book

Mastering Autodesk Maya 2013

Name: Mastering Autodesk Maya 2013
Author: Todd Palamar
ISBN: 9781118130582

by Todd Palamar

June 2012

Beginner

1008 pages

29h 11m

English

Sybex

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Cover
Contents
Introduction
Chapter 1: Working in Autodesk Maya
Creating and Editing NodesUsing the HypergraphConnecting Nodes with the Node EditorCreating Node Hierarchies in the Outliner Displaying Options in the OutlinerThe Channel BoxThe Attribute EditorWorking with Shader Nodes in the HypershadeCreating Maya ProjectsCreating a New ProjectEditing and Changing ProjectsOrganizing Complex Node Structures with AssetsCreating an AssetPublishing Asset AttributesUsing the Asset EditorFile ReferencesReferencing a FileUsing Multiple RepresentationsThe Bottom Line
Chapter 2: Virtual Filmmaking
Determining the Image Size and Film Speed of the CameraSetting the Size and Resolution of the ImageSetting the Film SpeedCreating and Animating Cameras Creating a CameraSetting Camera AttributesLimiting the Range of Renderable Objects with Clipping PlanesComposing the Shot Using the Film-Back SettingsCreating a Camera Shake EffectUsing an Expression to Control Alpha OffsetCreating Custom Camera RigsSwivel Camera RigSwivel Camera Rig AssetApplying Depth of Field and Motion BlurRendering Using Depth of FieldCreating a Rack Focus RigAdding Motion Blur to an AnimationUsing Orthographic and Stereo CamerasOrthographic CamerasStereo CamerasUsing the Camera SequencerThe Bottom Line
Chapter 3: Modeling I
Understanding Polygon GeometryPolygon VerticesPolygon EdgesPolygon FacesWorking with Smooth PolygonsUsing Subdivision SurfacesUnderstanding NURBSUnderstanding CurvesUnderstanding NURBS SurfacesSurface SeamsNURBS Display ControlsEmploying Image PlanesModeling NURBS SurfacesLofting SurfacesIntersecting SurfacesTrim SurfacesWorking with Trim EdgesFillet SurfacesCreating Rail SurfacesLofting Across Multiple CurvesLive SurfacesNURBS TessellationModeling with PolygonsShaping Using Smooth Mesh Polygon GeometryInsert Edge LoopsExtruding PolygonsEdge CreasingMirror CutThe Bottom Line
Chapter 4: Modeling II
Modeling with DeformersUsing a LatticeSoft Modification Tool Combining MeshesUsing Bevel Plus and Bevel Edges Creating the CurvesProjecting the CurveBevel EdgesUsing CurvesCreate an Extrusion CurveExtrude Along a CurveDrawing Curves on a Live SurfaceConverting NURBS Surfaces to PolygonsEmploying Revolved SurfacesNURBS ExtrusionsBoolean OperationsUsing BooleansCutting PolygonsSculpting Polygons Using ArtisanAdvanced Polygon-Editing ToolsAppend a Polygon Interactive Split ToolSpin a Polygon EdgeBridge PolygonsWorking with SubDsModeling with SubDsSubD LevelsThe Bottom Line
Chapter 5: Animation Techniques
Using Joints and ConstraintsJoint BasicsPoint ConstraintsAim ConstraintsInverse KinematicsIK Handle ToolCreate a Master ControlKeyframe AnimationCreating KeyframesAuto KeyframeMove and Scale Keyframes on the TimelineCopy, Paste, and Cut KeyframesThe Graph EditorAnimation CurvesEditing Animation CurvesWeighted TangentsAdditional Editing ToolsBreakdowns and In-BetweensPre- and Post-InfinityPlayblast and FCheckDriven KeysCreating a Driven KeyLooping Driven KeysCopying and Pasting Driven KeysMotion Path AnimationMotion TrailsAnimating ConstraintsAnimation LayersCreating an Animation LayerLayer ModeOther Options in the Layer EditorLayer HierarchyMerging LayersThe Bottom Line
Chapter 6: Animating with Deformers
Animating Facial Expressions Using Blend ShapesCreating Blend Shape TargetsCreating Blend ShapesPainting Blend Shape WeightsAdding TargetsCreating a Custom Mouth Control SliderConnecting the Slider to the Blend ShapeAnimating Blend Shapes SequentiallyCreating the Base MeshCreating the Blend Shape TargetsCreating the Blend Shape SequenceAnimating with LatticesCreating a Lattice Using the Lattice Membership ToolAdding an Object to an Existing LatticeAnimating LatticesAnimating Object Components with ClustersAdding Cluster ObjectsPainting Cluster WeightsApplying Cluster ComponentsConstraining ClustersAnimating a Scene Using Nonlinear DeformersCreating a Wave DeformerSquashing and Stretching ObjectsTwisting ObjectsCreating a Jiggle EffectApplying Jiggle DeformersPainting Jiggle WeightsOptimizing Animations with the Geometry CacheCreating a Geometry CacheEditing the Cache PlaybackThe Bottom Line
Chapter 7: Rigging and Muscle Systems
Understanding RiggingCreating and Organizing Joint HierarchiesOrienting JointsNaming JointsMirroring JointsRigging the GiraffeIK LegsFK BlendingRotate Plane SolversCreating Custom AttributesSpline IKHuman Inverse KinematicsSkeleton GeneratorCharacter ControlsInteroperabilitySkinning GeometryInteractive/Smooth BindingWeighting the GiraffePainting Skin WeightsEditing Skin Weights in the Component EditorCopying Skin WeightsMirroring Skin WeightsThe Maya Muscle SystemUnderstanding the Maya Muscle SystemUsing CapsulesCreating a Muscle Using the Muscle BuilderEditing Muscle ParametersConverting the Smooth Skin to a Muscle SystemSliding WeightsThe Bottom Line

Chapter 8: Paint Effects
Using the Paint Effects CanvasThe Paint Effects WindowPainting in Scene ModePainting on 3D ObjectsUnderstanding StrokesThe Anatomy of a Paint Effects StrokeBrush SharingUnderstanding Brush Curve NodesDesigning BrushesStarting from ScratchTubesGrowing FlowersAdding LeavesCreate Complexity by Adding Strokes to a CurveShaping Strokes with Behavior ControlsApplying ForcesDisplacement, Spiral, and BendAnimating StrokesAnimating Attribute ValuesAdding TurbulenceAnimating GrowthModifiersRendering Paint EffectsIlluminationShadow EffectsShading Strokes and TubesTexturing StrokesConverting Strokes to GeometryThe Bottom Line
Chapter 9: Lighting with mental ray
Shadow-Casting LightsShadow PreviewDepth Map Shadowsmental ray Shadow Map OverridesRaytrace ShadowsIndirect Lighting: Global IlluminationGlobal IlluminationTuning Global IlluminationWorking with Photon MapsColor BleedingImportonsCausticsCaustic Light SetupIndirect Illumination: Final GatheringLight-Emitting ObjectsFinal Gathering MapsUsing Lights with Final GatheringImage-Based LightingEnabling IBLIBL and Final GatheringPhysical Sun and SkyEnabling Physical Sun and SkyEditing the Sky Settingsmental ray Area LightsLight ShadersPhysical Light ShaderTone MappingPhotometric Lights and ProfilesThe Bottom Line
Chapter 10: mental ray Shading Techniques
Shading ConceptsDiffusionReflectionRefractionThe Fresnel EffectAnisotropyCreating Blurred Reflections and Refractions Using Standard Maya ShadersReflection BlurRefraction BlurBasic mental ray ShadersDGS ShadersDielectric Materialmental ray Base ShadersCar Paint MaterialsDiffuse ParametersSpecular ParametersFlake ParametersReflection ParametersThe mia MaterialUsing the mia Material PresetsAdd Bump to the Rubber ShaderCreate Beveled Edges Using mia_roundcornersCreating Thick and Thin Glass and PlasticOther mia Material AttributesControlling Exposure with Tone MappingRendering ContoursThe Bottom Line
Chapter 11: Texture Mapping
UV Texture LayoutWhat Are UV Texture Coordinates?Mapping the Giraffe LegUnfolding UVsMapping the Giraffe HeadMirroring UVsMore UV ToolsArranging UV ShellsAdditional UV Mapping ConsiderationsTransferring UVsMultiple UV SetsOptimizing TexturesBump and Normal MappingBump MapsNormal MapsCreating Normal MapsApplying Normal MapsDisplacement MappingSubsurface ScatteringFast, Simple Skin Shader SetupSubsurface Scattering LayersSubsurface SpecularityThe Bottom Line
Chapter 12: Rendering for Compositing
Render LayersCreating Render LayersRender Layer OverridesCreating Overrides for Rendering CamerasUsing Different Shaders on Render LayersMaterial OverridesRender Layer Blend ModesRender PassesUpgrade Materials for Rendering PassesRender Multiple Passes from a Single Render LayerCreating an Ambient Occlusion PassRender Pass Contribution MapsLights and Contribution MapsRender Pass SetsSetting Up a Render with mental rayFile TokensSpecifying Frame RangeRenderable CamerasFile Formats and the Frame BufferStarting a Batch RenderCommand-Line RenderingCreating a Batch Scriptmental ray Quality SettingsTessellation and Approximation NodesAntialiasing and SamplingFilteringRasterizerRaytrace AccelerationDiagnose BSPThe Bottom Line
Chapter 13: Introducing nParticles
Creating nParticlesDrawing nParticles Using the nParticle ToolSpawning nParticles from an EmitterEmitting nParticles from a SurfaceFilling an Object with nParticlesMaking nParticles Collide with nRigidsPassive Collision ObjectsCollide Strength and Collision RampsUsing nParticles to Simulate LiquidsCreating Liquid BehaviorConverting nParticles to PolygonsShading the nParticle Mesh Emit nParticles Using a TextureSurface EmissionUsing WindShading nParticles and Using Hardware Rendering to Create Flame EffectsShading nParticles to Simulate FlamesCreating an nCacheUsing the Hardware Render BuffernParticles and FieldsUsing Multiple EmittersVolume Axis CurveWorking with Force FieldsPainting Field MapsUsing Dynamic FieldsRendering Particles with mental rayThe Bottom Line
Chapter 14: Dynamic Effects
Creating nCloth ObjectsMaking a Polygon Mesh DynamicApplying nCloth PresetsMaking Surfaces StickyCreating nConstraintsMaking nCloth Objects Expand Using PressureAdditional TechniquesCreating an nCacheCreating nCloth and nParticle InteractionsCreating an nParticle GoalControlling Collision EventsRipping an Object Open Using Tearable nConstraintsRigid Body DynamicsCreating an Exploding TowerTuning the Rigid Body SimulationBaking the SimulationCrumbling TowerSoft Body DynamicsCreating Flying Debris Using nParticle InstancingAdding nParticles to the SceneSending the Debris Flying Using a FieldCreating a More Convincing Explosion by Adjusting nParticle MassInstancing GeometryAnimating Instances Using nParticle ExpressionsRandomizing Instance IndexConnecting Instance Size to nParticle MassControlling the Rotation of nParticlesThe Bottom Line
Chapter 15: Fur, Hair, and Clothing
Adding Fur to CharactersPreparing Polygons for Maya FurCreating a Fur DescriptionEditing the Fur Description: BaldnessEditing the Fur Description: DirectionEditing the Fur Description: LengthTest Render FurApplying a Color MapApplying Map Offsets and MultipliersEnhancing the Realism of FurRendering Fur Using mental rayAnimating Using Dynamic CurvesUsing Dynamic Curves with IK SplinesCreating an IK Spline Handle from the Dynamic CurveUsing ForcesAdding Hair to a CharacterApplying Hair to a SurfaceDetermining Hair ShapeStyling HairStart and Rest PositionsPainting Follicle AttributesModifying CurvesCurling, Noise, Sub Clumping, and BraidsRendering HairCreating Clothing for CharactersModeling Clothes for nClothAdding a Transform ConstraintUsing Component ConstraintsConnecting Buttons to the ShirtApplying ForcesPainting nCloth PropertiesThe Bottom Line
Chapter 16: Maya Fluids
Using Fluid ContainersUsing 2D ContainersAdding an EmitterUsing Fields with FluidsUsing 3D ContainersCreating a ReactionEmitting Fluids from a SurfaceMaking FlamesIgniting the FuelRendering Fluid ContainersCreate Fluids and nParticle InteractionsEmitting Fluids from nParticlesCreating Flaming TrailsCreating Water EffectsFilling a ContainerAdding Surface DetailRendering LiquidsCreating an OceanThe Bottom Line
Appendix A: The Bottom Line
Chapter 1: Working in Autodesk MayaChapter 2: Virtual FilmmakingChapter 3: Modeling IChapter 4: Modeling IIChapter 5: Animation TechniquesChapter 6: Animating with DeformersChapter 7: Rigging and Muscle SystemsChapter 8: Paint EffectsChapter 9: Lighting with mental rayChapter 10: mental ray Shading TechniquesChapter 11: Texture MappingChapter 12: Rendering for CompositingChapter 13: Introducing nParticlesChapter 14: Dynamic EffectsChapter 15: Fur, Hair, and ClothingChapter 16: Maya Fluids
Appendix B: Autodesk Maya 2013 Certification
Index

Overview

Provides hands-on intermediate-to-advanced coverage of the leading 3D software

Maya is the industry-leading 3D animation and effects software used in movies, visual effects, games, and other genres. For intermediate and advanced users who already know Maya basics, this official Maya guide provides the detailed coverage you need to unlock the software's more complex features. Elevate your skills in modeling, texturing, animation, and visual effects, and gain proficiency in high-level techniques for film, television, game development, and more.

Artists who are already proficient in Maya basics can elevate their skills and increase their marketability with the techniques in this official Maya guide
This fully updated book brings you up to speed on Maya's latest features and expands your skills with advanced instruction on cloth, fur, and fluids
Offers intermediate-level projects on Dynamics, Maya Muscle, Stereo Cameras, Assets, rendering with mental ray, and more
Offers challenging tutorials and real-world scenarios from some of the leading professionals in the industry
Provides valuable insight into the entire CG production pipeline

Mastering Autodesk Maya gives the serious Maya student a head start toward a successful career in 3D animation.

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