MASTERING MAYA 2012 PDF
for choosing Mastering Autodesk Maya Mastering Autodesk Maya Mastering Autodesk 3ds Max pdf Mastering Autodesk Revit MEP pdf. Autodesk® Media & Entertainment Technology Innovators Maya is big. It is really, really huge. This book and all the exercises within. Ce document au format PDF a été généré par Adobe InDesign CS6 Mastering Autodesk Maya [DeLUXAS].pdf (PDF, Mo).
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Thank you for choosing Mastering Autodesk Maya Maya introduced the Ubercamera to the Camera Sequencer, which gave you the ability to. Mastering Autodesk Maya Mastering Autodesk Maya Read an Excerpt Excerpt: (PDF) Excerpt: (PDF) Excerpt: (PDF) Excerpt: (PDF). The exclusive, official guide to the very latest version of Maya. Get extensive, hands-on, intermediate to advanced coverage of Autodesk Maya , the.
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Mastering Autodesk Maya 2012
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Like this presentation? Why not share! An annual anal Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. Making nParticles Collide with nRigids. Passive Collision Objects. Collide Strength and Collision Ramps. Using nParticles to Simulate Liquids. Creating Liquid Behavior.
Converting nParticles to Polygons. Shading the nParticle Mesh. Emitting nParticles Using a Texture. Surface Emission. Using Wind. Shading nParticles to Simulate Flames.
Creating an nCache. Using the Hardware Render Buffer.
Controlling nParticles with Fields. Using Multiple Emitters. Volume Axis Curve. Working with Force Fields. Painting Field Maps. Using Dynamic Fields.
Rendering Particles with mental ray. Making a Polygon Mesh Dynamic. Applying nCloth Presets. Making Surfaces Sticky. Creating nConstraints. Additional Techniques. Creating nCloth and nParticle Interactions. Creating an nParticle Goal. Controlling Collision Events. Crumbling Tower. Adding nParticles to the Scene. Sending the Debris Flying Using a Field.
[PDF Download] Mastering Autodesk Maya 2012 [PDF] Full Ebook
Instancing Geometry. Animating Instances Using nParticle Expressions. Randomizing Instance Index.
Connecting Instance Size to nParticle Mass. Controlling the Rotation of nParticles. Bullet Physics. Creating an XGen Description. XGen Library. Rendering an XGen Description. Animating Using Dynamic Curves. Using Forces. Adding Hair to a Character. Applying Hair to a Surface.
Determining Hair Shape. Styling Hair. Start and Rest Positions. Painting Follicle Attributes. Modifying Curves. Curling, Noise, Sub Clumping, and Braids. Rendering Hair. Creating Clothing for Characters. Modeling Clothes for nCloth.
Using Constraints. Connecting Buttons to the Shirt. Applying Forces. Painting nCloth Properties. Using 2D Containers. Adding an Emitter. Using Fields with Fluids. Using 3D Containers. Emitting Fluids from a Surface. Making Flames. Igniting the Fuel. Filling Objects. Rendering Fluid Containers. Creating Fluids and nParticle Interactions.
Emitting Fluids from nParticles. Creating Flaming Trails. Creating Water Effects. Bifrost Liquid Simulation. Shading Bifrost Liquids. Guiding Liquid. Creating an Ocean. Creating an Asset. Publishing Asset Attributes. Using the Asset Editor. Viewing Assets in the Node Editor. File References.
Referencing a File. Bounding-Box Representations. Setting the Size and Resolution of the Image. Setting the Film Speed.
Creating and Animating Cameras. Creating a Camera. Setting Camera Attributes. Creating a Camera-Shake Effect. Using an Expression to Control Alpha Offset. Creating Custom Camera Rigs. Swivel Camera Rig. Swivel Camera Rig Asset. Applying Depth of Field and Motion Blur. Rendering Using Depth of Field.
Creating a Rack Focus Rig.
Adding Motion Blur to an Animation. Using Orthographic and Stereo Cameras. Orthographic Cameras. Stereo Cameras. Using the Camera Sequencer. Working in Autodesk Maya.
Chapter 2: Introduction to Animation. Chapter 3: Hard-Surface Modeling. Chapter 4: Organic Modeling. Chapter 5: Rigging and Muscle Systems. Chapter 6: Animation Techniques. Chapter 7: Lighting with mental ray. Chapter 8: Chapter 9: Texture Mapping. Chapter Paint Effects.
Rendering for Compositing. Introducing nParticles. Dynamic Effects. Hair and Clothing. Maya Fluids. Scene Management and Virtual Filmmaking. It is really, really huge. The book you hold in your hands, and all the exercises within it, represents a mere sliver of what can be created in Maya. Mastering Maya takes years of study and practice. This book is meant to be a guide to help you not only understand Maya but also learn about Maya.
The title Mastering Autodesk Maya implies an active engagement with the software. This book is packed with hands-on tutorials.
This book is not a description of Maya; it is an explanation illustrated with practical examples. The skills you acquire through the examples in this book should prepare you for using Maya in a professional environment. Features that have not changed significantly over the past few versions of the software, such as Maya Software rendering, standard Maya shaders, and older rigging techniques, receive less attention since they have been thoroughly covered elsewhere. When you read this book and work through the exercises, do not hesitate to use the Maya help files.
The Maya documentation has a very useful search function that allows you to find complete descriptions of each control in the software. To use the help files, click the Help menu in the Maya menu interface.
The documentation consists of a large library of Maya resources, which will appear in your default web browser when you access the help files. Experienced Maya artists never hesitate to use the help files to find more information about the software; there is no shame in asking questions! In addition, hovering over a tool or setting will give you a brief description. Features new to Maya, highlighted in green throughout the interface, have links to larger descriptions as well as movies.
Who Should Buy This Book This book is written for intermediate Maya users and users who are advanced in some aspects of Maya and want to learn more about other facets of the program. The book is intended for artists who are familiar with Maya and the Maya interface or those who have significant experience using similar 3D packages. If you have used older versions of Maya, this book will help you catch up on the features in Maya If you have never used Maya or any other 3D software on a computer before, this book will be too challenging and you will quickly become frustrated.
You should be familiar with the following before reading this book: You need to be familiar with opening and saving files and the like. Basic computer networking skills are helpful as well. They also loosely follow a typical production pipeline for starting and completing assets.
The following are brief explanations of the contents of each chapter. There is also a companion website, which is home to all of the project files and samples referenced in the book. Go to www. Working in Autodesk Maya This chapter discusses how to work with the various nodes and the node structure that make up a scene. Using the Hypergraph, Outliner, Hypershade, Attribute Editor, and Connection Editor to build relationships between nodes is demonstrated through a series of exercises.
Introduction to Animation This chapter demonstrates basic rigging with inverse kinematics as well as animating with keyframes, expressions, and constraints.
Animation layers are explained. Hard-Surface Modeling This chapter introduces the various types of surfaces you can use to model. It walks you through numerous approaches for modeling parts of a bicycle. Organic Modeling This chapter focuses on building a humanoid mesh, using polygon and subdivision surface techniques. Smooth mesh polygons, creasing, and soft selection are demonstrated on various parts of the model.
Rigging and Muscle Systems This chapter explains joints, expands on inverse kinematics, and covers smooth binding and proper rigging techniques. Animation Techniques This chapter takes you through the numerous deformation tools available in Maya.
We also take a look at importing motion capture. Lighting with mental ray This chapter demonstrates a variety of lighting tools and techniques that can be used when rendering scenes with mental ray.
Indirect lighting using global illumination, Final Gathering, and the Physical Sun and Sky network are all demonstrated. Tips on how to use the shaders together as well as how to light and render them using mental ray are offered.
Texture Mapping This chapter demonstrates how to create UV texture coordinates for a giraffe. Applying textures painted in other software packages, such as Adobe Photoshop, is discussed, as are displacement and normal maps and subsurface scattering shaders. Paint Effects This chapter provides a step-by-step demonstration of how to create a custom Paint Effects brush as well as how to animate and render with Paint Effects.
Rendering for Compositing This chapter introduces render layers and render passes, which can be used to split the various elements of a render into separate files that are then recombined in compositing software.
Introducing nParticles This chapter provides numerous examples of how to use nParticles. Dynamic Effects This chapter demonstrates a variety of techniques that can be used with nCloth to create effects. Traditional rigid body dynamics are compared with nCloth, and combining nCloth and nParticles is illustrated.
Maya Fluids This chapter explains how 2D and 3D fluids can be used to create smoke, cloud, and flame effects, and it provides a demonstration of how to render using the Ocean shader. Bifrost is introduced as a way of creating liquid simulation. Scene Management and Virtual Filmmaking This chapter provides an indepth discussion of the Maya virtual camera and its attributes.
A number of exercises provide examples of standard and custom camera rigs. Stereo 3D cameras are also introduced. References and the Asset Editor are also introduced. These features aid with large Maya projects that are divided between teams of artists. The Bottom Line This appendix contains all of the solutions from the Master It section at the end of each chapter.
Autodesk Maya Certification This appendix contains the Autodesk Maya Certified Professional Objectives table that lists the topic, exam objective, and chapter where the information can be found. Conventions Navigating in Maya is slightly different in the Windows and Mac operating systems.
You can navigate the Hypergraph by using the same hot-key combination that you use in the viewport: It is also important to note that Maya uses three digits for values listed within its tools and editors. The book may show only one or two digits when the last one or two digits are 0. You can also access additional tools and materials to help you design, visualize, and simulate ideas. Connect with other learners to stay current with the latest industry trends and get the most out of your designs.
Get started today at www. How to Contact the Author You can contact me with questions, comments, or concerns through his website at www. Sybex strives to keep you supplied with the latest tools and information that you need for your work. The interface presents tools, controls, and data in an organized fashion to allow you to bring your fantastic creations to life easily.
Autodesk Maya introduces a new, flattened GUI. Many of the colors have been modified as well. As a result, the GUI is now more modern and streamlined. Understanding the way Maya organizes data about the objects, animations, textures, lights, dynamics, and all of the other elements contained within the 3D environment of a scene is essential to understanding how the interface is organized.
Any single element of a Maya scene consists of multiple nodes connected in a web, and each one of these nodes is dependent on another. The Maya interface consists of editing windows that allow you to connect these nodes in an intuitive way and edit the information contained within each node. There is usually more than one way to accomplish a task in Maya. This chapter is a brief overview of what professionals need to understand when working in Maya.
This will help you, whether you are working alone or as part of a team of artists. This chapter is about working with nodes, but it is not meant to be a comprehensive guide to each and every control in Maya. You will find that information in the Maya documentation.
Color Management lets you switch between sRGB and linear color space. You can also switch to many other common color space environments. The Color Management system makes it easy to render your images to be color-corrected within your favorite compositing package.
The Color Management controls are visible in the Viewport 2. Figure 1. The viewport controls are the same controls that are located in the render view. In Maya , you should establish your color space at the beginning of any project.
The data within a node tells the software what exists within the world of a Maya scene. The nodes are the building blocks that you, as the artist, put together to create the 3D scene and animation that will finally be rendered for the world to see. So if you can think of the objects in your scene, their motion, and their appearance as nodes, think of the Maya interface as the tools and controls that you use to connect those nodes.
The relationship between these nodes is organized by the Dependency Graph DG , which describes the hierarchical relationship between connected nodes. The interface provides many ways to view the graph, and these methods are described in this chapter. Any given workflow in Maya is much like a route on a city map. Maya has many types of nodes that serve any number of different functions. All of the nodes in Maya are considered DG nodes.
The information concerning how the cube has been subdivided is contained within a DG node that is connected to the cube node. These nodes are made up of two specific types of connected nodes: The arrangement of DAG nodes consists of a hierarchy in which the shape node is a child of the transform node. Most of the objects with which you work in the Maya viewport, such as surface geometry cubes, spheres, planes, and so on , are DAG nodes.
To understand the difference between the transform and shape node types, think of a transform node as describing where an object is located and a shape node as describing what an object is. The simple polygon cube in Figure 1. Each side of the cube is subdivided twice, creating four polygons per side.
That basically describes what the object is, and the description of the object would be contained in the shape node. This simple polygon cube may be 4. That description would be in the transform node. Maya has a number of workspaces that enable you to visualize and work with the nodes and their connections.
The following sections describe how these workspaces work together when building a node network in a Maya scene. Using the Hypergraph The Hypergraph is a visual representation of the nodes and their connections in Maya.There is also a companion website, which is home to all of the project files and samples referenced in the book. Select the word Sections so that it is highlighted in blue.
Creating a Jiggle Effect. Todd currently runs his own company, Surrealistic Producing Effects, making and distributing movies. Wiley publishes in a variety of print and electronic formats and by print-on-demand.
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