book

Mastering Autodesk® Maya® 2012

Name: Mastering Autodesk® Maya® 2012
ISBN: 9780470919774

by Todd Palamar, Eric Keller

August 2011

Beginner to intermediate

1028 pages

30h 54m

English

Sybex

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Cover Page
Half Title Page
Title Page
Copyright
Dedication
Acknowledgments
About the Authors
Contents at a Glance
Contents
Introduction
Who Should Buy This BookWhat's InsideHow to Contact the Author

Chapter 1: Working in Autodesk Maya
Creating and Editing Maya NodesUsing the HypergraphDisplaying Options in the OutlinerCreating Maya ProjectsOrganizing Complex Node Structures with AssetsFile ReferencesUsing Reference ProxiesThe Bottom Line
Chapter 2: Virtual Filmmaking with Autodesk Maya Cameras
Determining the Image Size and Film Speed of the CameraCreating and Animating CamerasCreating Custom Camera RigsApplying Depth of Field and Motion BlurUsing Orthographic and Stereo CamerasUsing the Camera SequencerThe Bottom Line
Chapter 3: Modeling I
Understanding Polygon GeometryUsing Subdivision SurfacesUnderstanding NURBSSurface SeamsEmploying Image PlanesModeling NURBS SurfacesNURBS TessellationModeling with PolygonsThe Bottom Line
Chapter 4: Modeling II
Modeling with DeformersUsing a LatticeCombining MeshesUsing Bevel Plus and Bevel EdgesUsing CurvesConvert NURBS Surfaces to PolygonsBoolean OperationsSculpting Polygons Using ArtisanAdvanced Polygon Editing ToolsWorking with SubDsThe Bottom Line
Chapter 5: Animation Techniques
Using Joints and ConstraintsInverse KinematicsKeyframe AnimationThe Graph EditorPlayblast and FCheckMotion Path AnimationMotion TrailsAnimating ConstraintsAnimation LayersThe Bottom Line
Chapter 6: Animating with Deformers
Animating Facial Expressions Using Blend ShapesAnimating Blend Shapes SequentiallyAnimating with LatticesAnimating Object Components with ClustersAnimating a Scene Using Nonlinear DeformersCreating a Jiggle EffectOptimizing Animations with the Geometry CacheThe Bottom Line
Chapter 7: Rigging and Muscle Systems
Understanding RiggingCreating and Organizing Joint HierarchiesRigging the GiraffeHuman Inverse KinematicsSkinning GeometryThe Maya Muscle SystemThe Bottom Line
Chapter 8: Paint Effects
Using the Paint Effects CanvasPainting on 3D ObjectsUnderstanding StrokesDesigning BrushesCreate Complexity by Adding Strokes to a CurveShaping Strokes with Behavior ControlsAnimating StrokesRendering Paint EffectsThe Bottom Line
Chapter 9: Lighting with mental ray
Shadow-Casting LightsIndirect Lighting: Global IlluminationCaustic Light SetupIndirect Illumination: Final GatheringImage-Based LightingPhysical Sun and Skymental ray Area LightsLight ShadersThe Bottom Line
Chapter 10: mental ray Shading Techniques
Shading ConceptsCreating Blurred Reflections and Refractions Using Standard Maya ShadersBasic mental ray ShadersCar Paint MaterialsThe MIA MaterialControlling Exposure with Tone MappingRendering ContoursThe Bottom Line
Chapter 11: Texture Mapping
UV Texture LayoutBump and Normal MappingDisplacement MappingSubsurface ScatteringThe Bottom Line
Chapter 12: Rendering for Compositing
Render LayersRender PassesRender Pass Contribution MapsLights and Contribution MapsSetting Up a Render with mental rayCommand-Line RenderingCreating a Batch Scriptmental ray Quality SettingsAntialiasing and SamplingThe Bottom Line
Chapter 13: Introducing nParticles
Creating nParticlesSpawning nParticles from an EmitterMaking nParticles Collide with nRigidsUsing nParticles to Simulate LiquidsEmit nParticles Using a TextureUsing WindShading nParticles and Using Hardware Rendering to Create Flame EffectsnParticles and FieldsReal World ScenarioRendering Particles with mental rayThe Bottom Line
Chapter 14: Dynamic Effects
Creating nCloth ObjectsCreating nCloth and nParticle InteractionsRigid Body DynamicsSoft Body DynamicsCreating Flying Debris Using nParticle InstancingAnimating Instances Using nParticle ExpressionsThe Bottom Line
Chapter 15: Fur, Hair, and Clothing
Adding Fur to CharactersRendering Fur Using mental rayAdding Hair to a CharacterStyling HairCreating Hair ConstraintsRendering HairPainting nCloth PropertiesThe Bottom Line
Chapter 16: Autodesk Maya Fluids
Using Fluid ContainersCreating a ReactionRendering Fluid ContainersCreate Fluids and nParticle InteractionsCreating Water EffectsThe Bottom Line
Appendix A: The Bottom Line
Chapter 1: Working in Autodesk MayaChapter 2: Virtual Filmmaking with Autodesk Maya CamerasChapter 3: Modeling IChapter 4: Modeling IIChapter 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: Autodesk Maya Fluids
Appendix B: Autodesk Maya 2012 Certification
Appendix C: About the Companion DVD
What You'll Find on the DVDSystem RequirementsUsing the DVDTroubleshootingCustomer Care
Index
Symbols and Numbers
Bonus Chapter 1: MEL Scripting
Using a MEL CommandMEL Scripting TechniquesProceduresUsing Maya Commands Within PythonThe Bottom Line
Bonus Chapter 2: Using Toon Shading
Toon FillsToon OutlinesUsing Paint Effects Presets for Toon LinesThe Bottom Line
Color Gallery

Content preview from Mastering Autodesk® Maya® 2012

Chapter 6 Animating with Deformers

As you learned in Chapter 1, “Working in Maya,” objects in a Maya scene have both a transform node and a shape node. The transform node contains data concerning where the object is in a scene, its orientation, and its scale. The shape node contains data about the form of the object. If you want to animate an object moving around in a scene, usually you'll keyframe the translation, rotation, and scale of the transform node. If you want to animate the shape of an object, such as the facial expressions of a character, you want to use a deformer, which is a type of animation control applied to the shape node of an object.

Deformers are extremely versatile, and they can be used for both modeling and animation and ...

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Mastering Autodesk® Maya® 2012

by Todd Palamar, Eric Keller

Chapter 6

Animating with Deformers

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