Mastering Autodesk Maya 2016 E-Book

Todd Palamar

• Herausgeber: John Wiley & Sons
• Kategorie: Wissenschaft und neue Technologien
• Sprache: Englisch

Seitenzahl: 1189

Veröffentlichungsjahr: 2015

Beschreibung

Go from 'beginner' to 'expert' with this professional, tutorial-based guide to Maya 2016 Mastering Autodesk Maya 2016 is your professional hands-on coverage to getting the most out of Maya. If you already know the basics of Maya, this book is your ticket to full coverage of all Maya 2016's latest features, and showcases the tools and methods used in real-world 3D animation and visual effects. From modeling, texturing, animation, and effects to high-level techniques for film, television, games, and more, this book expands your skill set, and helps you prepare for the Autodesk Maya certification exam. Filled with challenging tutorials and real-world scenarios this book provides valuable insight into the entire CG production timeline. Take your Maya skills to the next level with step-by-step instruction and insight from the industry professionals. * Learn professional techniques used in real-world visual effects * Master Dynamics, Maya Muscle, Stereo Cameras, mental ray, and more * Expand your skills with advanced techniques for cloth, fur, and fluids * Understand everything you need to know for the Maya certification exam

Leseprobe

Acquisitions Editor: Stephanie McComb Development Editor: Gary Schwartz Technical Editor: Keith Reicher Production Editor: Rebecca Anderson Copy Editor: Linda Recktenwald Editorial Manager: Mary Beth Wakefield Production Manager: Kathleen Wisor Associate Publisher: Jim Minatel Book Designers: Maureen Forys, Happenstance Type-O-Rama; Judy Fung Proofreader: Kim Wimpsett Indexer: Robert Swanson Project Coordinator, Cover: Brent Savage Cover Designer: Wiley Cover Image: Courtesy of Todd Palamar

Copyright © 2016 by John Wiley & Sons, Inc., Indianapolis, Indiana Published simultaneously in Canada

ISBN: 978-1-119-05982-0 ISBN: 978-1-119-05970-7 (ebk.) ISBN: 978-1-119-05985-1 (ebk.)

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Acknowledgments

I would like to thank Eric Keller, whose work on previous editions has built a foundation for this current edition. A big thanks to Keith Reicher, our technical editor, who worked above and beyond the call of duty.

I would also like to thank our development editor, Gary Schwartz. Gary is a pleasure to work with, and he always put the content of the book first.

About the Author

Todd Palamar is a 23-year veteran of the computer animation industry. After transitioning early in his career from traditional special effects to computer-generated imagery, Todd did effects work for several direct-to-video movies. He later went on to work on numerous video games, including Sega of Japan's coin-operated title Behind Enemy Lines, as well as Dukes of Hazzard and Trophy Buck 2 for the Sony PlayStation console.

For six years, Todd taught at Full Sail University in Winter Park, Florida. During this time, he received numerous accolades as an outstanding educator. Todd currently runs his own company, Surrealistic Producing Effects, making and distributing movies. Todd has written several books, among them Maya Cloth for Characters (Surrealistic Producing Effects, 2008), Maya Studio Projects: Dynamics (Sybex, 2009), and Maya Studio Projects: Photorealistic Characters (Sybex, 2011). The breadth of his experience has allowed him to work on location-based entertainment, military simulations, television commercials, and corporate spots. You can see more of Todd's work on his company's website, www.speffects.com.

Contents

Introduction

Who Should Buy This Book

What's Inside

Conventions

How to Contact the Author

Chapter 1 Working in Autodesk Maya

Color Management

Creating and Editing Nodes

Creating Maya Projects

The Bottom Line

Chapter 2 Introduction to Animation

Using Joints and Constraints

Inverse Kinematics

Keyframe Animation

The Graph Editor

Playblast and FCheck

Driven Keys

Motion-Path Animation

Motion Trails

Animating Constraints

Animation Layers

Grease Pencil

The Bottom Line

Chapter 3 Hard-Surface Modeling

Understanding Polygon Geometry

Understanding NURBS

Using Subdivision Surfaces

Employing Image Planes

Modeling NURBS Surfaces

Converting NURBS Surfaces to Polygons

Modeling with Polygons

The Bottom Line

Chapter 4 Organic Modeling

Implement Box Modeling

Employ Build-Out Modeling

Sculpt Polygons

Use Retopology Tools

The Bottom Line

Chapter 5 Rigging and Muscle Systems

Understanding Rigging

Creating and Organizing Joint Hierarchies

Rigging the Giraffe

Human Inverse Kinematics

Skinning Geometry

The Maya Muscle System

The Bottom Line

Chapter 6 Animation Techniques

Working with Deformers

Animating Facial Expressions Using Blend Shapes

Animating a Scene Using Nonlinear Deformers

Creating a Jiggle Effect

Optimizing Animations with the Geometry Cache

Applying Motion Capture

The Bottom Line

Chapter 7 Lighting with mental ray

Shadow-Casting Lights

Indirect Lighting: Global Illumination

Indirect Illumination: Final Gathering

Image-Based Lighting

Physical Sun and Sky

mental ray Area Lights

Light Shaders

The Bottom Line

Chapter 8 mental ray Shading Techniques

Shading Concepts

Layering Shaders

The Bottom Line

Chapter 9 Texture Mapping

UV Texture Layout

Bump and Normal Mapping

Displacement Mapping

Subsurface Scattering

ShaderFX

The Bottom Line

Chapter 10 Paint Effects

Using the Paint Effects Canvas

Painting on 3D Objects

Understanding Strokes

Designing Brushes

Create Complexity by Adding Strokes to a Curve

Shaping Strokes with Behavior Controls

Animating Strokes

Rendering Paint Effects

The Bottom Line

Chapter 11 Rendering for Compositing

Render Layers

Render Passes

Setting Up a Render with mental ray

mental ray Quality Settings

The Bottom Line

Chapter 12 Introducing nParticles

Creating nParticles

Making nParticles Collide with nRigids

Using nParticles to Simulate Liquids

Emitting nParticles Using a Texture

Using Wind

Shading nParticles and Using Hardware Rendering to Create Flame Effects

Controlling nParticles with Fields

Rendering Particles with mental ray

The Bottom Line

Chapter 13 Dynamic Effects

Creating nCloth Objects

Creating nCloth and nParticle Interactions

Soft Body Dynamics

Creating Flying Debris Using nParticle Instancing

Animating Instances Using nParticle Expressions

Bullet Physics

The Bottom Line

Chapter 14 Hair and Clothing

Understanding XGen

Animating Using Dynamic Curves

Adding Hair to a Character

Styling Hair

Rendering Hair

Creating Clothing for Characters

Painting nCloth Properties

The Bottom Line

Chapter 15 Maya Fluids

Using Fluid Containers

Fluid Interactions

Igniting the Fuel

Rendering Fluid Containers

Creating Fluids and nParticle Interactions

Creating Water Effects

The Bottom Line

Chapter 16 Scene Management and Virtual Filmmaking

Organizing Complex Node Structures with Assets

File References

Determining the Image Size and Film Speed of the Camera

Creating and Animating Cameras

Creating Custom Camera Rigs

Applying Depth of Field and Motion Blur

Using Orthographic and Stereo Cameras

Using the Camera Sequencer

The Bottom Line

Appendix A The Bottom Line

Appendix B Autodesk Maya 2016 Certification

EULA

List of Tables

Appendix B

Table B.1

Table B.2

List of Illustrations

Chapter 1

Figure 1.1

The Color Management controls within the viewport

Figure 1.2

The Preferences for Color Management

Figure 1.3

A shape node describes the shape of an object and how it has been constructed; a transform node describes where the object is located in the scene.

Figure 1.4

You can rename nodes in the Hypergraph through the context menu when you RMB-click.

Figure 1.5

The node network appears in the Hypergraph. This shape node (myCubeShape) is connected to two other nodes, whereas the transform node (myCube) appears off to the side.

Figure 1.6

Performing a smooth operation on the cube when construction history is activated causes a new polySmoothFace1 node to be inserted into the node network.

Figure 1.7

The attributes of myCube’s transform node have been keyframed. The keyframe nodes appear in the Hypergraph.

Figure 1.8

You can change the graph layout to accommodate numerous nodes and connections.

Figure 1.9

The various display modes, starting with locator1 in Default, nurbsSphere1 in Full, and locator2 in Connected mode

Figure 1.10

The input and output connections of the two locators and the sphere are graphed in the Node Editor.

Figure 1.11

Use the wire to connect the output of one node to the input of another.

Figure 1.12

The Input Selection window specifies which attributes can be connected between nodes.

Figure 1.13

The Display menu at the top of the Outliner

Figure 1.14

When the gunBarrels node is made a child of the housing object, it inherits changes made to the housing object’s transform node.

Figure 1.15

The guns group is rotated as a single unit.

Figure 1.16

The Outliner can display shape nodes as well as other types of nodes in the scene.

Figure 1.17

The icon in the upper right of the interface toggles the visibility of the Channel Box/Layer Editor.

Figure 1.18

The two tabs on the right side of the screen allow you to switch quickly between the Channel Box and the Attribute Editor.

Figure 1.19

The Channel Box displays the channels for the currently selected object.

Figure 1.20

You can quickly “zero out” the Translate and Rotate channels by Shift+clicking their fields and entering 0.

Figure 1.21

Right-click the selected channels, and choose Key Selected to keyframe just those specific channels.

Figure 1.22

The Show/Hide Attribute Editor icon resides in the upper-right corner of the Maya interface.

Figure 1.23

The Attribute Editor contains tabs that allow you to move through the connected nodes of a network.

Figure 1.24

Right-clicking an attribute field reveals a menu with options for animating the attribute value.

Figure 1.25

You can enter simple mathematical expressions directly into a field in the Attribute Editor.

Figure 1.26

Messages can be entered in the Notes section at the bottom of the Attribute Editor.

Figure 1.27

The Maya viewport menu bar allows you to choose between shading modes by toggling buttons.

Figure 1.28

The text field at the top of the Create tab allows you to filter the list of buttons. MMB-dragging a button on top of the Favorites section adds the node to the Favorites.

Figure 1.29

The Hypershade organizes render nodes and offers a workspace for constructing render node networks.

Figure 1.30

Shaders all have shading group nodes attached, which define how the shader is applied to the geometry.

Figure 1.31

Right-click a shader, and drag upward on the marking menu to choose Assign Material To Selection.

Figure 1.32

Click the checkered box next to the Color slider to open the Create Render Node window.

Figure 1.33

The grid texture appears on the cone when the perspective view is set to Shaded mode.

Figure 1.34

The Material Viewer gives you a rendered representation of your shader.

Figure 1.35

Change the Material Viewer to use the mental ray renderer and a detailed lighting model.

Figure 1.36

The coneShader network has grown with the addition of new nodes.