Maya: Secrets of the Pros ppt

Maya ® : Secrets of the Pros ™ Second Edition John Kundert-Gibbs Dariush Derakhshani et. al. San Francisco • London 4345_FM_p3.1.qxd 1/1/05 11:13 AM Page iii Maya: Secrets of the Pros Second Edition 4345_FM_p3.1.qxd 1/1/05 11:13 AM Page i 4345_FM_p3.1.qxd 1/1/05 11:13 AM Page ii Maya ® : Secrets of the Pros ™ Second Edition John Kundert-Gibbs Dariush Derakhshani et. al. San Francisco • London 4345_FM_p3.1.qxd 1/1/05 11:13 AM Page iii Publisher: Dan Brodnitz Acquisitions and Developmental Editor: Mariann Barsolo Production Editor: Elizabeth Campbell Technical Editor: Keith Reicher Copyeditor: Pat Coleman Compositor: Side by Side Studios CD Coordinator: Dan Mummert CD Technician: Kevin Ly Proofreaders: Nancy Riddiough, Jim Brook, Candace English, Katherine Perry Indexer: Nancy Guenther Book and Cover Designer: Mark Ong, Side by Side Studios Copyright © 2005 SYBEX Inc., 1151 Marina Village Parkway, Alameda, CA 94501. World rights reserved. 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Thanks also to Mark Ong and Susan Riley at Side by Side Studios. At Alias, a special thanks to Danielle Lamothe, who always helps us find an answer, and to Duncan Brinsmead for taking the time to give us a hand and a thought. Our employers, who have generously allowed us the time and freedom to write, also deserve thanks. At Clemson University, special thanks to James Barker, Doris Helms, Bonnie Holaday, Robert Geist, and Mike Westall. At Sight Effects thanks to Alan, Melissa, and Rudy as well as the crew, and to Gary J for all his support. Finally, our family and friends deserve a great deal of credit for their untiring loyalty and support not only for this book, but of our chosen careers, which often involve late nights and weekends. We especially thank Kristin, Joshua, Kenlee, and Randi. Without the support of our family, friends, and colleagues, this book could never have been. Acknowledgments 4345_FM_p3.1.qxd 1/1/05 11:13 AM Page vi Dear Reader, Thank you for choosing the second edition of Maya Secrets of the Pros. This book is part of a new wave of Sybex graphics books, all written by outstanding authors—artists and teach- ers who really know their stuff and have a clear vision of the audience they’re writing for. It’s also part of our growing library of truly unique 3D graphics books. Founded in 1976, Sybex is the oldest independent computer book publisher. More than twenty-five years later, we’re committed to producing a full line of consistently excep- tional graphics books. With each title, we’re working hard to set a new standard for the industry. From the paper we print on, to the writers and photographers we work with, our goal is to bring you the best graphics books possible. I hope you see all that is reflected in these pages. I’d be very interested to hear your comments and get your feedback on how we’re doing. To let us know what you think about this, or any other Sybex book, please visit us at www.sybex.com. Once there, go to the prod- uct page, click on Submit a Review, and fill out the questionnaire. Your input is greatly appreciated. Please also visit www.sybex.com to learn more about the rest of our graphics line. Best regards, Dan Brodnitz Publisher Letter from the Publisher 4345_FM_p3.1.qxd 1/1/05 11:13 AM Page vii Maya Secrets of the Pros, Second Edition is the work of co-lead authors John Kundert-Gibbs and Dariush Derakhshani, along with a cadre of Maya professionals. John Kundert-Gibbs John Kundert-Gibbs is director of the Digital Production Arts program at Clemson Univer- sity, which prepares the technical directors of the future. Author of a number of publications on Maya, computer graphics, and dramatic literature, he directs students in producing ani- mated shorts, creates effects for live-action projects, and designs electronic media for theatri- cal productions. He is co-author of Maya 5 Savvy and Maya: Secrets of the Pros. He has a Bachelor of Arts degree in physics from Princeton University and a Ph.D. in dramatic litera- ture from The Ohio State University. Dariush Derakhshani Dariush Derakhshani is currently a digital effects supervisor and part-time teacher. He has worked in Los Angeles at Sight Effects, a prominent commercial effects house, as well as a CGI animator on a variety of projects in film and television. His writing credits include Maya: Secrets of the Pros, Maya 5 Savvy, and the best sell- ing Introducing Maya 6: 3D for Beginners as well as several print and online magazines. He has won the Bronze Plaque from the Columbus Film Festival and has shared hon- ors from the AICP and London International Advertising Awards. He has worked as a CGI animator and compositor on a variety of projects from films to television and was a Super- vising Technical Director for the South Park television series. Dariush spends his time con- sulting and teaching at a variety of schools and writing as frequently as he can. His works have appeared in CGW and Post magazines and on various sites of the digitalmedianet.com. Dariush holds a Bachelor of Arts in architecture and in theater from Lehigh University and a Master of Fine Arts in animation from USC Film School. He is bald and lists to one side. Tom Capizzi Tom Capizzi is currently the lighting director on a computer-generated feature film called The Barnyard at Omation Studios. Tom has more than 15 years’ experience creating digital content and has worked on more than 20 feature films. Some of the most recent films are Garfield, Scooby Doo 1 & 2, Daredevil, Elf, and X-Men 2. He has also taught digital model- ing at Art Center in Pasadena, CA; Center of Creative Studies in Detroit; Gnomon School of Visual Effects in Hollywood; and several other colleges. Tom is a published author and con- stantly stays up-to-date with cutting-edge digital production techniques. About the Authors 4345_FM_p3.1.qxd 1/1/05 11:13 AM Page viii Jake Carvey Jake Carvey has been producing and directing computer animation for broadcast, film, and games since 1994. 3D animation was a logical culmination of his passionate interest in diverse disciplines, from stage lighting to dramatic writing. He is obsessed with the develop- ment, practice, and teaching of techniques and strategies for consistently delivering high pro- duction values within small studio environments. As president of Spin Cycle Animation & FX, he led the animation team responsible for creating and producing well over 100 unique animated promos for Kids’ WB!, harvesting truckloads of industry awards along the way. Since 2000, Jake has been working as a freelance director and animator, continuing to deliver projects for Disney, NBC, ABC, PBS, Sony, Target, Wal-Mart, Circuit City, and many others. He works from a two-story loft in downtown Los Angeles, where his average com- mute is running down a single flight of stairs. Krishnamurti M. Costa Krishnamurti M. Costa, aka Antropus, is a 32-year-old, Brazilian, self-taught CG artist. Kris is a character animator on The Barnyard, a CG feature written and directed by Steve Oede- kerk and distributed by Nickelodeon Movies/Paramount Pictures. He started working in computer graphics about 12 years ago. He won the Anima Mundi Festival (the biggest ani- mation festival in Latin America) as an animator and art director. He is also working on a short-movie called SenzaAzione, still in progress, as a personal project. In 2004, he won the 3D main prize on CGTalk / CGNetwork’s “MachineFlesh Challenge,” competing with more than 1400 others in the 3D category. He is also known for his tutorial series published on his web site and other online CG resources. Please visit www.antropus.com for more informa- tion on Kris. Timothy A. Davis Timothy A. Davis is currently an Assistant Professor in the Computer Science Department at Clemson University and has played an active role in developing the interdisciplinary master’s program in Digital Arts Production, which trains students to produce special effects for entertainment and commercial projects. His teaching and research interests include par- allel/distributed rendering, ray tracing, spatio-temporal coherence, and nonphotorealistic rendering. He received his Ph.D. from North Carolina State University in 1998 and has worked in technical positions for the Environmental Protection Agency and NASA Goddard Space Flight Center. Petre Gheorghian Petre Gheorghian is a Senior Product Specialist at Alias, providing training and consulting to Maya users globally. His areas of focus include modeling, rendering, and character anima- tion. He is a Certified Maya Instructor and holds graduate degrees in both Fine Art and Engineering. Petre’s versatility, both as a technician and an artist, has allowed him to master the complexity in many aspects of Maya. Petre is also the author of the Alias learning tools Maya Techniques | Modeling a Human Head and Maya Techniques | Exploring Maya 5 Fea- tures and co-author of several other learning tools. He was an Alias MasterClass presenter at Siggraph 2003 and Siggraph 2004. 4345_FM_p3.1.qxd 1/1/05 11:13 AM Page ix [...]... one-quarter the length of the skirtAttachCurve 2 Adjust the length, and tweak the shape of the curves to look similar to Figure 1.4 The panel has a bit of a bell shape This will be significant later when you enable cloth simulation: gravity will pull the fabric down, giving a nice folding pattern along the bottom of the skirt Figure 1.3: The skirt attach curve is offset away from the waist The ArcLength... Making a Skirt 7 Figure 1.11: The cloth garment extending across all panels and joined by seams Preparing the Garment for Simulation When you run the simulation on the garment, the solver calculates the position of each vertex for each frame based on the forces applied to it Although the skirt will settle in the general vicinity of the model’s waist, the goal is for the top of the skirt to wrap around at... the character’s left side Rename the other instance rightPanelCurves_Instance, and move it to the character’s right side 4 Adjust the relative positions of the instanced curves so that they do not overlap but remain close to the model If you want to adjust the shape of a panel, tweak the CVs of the original panel curves, which are still orthographic When finished, your scene should look similar to the. .. 233 Modeling the Face 235 Laying Out the Image Planes in 3D 235 Creating a Wire Cage 236 Creating a Polygonal Cage 239 Details of the Head 251 Creating Subdivision Surfaces 258 Editing the Subdivision Model 260 Always Learning 266 Index 268 Contents xvii Introduction After the wild success of Maya: Secrets of the Pros, we began thinking about the future of the Secrets books Although it was originally... attachLocators.mel places locators on the top row of the cloth mesh and on the attach curve Constraining the Skirt to the Guide Locators The locators on the attach curve are uniformly spaced around the skirtAttachCurve, and there are an equivalent number of locators on the cloth mesh and on the curve Now it is time to connect the locators such that the transition onto the attach curve will be smooth Before you... will move from their position on the cloth mesh smoothly to the attach curve When the simulation runs, the top row of cloth vertices will follow these locators to their designated spot on the attach curve Making the Model a Collision Object In order for the skirt to drape around the model, you must tell the solver that the garment should collide against this object To do so, follow these steps: 1 Select... XFORM_attachSkirtCurve* 4 Select the top row of the skirt’s vertices, Shift+select the character mesh, Inuyasha_skin, and choose Constraints → Mesh This constraint maintains the offset between a cloth vertex and the model’s surface as it animates The result will look as if the top of the skirt is attached to the model The character is now ready for animation Animating the Skirt After you develop the skirt, you can... locators were not animated to the character’s motion By using a mesh constraint, you can assign the top of the skirt to follow the waist of the model But, first, let’s do some cleanup 1 In the Outliner, expand the hierarchy of skirt_cloth Delete all the transform constraints that were created by the attachLocator.mel script 2 Delete all the locators named attachSkirtLoc_* 3 Delete all the locators named XFORM_attachSkirtCurve*... longer has the boxlike shape of the panel curves but looks like the skirt at the frame where you performed the Save As Initial State Any new simulation will begin using this shape as a starting point for the first frame’s solve If the cache is deleted or the timeline is set at or before the solver start frame, the garment defaults to the initial state One consequence of this action is that the cache... always more to learn, and the joy of learning is half the fun of working in this profession We have all been inspired and amazed by one another’s work and have been witness to one of the greatest aspects of working in the graphics community: the openness, generosity, and willingness to share As you sample the chapters in this book, recall that someone is delivering years of hard-won experience with . exploit the Software, or any portion thereof, without the written consent of SYBEX and the specific copyright owner(s) of any com- ponent software included on this media. In the event that the Software. of the Software will constitute your acceptance of such End-User Licenses. By purchase, use or acceptance of the Software you further agree to comply with all export laws and regulations of the. xvii 4345_FM_p3.1.qxd 1/1/05 11:14 AM Page xvii After the wild success of Maya: Secrets of the Pros, we began thinking about the future of the Secrets books. Although it was originally conceived as a single,