking prehistoric animals. Breaking Subsurface Scattering into Render Layers in Maya This tutorial is about the process of breaking the subsurface into rendering layers and compositing them in post.
Cheese Platter Detailed tutorial on making a cheese platter, by Hau Ming. Quiet Room Making a quiet room, by Yan Chan. The detailing is done with ZBrush, texturing and matte painting and shave and haircut with Adobe Photoshop, and the finaly rendering with Mental Ray. Varga Making Varga in Maya. Trapped Making Trapped, by Massimo Righi. Character Walk Through Maya tutorial on creating a stunning character.
Facial Animation Rig for Delgo This tutorial from Warren Grubb shows how he created a facial animation rig for this character, which is more powerful and flexible than standard multi-targeted blendshape rigs. Next-Gen Game Car Model a game car without blueprints. This tutorial covers modeling, UV mapping and texturing. Mini Cooper This Maya tutorial focuses on shading and texturing. Foot Modeling a foot in Maya, by Steven Stahlberg.
We'll take a look at using a smoothing workflow and use deformers to help shape our models. We're going to take a slightly different approach to this introduction tutorial, in that we're not going to talk about all of Maya's modeling tools, but rather focus on the tools that you're going to find most useful as you begin the modeling process. We'll start by blocking in the main shapes of our stun gun asset, making sure to place edges strategically for later use.
We'll use extrusions and edge loops to create hard surface detail and NURBS curves to aid in building specific elements. We'll use a variety of polygon and NURBS-based tools and we'll learn to make sure everything fits together to create a cohesive model. We'll finish the process by cleaning up our scene and putting our geometry into an appropriate hierarchy.
These courses are designed to be taken in sequence so we really encourage you to start with previous volumes before continuing with this section. We'll start by blocking in the shells for our robotic drone asset and shaping it to our liking.
We'll then use polygon modeling tools to create separate, fitted panels and mechanical detail. We'll build up our model methodically, adding structural pieces that make sense and make the model visually interesting.
We'll combine polygon and NURBS geometry to create different pieces, and deformers will help us shape parts of the drone. We'll talk about working efficiently as we model, only building what we need and then duplicating the results.
In the end we'll have a robotic drone and you'll be ready to take your knowledge into the next volume. These courses are designed to be taken in sequence so we really encourage you to start with Volume before continuing with this section. Table of contents Quick Start to Modeling in Maya: Volume 41h 31m Advanced These advanced-level courses will give you a taste of creating models for more specific purposes.
The environment sets the stage for the story to play out and can be comprised of hundreds of assets organized into multiple set pieces.
Props and environment models are more forgiving regarding their topology because they rarely need to deform. They do present their own challenges however. In this course, we will talk about some of those specific challenges environment modelers will face as they start out. We'll talk about different modeling methods and how our approach to smoothing the models affects the workflow we use.
We'll also talk about cleaning our assets and creating an organized hierarchy within our scenes. In a new Maya scene, create a sphere and a cube and translate them away from each other. With parenting, we select the child object, then the parent and then perform the command.
With constraints, it's the opposite. First we select the object that will be in charge, then the object that will be affected and then perform the command.
Make sure Maintain Offset is unchecked, leave all the other settings in their default state and hit Apply. You'll also notice that in the Channel Box the translate channels are highlighted in blue. This indicates that a constraint is active here. We'll leave constraints here for now as we will be coming back to them many times later but do have an experiment with the other types of constraints to get a feel for how they could be useful.
Using a point constraint to drive the position of the sphere Joints Okay, so now we come to the nuts and bolts of rigging in Maya: joints. Like all other objects in Maya, joints are a transform node; they can be translated, rotated and scaled.
But joints are unique and what makes them unique is the fact that they, and only they, have orientation. Known as the jointOrient, this allows a joint to orient along an axis. You'll notice this when you have a chain of joints: each parent joint will be orientated to aim at its child joint.
Let's put this to the test now and also cover the creation and editing of joints. Now, in the Front or Side view, use the left-mouse button to create a few joints. When you have created a chain of joints, hit Enter on the Keyboard to exit the tool.
You can also exit the tool with the right-mouse button but this will create a final joint where the cursor was in the viewport. Open up the Outliner and you'll see that the hierarchy of our joint chain is that of a parent-child relationship. Rotate the root joint and the rest of the chain will follow. This is also known as Forward Kinematics movement: rotational movement that works from the root down to the tip.
Now set the Rotate tool to Local under the Rotate Tool Settings and select the first joint in the chain. You should notice that the joint is orientated towards the child joint and the rotate channels all have zero values in them. Pop over to the Attribute Editor and under the Joint tab you will find the jointOrient.
Here you can see how the joint uses the orientation to aim at the child joint rather than have values set in the rotate channels. Activate the Translate tool, set the mode to Object and you should also notice that the joint aims at the child joint along the X-axis. This is known as the Aim Axis.
The translate X value of the child joint also gives us the length of the parent joint. This is very useful for adding extra features to your rig such as squash and stretch. Now we shall place the joints or orient them into the correct place within the mesh. I am pretty passionate about this point: if there is one thing that I feel is uber-important when rigging, it is the clean placement of joints.
As the joints are, very simply, pivot points, the placement of them will dictate how the character articulates. Bad placement equals bad deformation. So here are some of the guidelines that I follow when creating joints.
Firstly, only the root joint in a chain can have translate values in X, Y and Z. All children joints can only have a value in translate X giving us the length of the joint and all Rotation values for every joint must be at 0. When we actually come to creating the rig, we'll use some of Maya's default tools as well as a few scripts to aid us in the speedy creation of joint chains, my favorite being Michael Comet's Mel Script Suite.
Two of the most important features of joints, the jointOrient and the translate X the length of the joint Rotation Order and Gimbal Lock Rotation Order refers to the order of operation in which the orientation of the selected object will be evaluated in.
Let's pick this apart in Maya. In a new scene, create a 3-joint chain that mimics an arm in the front view.
What this means is that the Z axis will carry both the Y and X axes. The Y axis will carry the X axis and the X axis will not carry any other axis. If you read it from right to left, it makes more sense, I find. Now if you have your rotate mode set to Local, you may think that this is not the case as you rotate the shoulder around. So set the rotate channels to 0 for the shoulder and set Rotate mode to Gimbal. Rotate the arm now and you will be shown the true representation of what the axes are actually doing.
Rotate the Y channel degrees and very quickly, you now have 2 axes sitting one on top of the other: the X over the Z axis.