The Art of Maya

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Published By: Autodesk, Inc. 111 Mclnnis Parkway San Rafael, CA 94903, USA

International Standard Book Number 1-897177-47-X

First printing: October 2000 Second printing: September 2002 Third printing: May 2004 Fourth printing: January 2005 Fifth printing: April 2007 Table Of Contents

3D Computer Graphics 7 3D Computer Animation 8 Technical Creativity 10 The Animation Pipeline 12

Time and Space 15 3D Space 16 Time 18 Bitmap Space 20

Exploring Maya 23 The Workspace 24 Objects and Components 28 Dependency Graph 30 Transformations 32

Animation 35 Animation Techniques 36 Setting Keys 38

Modeling 41 Geometry 42 Modeling Techniques 44 NURBS Surfaces 46 Polygon Modeling 48

Deformations 51 Deforming Objects 52 Deformers 54 Table Of Contents

Character Animation 57 3D Characters 58 Animating Characters 60

Materials and Textures 63 Shading Your Models 64 Surface Materials 66

Digital Cinematography 69 How Light Works 70 Casting Shadows 72

Rendering 75 Rendering Scenes 76 Render Output 78

Interactive 3D 81 Interactive 3D 82 Game Creation 84 Maya

AN INTRODUCTION TO 3D COMPUTER GRAPHICS

3D Computer Graphics

Animation is an art form created and cultivated over the last century.

While drawing, painting, sculpting and photography allow artists to represent shape and form at a single point in time, animation lets artists explore a world in motion. Through animation, new worlds can be imagined. This modern art form evokes emotion through the movement of a sequence of drawings, paintings, photographs or rendered images.

The introduction of 3D computer graphics over the last couple of decades has had a big impact on the world of animation. Digital characters and sets can now be built and animated, then presented in different media formats such as film, video and interactive games. Characters and visual effects can even be seamlessly integrated into live-action footage.

Autodesk® Maya® is a 3D animation system that lets artists play the roles of director, actor, set designer and cinematographer. 3d computer graphics 3D Computer Animation now easily add 3D into theirexistingintoworkflow.3Deasily2D addnow rendering,andsmallervideo productiona housecan gratedmodeling,animation, characters, visualeffects broadcasttheinworld. 3Dcomplex of use inteWith message.thesellhelpand bringlifeobjectsanimationtotomore usedalso is corporateamessage tisedorintroduced. Character completeenvironments3D adverproductiswherea sophisticatedmoreand artwork beingproduced.is broadcastinevolvedhas 3D of use Sincethen,the alwaysimportantadvertising. worldofthe in dynamicandgettingway of message theacross– flyinganimatelogo.a offered3Dnew of use Thisa computer3Dgraphicsto ofhadhas earlyyears chancegooda Thereis anyone that involved the in Broadcast 3D 3D two decades.two an graphicnowtools3Dis ofuse The computergraphicsevolvedhas rapidly overlast the 3DFrom fieldofdigitalflyingthe logosactors,to processcreativemanymedia.theforintotypes of T productionworkflows. buildcustomized integratedmoresuittoolsthat whilecommand-based scriptingoffers ways to niquesdevelopedbeenhaveartistthewith mind, in contentcreators. softwareMayaThe techtoolsand digitalvarietywideofaddressesthata needsof the compositingeditingandtechniques. integratedothermediaintotypesusingfamiliar computer. resultingThedigital bethenimages can effectscomplexrecreated3Dthebe nowon can lightilluminateswaythespace—alla theseor a of surfacewaytwists,bendstheandperspective,a simulatesitobjects.real wayTheobjects appearin mediaprojects. importantpartmanyof television, multi andfilm Maya has helped open the door to a more a todoorhelped theopenhasMaya integratedFlyingnowlogosare moreinto he world of 3D computer3Dgraphics worldofgrownhas he from experimentalfrom shortintegrationfull filmsto Autodesk suchway3Dthe usefulmakesisWhat tool a Computer Animation Computer ®

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Feature Films The last few years have seen a sharp rise in the use of 3D in feature films. While many films have integrated 3D into existing live-action scenes, Pixar’s Toy Story® became the first feature-length animation that used 3D exclusively for characters and sets. Sony Pictures Imageworks’ Stuart Little® took this one step further and made a digital mouse the star of a live-action movie. Digital creatures, characters and sets continue to show up in the movies and even traditional filmmakers are starting to consider 3D a standard part of the production process. Feature films tend to use many computer programs to complete a project, including in-house software and off-the-shelf software such as Maya. Maya is most often used for modeling, animation, character animation and dynamics simulations such as cloth. The Maya software open architecture makes it easy for computer graphics (CG) supervisors

to build custom tools to help streamline production. © 2000 Nihilistic Software, Image courtesy of Activision. Interactive Video Games Over the years, video games have developed from black and white pixels to real-time virtual environments built with 3D characters and sets. The graphics used in these games have always conformed to the capabilities of the game console on which they are delivered. Next-generation game consoles are contin- ually increasing their computing power to be compa- rable to the workstations used to run Maya. This is breaking down limitations of the past. Game artwork is becoming more sophisticated with complex 3D models, texture maps, lighting and even dynamics. Maya is an ideal tool for generating this kind of 3D artwork and includes tools to address

© 2002 Autodesk, Inc. the special needs required to build content for real time. Visual Effects While CG actors star in movies of their own, 3D computer graphics Visualization and Web is changing how visual effects are used for both film and television. Digital content creation tools are used in a number Smaller productions can now afford to integrate 3D graphics into their of fields including fine arts, architecture, design, work, while large film productions can now achieve effects only dreamed education and scientific research. of in the past. Some of these fields require 3D computer Film sets can be partially built and then extended with detailed 3D graphics to produce highly realistic images for the digital sets. Also, animated stunt people can be thrown off buildings in evaluation of projects or prototypes. With advances in ways not recommended for real people. And smoke, fire and exploding the web’s ability to present graphic and 3D informa- objects can now be simu- tion, visualization on the internet is emerging as an lated within the safety of important tool for many companies. a computer screen. The Maya software tools, especially Maya dynamics, are ideal for generating visual effects that can be fully integrated into live-action l shots. The best effects make it impossible to find the line between reality and where computer graphics are used. Lee Irvine Wing Commander © 2000 Digital Anvi

3d computer graphics Technical Creativity 10 TechnicalCreativity mustlearn what film speed works best with apartic paintmixes and dries on canvas, and aphotographer potential.Just as apainter must learn how aparticular toolsbeforenewyou can reach your full creative A knowledge you have gained from this process. this from gained have you knowledge creatingthe apply something, to able be will you yoursuccess against the real object. By focusing on face.own toy,old householdaappliance youreven or digitalscene. Tryanimatebuildandfavoriteyourto study,canyou documentaccuratelyand a intoturn object—anmodel,realanimaterenderandaobject softwarebeginwayusinggoodtheOneto to is can’treplaceproductiontrue hands-onexperience. site.web tutorialsmanualswebandoffered theat Autodesk basedexperience. Youreferencetheusealso can LearningFoundation|Maya works,understandingMayatualwhilethehow of Maya. concepa you designedgive isbooktoThis severalgettingTherearestepsto started with GettingStarted with Maya working. ence. startandin dive to learnwayisbestThe to Luckily,own. theseskillsquicklycome experiwith assistanceyourlesshaveonlearn moremust and smallerproductionprocess.a In likelyhouse, you throughgetpartlearningthisyouthehelp ofto site probablyhouse,youtechnicalhave assistance on- largerproductiona inworknetwork. youover Ifa cations,workmovingtosaving howfiles,and and learnsuchmustbasedtasksyou openingapplias intimidatedmanybethemay time,computer-youby sittingarecomputerfirst youthethe Iffor at down Gettingto Know Your Computer greaterfreedomcreativeknowledge.morewith standingtechnicaltheall details,havewillyou withoutfarundergo to allowyouwillWhile Maya computerthehowinterprets theseelements. of all motion,learnmusttexture,coloryouandalso but shape,withworkform,to learn how youmustonly artisticbalanceofahave technical and skills.Not upmaterials and lights for photorealistic rendering. keyframes,working with 3D geometry and setting ularlens, a3D artist must learn the basics of setting Byusing areal object, you will be able to evaluate Whiletheseacademicimportant,toolsare they Tofullymastercomputer animation, must you firstunderstandtechnical theyouraspects of medium,mustnewyou artist aworking an in s book gives you project-you givesbook

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THE ART OF MAYA

Right and Left Brain Thinking with Maya Switching Sides Maya has a creative and a technical side. The creative side of Maya offers you tools that While working as a 3D artist, you will be required to be both technical and creative make it easy to work in a 3D world with shape and form. These tools free you up to make at the same time. One strength of Maya creative decisions on your project. The technical side of Maya offers you access to the is that you can start off with a technical inside workings of both your scenes and Maya itself. This access makes it possible to approach as you rig up your characters and models with controls. Once this work build your own custom tools and to speed up production where repetitive tasks appear. is complete, you can focus on the creative By having this dual nature, Maya is able to contribute to different stages of a production process using a few higher level controls and to different ways of working. that let you put aside the technical issues for a while.

Left Brain Thinking Right Brain Thinking

The Technical Edge Maya Embedded Language (MEL) and Python® The Creative Edge Maya includes fully shaded Maya has many editors that give you access to all are powerful scripting languages used to execute Many tools in Maya use Manipulator Handles and textured views so parts of a scene. For example, the Attribute Editor commands and build custom user interface ele- to offer visual clues as you edit an object. By that what you see in your can access the mathematical values assigned to ments. This is the ideal tool for technical leads using the manipulator, you are able to make interactive scene resembles all objects, shaders and animated sequences in who need to create tools that support production your decisions visually without relying on the what your final rendering your scene. workflows used by their teams. actual numbers stored in Maya. will look like.

Materials and textures are presented visually Animation information is pre- Maya is built on a complex interconnection of using icons and swatches that help you make sented in visual graphs that Maya lets you group objects together to build objects known as the Dependency Graph. This decisions. This is one step in the creation help you visualize motion. complex hierarchies. These groups help you organize establishes the connections between objects of rendered scenes. Material changes can This makes all the numbers your models while offering methods of animating and can be viewed and manipulated for incred- also be explored using Maya IPR (Interactive easier to understand. You complex objects. ible control. Understand the Dependency Graph Photorealistic Rendering). can then easily edit this and you understand the technical side of Maya. graph in the same way you would edit a curve in 3D. Mathematics, Scripting and Programming Creative Awareness Mathematics is used by Maya in a number of ways: objects One of the goals of creating artwork in a 3D graphics in Maya exist in a 3D coordinate system, colors are stored application such as Maya is to mimic the real world. as RGB values, and animation is created as values that are This means that the more you are aware of the world mapped against time. A Maya scene is basically a data- around you, the easier it will be to recreate it on base of numbers that is interpreted by the software into geom- the computer. etry, color and texture. In some cases, you may need to do As you come into contact with people, places and some math outside of Maya to make sure the right numbers objects, take a closer look and imagine that you have are plugged in. Also you may want to set up a mathematical to model, animate and render all of the details that you equation or expression to create more complex motion in see. Details such as how a person swings his or her arms your scene. while walking, or how light enters a room, offer great Maya is built on MEL (Maya Embedded Language), reference for the 3D artist to incorporate into their work. a scripting language that you can use to build custom tools Any seasoned animator will tell you the importance of and workflows. This language is fairly easy to learn and observing the world around you. more technically minded artists might want to explore its use You should continue this kind of awareness when in their work. Maya also offers the opportunity to use the you go to the movies. In many ways, your animations Python scripting language as an alternative to MEL. If you will have roots more in movies than in real life. While want the tool integrated into Maya, you can also program watching movies, observe camera angles, set lighting, the plugins using the Maya API. To develop these skills, a founda- staging and framing of actors, and performances. tion in C++ programming is an asset. However, you can get An understanding of how people, places, color, shape quite far by using existing scripts and source code as inspira- and form are captured on film can help you become a tion. better animator. 11 3d computer graphics The Animation Pipeline 12 introductioncharacterof animation, effects and Thesestagesexpandedsincebeenhavethewith modeling,intodownanimating rendering.and graphics,3Dforthese usedstagesbrokenwere first A is beneficial.is althoughunderstandinghavingseveralanareasof theseareas,largeroffice,ofone focus on may you sketcheselementstietogether.to a inwork you If closely,teamsworkthehave usingstoryboards and toidea good a is time.Itsamepipelinethe the at of tasksanimation.requiredmaincreateanto compositing.and Thesegeneralstagesdescribe the textures;cameras;lightsandeffects; renderingand stages:modeling;characters; animation; materialsand animationThesummarizedpipeline becan seven in Modeling,Animating and Rendering decisionsbenefitthateveryoneline. thedown animationpipeline togetherworkmake youhelpwill thestagesKnowing inthelateron.how oneonly focusingyourselffindyouonstages, the if even familiarbeallwithuseful tois Itown. itsstudy on sophisticatedmore lightingcameraandtools. The The further mimic Hollywood effects. then animate both the lights and the camera to and cameras to illuminate and frame objects. You can As you would on a movie set, you must set up lights 5.Lights and Cameras required by characters. controls make it possible to create the complex mechanics skeleton joints and inverse kinematics for animation. These Characters are models that use special controls such as 2.Characters On a project,oftenwillayou differentOn onwork parts Eachofarea fullanimation a 3D is stageof animatedsequence.3D computerswereWhen differentnumberfinalof a tostages uplead

Animation Pipeline Animation

Paint can Effects be used to add effects. models and textures. Tools such as particles and Maya glowing lights that can’t be easily represented using There are many such effects as fire, fields of grass and 6.Effects 3.Animation create very specific motion. you bring it to life. The timing can then be tweaked to to animate it. By changing its position or shape over time, Once a model has been setup for animation, you can begin

your models and can be manipulated in the 3D workspace of Maya. Maya. of workspace 3D the in canand bemanipulated models your of shape and position the describes geometry This characters. and objects represent to geometry build you where stage the is This Modeling 1.

richness to the surfaces. light. Texture can also be added to bring detail and visual material attributes that define how it will be shaded by In order for geometry to be rendered, it must be given 4.Materials and Textures compositingsystem. separately,then bring them back together in 2D using a imageor a sequence of images. You can also render objects Onceall the scene’s parts are ready, you can render a single 7.Rendering and Compositing

THE ART OF MAYA

Animating in Maya Looking at the animation pipeline from the perspective of a Maya user, several stages use animation as their foundation—such as modeling, Modeling Materials Characters Lights Effects characters and effects. and Textures and Cameras Since almost any attribute in Maya can be animated, you can begin Animation preparing for the animation process at any time. After setting up and animating a scene, you can render and composite the 3D objects and bring Rendering them into a 2D bitmap world. The rendering and compositing stages seem to stand on their own at the end of the pipeline. However, you Compositing can apply test renderings throughout the animation process and under- Technical Leads take compositing earlier on. In production houses, technical directors (TDs) and computer graphics (CG) supervisors offer their teams support with scripts, expressions, Production Pipelines plugins, and character rigging. Technical leads set up controls that allow The way in which you approach the animation animators to focus on creating motion. pipeline will depend on the environment you create In building up a character, the technical in. From a single artist on his or her own to an lead might also build high-level controls artist in a large corporation, the approach to using that create a particular kind of motion for 3D graphics may differ. Here are some general use by the animators. For example, if many descriptions of the production pipelines you can different animators are working on a bird expect to encounter. character, the technical lead might want to make sure the wing beat is always animated Single Artist the same way. Therefore, a single control can As a lone artist, you will be in charge of all aspects of the production process. You will, therefore, work in a more linear be created that drives all the components of fashion. As technical lead for yourself, you may want to set up a the wing beat. The high-level control makes consistent control strategy for your characters and scenes so that sure all of the wings beat the same way. when you are animating you can think more creatively. Management of the production workflow Small Production House may also involve creating custom tools. In a smaller production house, the focus is on cutting production time Since many production houses use in-house High-level Controls and making the most of limited resources. You will be called upon software, MEL scripts might also be used to For example, custom attributes make to play a few roles, although some specialization will occur. Custom it easier for an animator to control a tools may be put into place to streamline production. pipe Maya scenes out to a custom file format. character’s hand. Large Production House Animators In a large production house, specialization is more likely. You will focus on either modeling, texturing, lighting, animating, effects While the setup of scenes and or rendering. Technical leads will take care of custom tools and characters is an important part of character rigging. Maya will also be part of a larger production tool kit and MEL scripts and plugins will be required for data transfer the process, the animation of these to proprietary tools. elements is where the art is created. Animators must tell a story using Gaming Company A game company can work like either a small or large production motion as the main tool. house. Here the focus is on modeling with polygons, setting up A well set up scene gives an texture UVs, painting textures and animating. The exact workflow for animator space to focus on setting your models and scenes will depend on the game engine and which custom tools are available for exporting. keys on the various high-level controls built by the technical lead. School/Student With non-linear animation, a whole If you are at school and working on a production, you can either work alone, which may limit the complexity of your animation, or you library of motion can be saved and can work with your fellow students to create a production house used in different parts of a project. scenario. Here you would choose an area of expertise and specialize Such a library provides an animator in that area with your classmates’ support. The first approach offers Trax Editor and Visor a more general view of the pipeline while the second approach gives with a sort of animation palette. The non-linear workflow of Maya is an ideal tool for Well built controls and skilled animating a scene. High-level clips and poses can be mixed you production-level experience in a particular area. and blended in the Trax Editor. Motion can be quickly laid animators are the ideal combination out, then edited with simple click+drag actions. for creating art through animation. 13

Time and Space

With 3D computer animation, artists work in a digital world where space, color, texture, time, shape and form are tools for creating images and sequences of images.

All of these physical realities must be translated into a computer language based on numbers. In fact, Maya scenes and images are really just databases of numbers that are interpreted by Maya software and presented on the computer screen in a more visual and artist-friendly manner.

While artists do not have to know how the numbers are interpreted by the computer, they do need to understand some of the ways in which space, color and time are quantified and recorded. Learning how the computer interprets digital information—such as 3D coordinates, frames per second or the RGB information stored in a bitmap image—can help artists understand how this information relates to their own perception of time and space. time and space 3D Space 16 3D Space 3D form can be described3D.becanin form shapeandhow forfeelcreative a have alsomodel,sculptedyou a sketch,drawnaeverhave modeloryou works. builtIfa it how for threedimensionsintuitivefeeldailyroutineyouranhave and in E with axis indicatorstheiraxisorientation.withshowsyou eachfor axes.theof Tovisualizeyouhelp thesecoordinates,grid a groundandtheon Z presentedand Xwith height.theas Y the Y-axisMaya,Z-axis.aretheseaxesthe Indepthwouldbe the and movieX-axis,heightthewouldthescreen,bewidth wouldbe the X-axis,thethe Y-axisimagineyouZ-axis.lookingtheIfa intoand measureddefinedspaceisareusingthatthreeasaxesMaya, 3D In XYZCoordinate Space shadows.and renderedrecreatescreenandasimagesonthem complete lights with explorecanthree-dimensionalMaya,youspace. Inpoint in objects object’sa positionrelationmeasuringanothertoinobjectbyto orit analyzedhaveyou threedimensions.its Youdeterminealsocanan object,measuredeverhavelength,anyouheightthe widthof and each is given a corresponding RGB color. To help you visualize the three axes, indicator Axis an origin point. This point is assigned a value of 0, 0, 0. Points in a 3D coordinate system are measured against Origin form the lines of the grid. The Y-axis is the height. x 24 units. The X and Z axes are on the ground and Maya includesXYZ, a grid that maps out an area 24 To create a ground surface to reference your work in Ground The Z – blue Y – green X – red and spaces.and Yourecognizelearnedhavetohow with work and day,very contactintocomethree-dimensionalwithyou objects Youcoordinatedefiningworldbya 3Danythisfind canpointin Three-dimensionalmeasuredobjectsquantified.beandcan If

Grid

for Y X, and Z. in direction the positive The axes indicators point the model or set up Maya as a Z-up world. these packages, you have to either re-orient the height. If you import a model from one of especially CAD applications, might use Z as represents the height. Some 3D packages, By default, Maya is Y-up where the Y-axis Y-upand Z-up Worlds defined by the Z-axis when defining points in space. an object, you must consider a third dimension as When you measure the length, width and height of ThreeDimensions dimensional space. the position of the headlight in this two- an object, such as the center of the wheel or The X and Y axes can be used to find points on object, you are analyzing two of its dimensions. When you measure the width and height of an TwoDimensions are stored for each of the three axes. chosen axis line. Values for these transformations moved along, rotated around, or scaled along the Y and Z axes are used for reference. An object is When an object is moved, rotated or scaled, the X, Transformations

THE ART OF MAYA

Perspective Space When you visualize objects in the real world, you do not usually think about axis lines and 3D coordinates. Instead, you see the world in perspective where lines vanish to the horizon and objects get smaller as they get further away. A Perspective view allows you to visualize a 3D space in a way similar to how you view the world through either your eyes or the lens Top view Perspective view of a camera. Most artists have learned to sketch a 3D scene in perspective or use drafting techniques to create more accurate perspective drawings. With Maya, the 3D Perspective view is automatically calculated for you, based on a camera position and a view angle that you set.

Orthographic Projections Front view Side view While a Perspective view can help you compose a shot, it is not always the ideal method for modeling and animating objects. Therefore, an Orthographic The Complete Picture view lets you analyze your scene using parallel The different points of view afforded projections of only two axes at a time. Using these by Orthographic and Perspective views views, you can more accurately determine how an let you build and evaluate your models. object is positioned. Most 3D animators find themselves using The Camera perspective views to compose a shot while Orthographic Perspective Camera Perspective views are generated by views offer a place to view the scene in a more cameras that simulate real-world analytical manner. Both views are crucial to working camera attributes. It is possible to properly in 3D. UV Coordinate Space One of the object types you will build in Maya is surfaces. While World Space and Local Space surfaces are positioned in 3D space using X, Y, Z coordinates, they also When you build objects in 3D, it is possible have their own coordinate system that is specific to the topology of to parent one object to another. This creates a the surface. Instead of using X, Y, Z axes, this system uses U, V and N, hierarchy where the parent object determines the where U and V represent the two axes that lie on the surface and N is position of the group in world space. The child the “surface normal” axis that points out from the front of the surface. objects inherit this positioning and combine this When you create a curve, it has a U direction that lets you measure with their own local space position. This parent-child points along the curve. When a surface is created, it has a U and a V relationship is used during the animation of an direction that define the surface parameterization. You can draw and object where keyframes can be set on both the manipulate curves in this 2D surface space. The placement of textures child and the parent. can also take place in UV space.

Local Space UV Coordinates Curve-on-Surface The handle bar and the front The origin of the UV system lies at one of Curves can be drawn in UV wheel use an angled axis line the surface corners. U runs along one axis space. Later edits will be in 2D to set up the local rotations. and V along the other. along U and V axes.

World Space Local Space Normal Moving Curves When the whole object moves in world The wheel rotates around its cen- The surface Normal always points out from the When you select and move a curve in UV space, ter using a local rotation axis. space, child objects such as the handle front of the surface. You can see the Normal lines you can only move along the two axes of the bar and the wheels move with it. pointing out from each intersection on the UV grid. surface grid. Curve control points can also be edited in UV space. 17 time and space Time 18 is crucial to the animationthecrucialtoisprocess. another.totime Therefore,learningworkstimehow moves,changesrotatesor pointin oneshapefrom I Time digitalmedia. workingotherwhetherarevideo,withoryoufilm differstimetheserealframesanddepending on time.ofunitmain the as The animationmostframesmeasuredandis using playedbacksequence. a as stillimagesseriesappearthatofanimated a when capturevideomotion.tomedia formatsorBoth use simulations, it should be set to Play EveryFrame.Playsimulations,to set shouldbe it Real-time,previewingtoareset you dynamicif but sound,Playbacknizingyourto Speedshouldbe synchroareyoumaintain ifframe thatrate.Notethe ordertoframes skipinmayMayameansthat This chosenyour accuratelyasframepossible.rate as PlaybackSpeedto animatedtheelementsscene.your Settingin your workstation’syourdependwillon processabilityto aftersceneone another. actualplaybackThe speed youreveryspeed,frameplayinthiswill Maya At defaultThePlayback Speedis Preferences> Speed interactiveuseplayback. Youtheset can previewyouanimations,Whenyour often will you Playback Preferences selecting animationthatlive-actionsoundandwith footage. synchronizetooutputvideoand animationorfilm to animation.antiming of requiredisframerateThe theknownas measuredsecondframesare(fps).perin isThis Framesplayedbackbecan different at speedsthat Framesper Second dimension. objecteitherappearwillanimatedAnit if animation,fourththe3D worldisof timethe n Both live-actionBothanimationandeither filmuse Film and videooftenimagesandareFilm referred as to In Maya, you can set your frame rate byframerateyour setcan Maya, you In by selectingby Window > Settings/Preferences> Window > and selectingandthe and selectingandthe frame rateframe Real-time Window > Settings/Preferences> Window timing as measuredseconds.timingasin animationyourmatchofto the fps. timingscalethewillThis change30 toframerateyour thenfps, 24 at keys setto possibleis time,it ofunitbase properly.keys setensureyou confirmunitstotimeyour backgrounda animation,in haveyou If fps. 24 isframerate default,softwareMayaBythe and it is used to set theset to used is itand Becausesecondstheare asks Maya to maintaintoMayaasks relationship Settings Play Every FrameEveryPlay Timeline category. category. Playback between frames . to

a number to eachnumberto a indicates videothatframeof framenumberinga system assignsisthatcode Time TimeCode Preferenceswindow. YouthefromMayadisplaycode timein up set can accuraterepresentation synchronization.fortime of burnedgetsvideotape.onto an you givesThis minutes,hours,secondsframes. and whatis This Field1 Odd Frame1 intervals. smootherplayback sinceeach Fielddisplayshalf-frame movingobjects,rendering directlyFieldsoffersto compositingconvertsystemto Fields. Forto fast-it PAL)fps(25 fps 30 outputa sequencea useand PAL)fps(50 fps 60 the have canyou timingor typicalscanlinesframe.numberaof as NTSC,for eachwith Fieldcontaining the halfonly interlacedduringplayback. fps 60 timedFieldsatare alternatingpixels—calledofrows scanlines—that are frames.placeEachof inusedFields are Fielduses animationvideo.to Tobackvideoplay make smoothly, importantFieldsconceptisTheof output youryou if Fields In Maya, you can renderdirectlycanFieldsMaya,youthat toIn Field1 Even Frame2 Field2 Odd Field2 Even

THE ART OF MAYA

Double Time

At a frame rate of 24 fps, a 6 minute animation would require 8640 Frame 1 Frame 3 Frame 5 frames (24 fps x 360 sec). Animators working with either cel animation A B C or stop-motion sometimes use double time, where only every second frame is created, then repeated twice. Double animations don’t play back as smoothly as the full frame rate, but they save you in rendering A A B B C time. Students, especially, might consider this option when confronted with a tight deadline. You can set up double time by setting By Frame to 2 in Maya Render Settings window, under the Common Settings tab. Frame 1 Frame 2 Frame 3 Frame 4 Frame 5

3:2 Pulldown Frame 1 Frame 2 Frame 3 Frame 4 When an animation created for film at 24 fps is transferred to NTSC A B C D video, a 3:2 pulldown can be used in place of re-rendering at 30 fps. This technique spreads every four frames into five frames by remixing the fields of the first, second and third frames to match the film’s frame A|A A|B B|C C|C D|D rate. A 3:2 pullup takes NTSC back to film. Both these techniques can be accomplished in a compositing package such as Autodesk® Combustion® Frame 1 Frame 2 Frame 3 Frame 4 Frame 5 or Autodesk® Toxik® software. PAL video does not generally require a pulldown because PAL’s frame rate (25 fps) matches film more closely.

One Frame at a Time How Objects Are Animated Using Keyframes When you render an animation, images are created for every frame. The accurate playback Keyframe animation is created by capturing values for attributes such of these frames will be based on the Time as translation or rotation at key points in time. An animation curve is Units you choose in the Preferences. then drawn between the keys that defines or interpolates where the object attribute would be at all the in-between frames. Animation curves can be viewed as a graph where time is mapped to one axis and the animated attribute is mapped to the other. In Maya, virtually every attribute can be animated in this manner. The way in which you set keys and control the in-between motion determines the quality of an animation. As scenes become more complex, you will learn to create control attributes that can drive the motion of different parts of your scene to help simplify the process of setting keys.

Setting Keys In-between When you know that your object or character The position of objects in-between the two keyframes is determined by the shape of needs to be at a certain place at a certain the animation curve. time, you set a key. With characters, you can create poses out of a number of keys set for different parts of the character.

Mapping Against Time Two keyframes are mapped against time, then an animation curve interpolates the motion between the keys. The shape of the curve determines the quality of the motion.

Pivot Points You animate objects in Maya based on a single In-between motion point called the pivot point. The pivot for the whole Key scooter would lie on the ground, while the pivot for a wheel would be at its center. The position of Position in X Positionin Key the pivot sets the center of the axes for rotating or scaling objects in your scene. Time in Frames

19 time and space Bitmap Space 20 Bitmap Space Bitmap look when printed.whenlook imageYouprovidesdpihigherprinted qualitythe page. aimageon 300 thehow see can lowerdependinghigherprintingyourorbe onvalue needs.maydifferent Below, how see can you resolutions dpi.Displayconsider resolutiontoneedawillprint, aroundyouimage300 to takingof anare you If dpi. This resolutionsvarietyofa film.offor one videopixelsor for defaultTheDisplay resolution 72these images foris offermay severalsettings which value.alterthiswill inchperdots(ppi) ordisplay resolutionalthoughdpi, (dpi).ahave Monitorsaboutgraphics72your of card inchonemanyhowin findscreen.willpixels to theyou refers on resolutionThismeasuredinchpixels perisin termtheusesMaya Imageand the bitmap image. the grid of pixels that make up Up close, you can clearly see Pixels These images can then be output to video, film or printed on paper.printedvideo,onoroutputfilmto beThesethenimages can enoughresolution,differentthecomplete of allimage. aform colors blue.greenandred, thesechannelsviewyouWhen hightogether a at (picturechannelsnumberelement)of acolorcontains valuefor a – A the visible color. These channels combine to create color values – red, green and blue. Each pixel is made up of at least three Channels Bitmap surfacesscenes.thedetailincolortoand packages.addhelptexture tomapsBitmapasused also images are dimensionstwopossiblethenimagein isusingcompositing paint or imagesseriesresults.of aFurther image or manipulation the of materialscalculatedarecamera’s thefrom bitmapa andviewpoint of suchMaya.as geometry,scene,thea rendersMaya When lightsand 2” x 2” @ 72 dpi x pixels) (144 144 As an animator,an As producingparticularfocusonwillyouimages awith Bitmap images play a number of roles in an animationansystem rolesinnumber Bitmapofimages a play columns of pixels, that is storedpixels,columnscolorinformation.isthatof Each pixel representationaimage, bitmapconsistingisanand rows of of

Display Image resolutionImage

Resolution to refer to the totalbitmappixelsizeimage.therefertoof to 2” x 2” @ 150 dpi (300 x 300 pixels) 2” xx 300 2” @ 150 dpi (300

Imageresolution such480 x 640as 2” x 2” @ 300 the final image. visible and you get a clearer view of resolution, the grid is no longer As pixels are presented at a higher Resolution Full dpi (600 x 600 pixels) x 600 dpi (600 and 3D rendering packages. and manipulated in paint, compositing computer graphics and can be created Bitmap images are common in Sources Bitmap Display resolutionDisplay

THE ART OF MAYA

Aliasing and Anti-aliasing The bitmap image grid can create a staircase-like or jagged effect within Image Formats an image where lines run diagonally against the pixel grid. To create Over the years, many different realistic bitmap images, you must soften these jagged edges using an image formats have been effect called anti-aliasing. created. You can choose one of Anti-aliasing modifies the color of pixels at the edges between these in Maya Render Settings objects to blur the line between the object and its background. This window. The Maya Software results in a softer look. Anti-aliasing is most important when you are default format is called IFF and working with lower display resolutions (72 dpi). Higher display it handles RGB, mask, and depth resolutions (300 dpi) used for printing, hide jagged edges better. channels. Maya also has several Anti-aliasing is important when you render your scenes. You can movie formats that contain set an anti-aliasing value in the Render Settings window. An accurate sequences of bitmap frames. calculation of anti-aliasing increases rendering time, but yields better In the Rendering chapter results. Later, when you learn more about rendering, the issue of anti- of this book, image formats are aliasing will be explored in more detail, including the issue of anti- discussed in more detail. aliasing an animated sequence. Non-square Pixels No Anti-aliasing While most bitmap images use square pixels, digital Without anti-aliasing, a bitmap video uses pixels that are slightly taller than they image will display jagged edges where one object meets another are wide. Therefore, an image that uses non-square and on the interior of a surface pixels will appear squashed on a computer monitor where a texture map can appear that uses square pixels. jagged without proper anti-aliasing settings. On a video monitor, the image would appear with its pixels stretched to their proper aspect ratio. With Anti-aliasing If you are rendering to digital video, you must take An anti-aliased image removes the pixel aspect ratio into account. the staircase-like effect by creating in-between pixels that soften the edge. This gives results that more closely resemble a real photograph that has been scanned into the computer as a bitmap. Other Channels

In a typical bitmap, the first three channels Computer Monitor Display Video Monitor Display contain color information. You can also create other channels that offer useful information about Bitmap File Textures the image. Maya is able to render images with Bitmaps can be used to texture objects in Maya. They can be used to mask and depth channels for use in compositing add color, bump, transparency and other effects on a surface. The RGB packages. These channels can be used when you and the alpha (mask) channels can all be used to texture the object. want to layer several images together seamlessly, Bitmaps used as textures can add detail to geometry without including live-action plates created outside Maya. requiring any extra modeling. These bitmaps are ideally saved as Maya IFF files and work best with image resolutions that use base-2 such as 256 x 256, 512 x 512, or 1024 x 1024. This is because these sizes fit best with Maya bitmapping algorithm used to filter textures. When objects are rendered, textures are affected by the lighting and shading on the object, then output as another composed bitmap image. In an animation, each frame would be rendered as a different bitmap that creates motion when played back at the right frame rate. These images can also be output to video or to film.

Mask Channel Depth Channel A mask (or alpha) channel, defines A depth channel can provide actual where an image needs to be solid or 3D information about an image. Depth transparent. This channel can be used channels are very useful in a composit- to layer images for compositing or to ing package where you can combine texture map attributes such as trans- layers or add effects such as fog or parency or bump. White is opaque and depth of field. White is close to black is empty. camera and black is far.

Bitmap Textures Geometry Final Bitmap Image 21

Exploring Maya

Before exploring modeling and animation concepts, it is a good idea to become familiar with the Autodesk Maya user interface. The user interface is where 3D artists display and organize scenes, save and open files, and transform and animate objects. While developing these skills, 3D artists learn just how they can make Maya do what they want it to.

Maya has a very clean user interface where many of the elements share generic editor windows. At first, this may make it difficult to distinguish different parts of a scene but with experience, 3D artists learn the power of this paradigm. The generic way in which Maya presents information makes it very easy to transfer skills from one area of Maya to another. This lets 3D artists focus on learning the underlying concepts of Maya software instead of always re- learning how the user interface works. exploring maya The Workspace 24 differentinformation.3Dalterits toolstooffers Maya several ways of choosecanMaya,youaccess sceneandof want a view you howto differentnumberof a viewed inbe ways.workspacecan thatthe In InformationnumericvaluesasabouttheseMayaelementsstored inis C Workspace The smaller portion of the Time Line. a playback range, if you want to focus on a and end time of the scene’s animation and This bar lets you set up the start RangeSlider an animation. to “scrub” through You can also use it objects or characters. and the keys on selected slider, the current time defined by the range you the time range as The Time Slider shows TimeSlider layouts. Maya’s predefined panel offer you quick access to The Quick Layout Buttons QuickLayout Buttons tool you used. Manipulators and the last Modification, Show Manipulator, Soft Rotate, Scale, Universal Paint Selection, Move, they are: Select, Lasso, From top to bottom, most common tools. you find some of Maya’s The Tool Box is where ToolBox related tools. focus your work on you choose. This helps ing on which menu set menus change depend Maya; the remaining always available in The first six menus are MenuSets work.easilywhileyouthemfind Initially,canelementsyou shouldlocationsUIsolearnyou thethe of models,yourwithworkobjectaccessedityouattributes.toolsand numberof awith launchfirst youWhen workspaceMaya,thepresentedyouis to UserInterface Elements workflowswaywork.thesuityoubestthat accessingflexibilityalteringtheandyoubuildscene, yourgiving to graphicelementssuch curves,surfaces,astextures.and colors animationreatinginvolvesMayaanin manipulationthe many of

- user interfaceuserelements.(UI) Each designedhelpisto

and option windows. vidual menus for the panels Maya window and indi menu at the top of the up scenes. There is a main editing objects and setting actions for creating and Menus contain tools and Menus required to complete a certain tool workflow. UI. This bar also prompts you with the steps and menu items as you scroll over them in the The Help Line gives a short description of tools HelpLine - set up for numeric input. also available that can be A Quick Selection field is selection and snapping. tools for setting up object menu items, as well as shortcuts for a number of The Status Bar contains StatusBar evaluating your scenes. scenes. your evaluating and creating of ways ferent dif offer that panels multiple into divided can be workspace The Panels

Shelf. a menu item to add it to the when selecting Shift+Ctrl+Alt different workflows. Press set up shelves to support with a single click. You can that can be quickly accessed to set up customized tool sets The Shelf is available for you Shelf - become familiar with the MEL scripting language. feedback. You will use these areas if you choose to simple MEL commands and an area to the right for This bar has an area to the left for inputting CommandLine on the menu’s contents. menu’scontents. onthe focus to need you casein bars menu from off bebroken can also Menus temporarily. them need just you casein windows upas floating can beset panels UI Many for selected objects. you edit and key values The Channel Box lets ChannelBox orthographic views. perspective and switch between the allows you to quickly a navigation tool that The View Compass is ViewCompass being animated. then prepare them for or more characters, lets you define one The Character Menu Characters by the Time Slider range. animations as defined time and preview your let you move around The Playback controls PlaybackControls placed upon creation. objects are initially a default layer where In each case, there is passes for compositing. used to set up render while Render Layers are used to manage a scene, layers. Display Layers are Maya has of types two Layers

THE ART OF MAYA

Simplifying the User Interface The Hotbox All of the UI tools that are available when Maya is The hotbox gives you access to all of the menu items and tools right first launched can be turned off or on as needed. at your cursor position. When you press and hold down the space bar In fact, you can turn them all off and focus on one on your keyboard, after a short delay, the hotbox appears. The hotbox single view panel if this is how you like to work. In is fully customizable and lets you focus on the tools you feel are most this case, you would use interface techniques such important to your workflow. The Hotbox controls let you turn off the as the hotbox, hotkeys or the right mouse button to main menus and the panel menus in the workspace. When the menus access tools and options. and panels are off, you can focus entirely on using the hotbox.

Common Menus Marking Menus These are the menus that In the four quadrants are always available on and in the center of the the main menu bar. hotbox, you can access marking menus that are designed to help you set Panel Menus up your workspace. These are the menus that are associated with the active panel.

Recent Commands Recent Commands Menu Sets Hotbox Controls display a list of the last These are the menus associated With the Hotbox Controls you can turn few tools and actions with the various menu sets. on all menus or pick and choose the used. This is useful when menus you want in the hotbox. You can commands are repeated also turn off the workspace menus. several times.

This is a single shaded view panel with the hotbox being used to Marking Menus access tools. Most likely, you will configure the workspace some- where between this minimal setup and the default setup. Marking menus are accessed by selecting a hotkey and clicking with your left mouse button. The menu appears in a radial form so that all Hotkeys your options are simply a stroke away. Once you learn the location of Hotkeys will give you quick access to many of the menu options, you can quickly stroke in the direction of an option the tools found in Maya. To set up hotkeys, select without having to see the menu itself. Because the menu is radial, it is Window > Settings/Preferences > Hotkey Editor. very easy to remember the location of each menu option. It will only The Hotkey Editor lets you set up either a single key take a short time for you to master this way of accessing tools. or a key and a modifier key such as Ctrl, Shift or Alt, You can set up your own marking menus by building them in to access any tool in Window > Settings/Preferences > Marking Menu Editor, then assigning Maya that is listed the new marking menu to a hotkey. in the Editor. It is also possible to build custom commands using a MEL (Maya Embedded Language) script. This feature allows First Use Expert Use you to set up the UI to When you first use a marking menu, press the As you become an expert, you can quickly press the hotkey, click and hold it with the mouse while you hotkey and click+drag to the desired location in the The Hotkey Editor gives you access to completely reflect your view the options, then drag to the desired location menu. The menu doesn’t appear and your selection all of the tools in Maya. own workflow. in the menu. quickly flashes by.

Mouse Buttons Left Mouse Button This button is used to select tools and objects and Each of the three buttons on your mouse plays a access visible manipulators. slightly different role when manipulating objects in the Middle Mouse Button workspace. Listed here are some of the generic uses This button is used to edit objects without the of the mouse buttons. When used with modifiers such manipulator. This button is also used to click+drag. as the Alt key, they also aid in viewing your scene. If your mouse has a wheel, it can be used to scroll into windows.

Right Mouse Button This button is used to invoke context-sensitive menus and marking menus such as the one shown here. 25 exploring maya Viewing 3D Scenes 26 Viewing 3D Scenes 3D Viewing DefaultTop View DefaultFront View the wayshaded.thesceneareyourobjects in differentalsoThereare displayoptionschange that work.youscene asyourobjects the lookingin at Perspectivecamerasviewoffer severalways of W Render View. Visorand Hypershade, Hypergraph, Orthographic, includingthe manyinotherviews view,trackcanyou dollyand Perspective3D rotatea toused scene.yourobjectsaroundthein combinations,navigatecanyou differentwith mousebutton pressingBythe along key Alt ViewTools time.dimensionstwomovea in at referredOrthographicas to to allowyouviewsand X, axes.Z and Y viewsaresidefrontandtop, The space,moveallowing3Dalongtotheobject youin side.frontandtop, Perspective,asdefaultMaya,setthe viewsareIn Default The Perspective view is a representationPerspectiveaThe isviewyour of Whilethe Tumble Toolonlyis hen building a scene in Maya, you work inwork Maya,youscenebuildingin hen a three-dimensionalspace.Orthographic and

Views

DefaultSide View DefaultPerspective View and down. and up and right to left panfrom to button mouse middle the plus key Alt the Press Track changing the focal length of a lens. of length focal the changing by accomplished is Zoom subject. your from orfarther to closer camera your moves Dollying a zoom. from different is a dolly that Note effect. same the has also wheel mouse the Using scene. your of out andin dolly to button mouse right the plus key Alt the Press Dolly Perspective view. Perspective a 3D around camera the rotate to button mouse left the plus key Alt the Press Tumble Panels > PerspectiveNew Panels> > Top > New select cameras. Toview,2Dnew a add createownyourcan you defaultadditiontheviews,Into ExtraViews 180 Translate Z creating a new front view and change New select To create new orthographic views, Orthographicviews in the Channel Box. . Toview,3Dnewselect a add . Make a back view panel by Panels > > Orthographic Panels > Orthographic> Panels> and selectand to -100 and Rotate Y Rotate Front NewPerspective View NewBack View to , Side . or unique camera options. from the menu which offers some can also select Panels > > Perspective New To create a new camera, select Cameraviews Create > Camera . You

THE ART OF MAYA

Shading The Shading menu in Maya offers several options for displaying objects in a scene. Shading can be different for each view panel, allowing geometry to be shown at different levels of complexity. The more detailed a scene becomes, the greater the need to simplify the objects in it. Although Maya is very good at processing Bounding Box Points Wireframe complex levels of geometry, it is a good idea to view your objects in Bounding Box displays Points shading displays Wireframe shading is objects as boxes. This objects as a group of the default shading a less complex shading mode until you are ready to render or make is useful when working points that represent the quality in Maya. adjustments to those objects. with complex scenes. shape of the object. There are several shading display options to choose from. The default shading in Maya is Wireframe. Other display options include: Bounding Box, Points, Flat Shade, Smooth Shade, Hardware Lighting, Wireframe on Shaded and X-Ray. Show Menu The Show Menu allows you to show and hide different elements of a scene. You can show all or none or specific items such as NURBS Flat Shade Smooth Shade Hardware Texturing curves, lights or cameras. Flat Shade displays all or Smooth Shade displays Hardware Texturing only the selected objects all or only the selected displays smooth-shaded The Show Menu is accessible from all views and can hide items with lower resolution, objects, as smooth sur- surfaces with textures. in one view while displaying them in another. faceted display. faces with surface color and shading properties.

Hardware Lighting Hardware Fog High Quality Hardware Lighting Hardware Fog displays Rendering displays smooth-shaded surfaces with a user- High Quality Rendering surfaces with textures defined fog. This is displays surfaces with The Show Menu allows you to edit a NURBS curve in the Side view with NURBS surfaces and lighting. useful to simulate a more accurate texturing, turned off while viewing the Perspective view panel with NURBS surfaces visible. scene fog. bump mapping, transparency and lighting. Isolate Select Shade Options The Isolate Select option allows you to hide surfaces at both the object In addition to the default shading mode, there are and component level, on a per-panel basis. To hide the Control Vertices two shading options for viewing your models: (CVs) of an object, choose the CVs you want to modify and select Wireframe on Shaded and X-Ray modes. Both of Show > Isolate Select > View Selected. This will hide all unselected CVs. these options can be used at the same time. Another advantage of using Isolate Select is that it affects hardware Viewing your model in Wireframe on Shaded rendering only, allowing hidden objects to be viewed during mode will allow you to easily view surface isoparms software rendering. for all objects in your view panel without viewing through the object. Viewing your model in X-Ray mode will allow you to view through your model using a semi-transparent shading. This is useful when you want to see a surface that is behind other surfaces or inside objects such as skeletons within a character.

Using Isolate Select allows you to hide CVs X-Ray on a NURBS surface. X-Ray shading displays Wireframe on Shaded objects with a semi- Wireframe on Shaded transparent surface. displays a wireframe on a

27 exploring maya Objects and Components 28 Objects and Components and Objects Dynamics button on. selected by toggling the particles can be separately Dynamic objects such as Dynamics an object. surface geometry of allows you to select the Selecting by surfaces Surfaces the scene. not select the curves in selection means you can Turning off the curve Curves are rendering object types. texture placement nodes lights, cameras and Scene objects such as Rendering ObjectTypes categories:Hierarchy, ObjectComponenttype,andselections. type scene.wantaitemsyou the onlyin groupedThesemasksarethreeinto Y an object.an reshapeappearanceandthe of interactivelytousedmodify be can handles.and Thesecomponents isoparms,faces,hulls,pointspivot componenttypessuch points,as componentinformation.type modifytoneedMaya, you objectin changeorderto In an shapeofthe ComponentTypes space.scalein definesShapeobjectnodelooksThethelike. what containsbasicinformation object’s aboutan position,orientation and parts:twoof a TransformShapenode.a and node The Transformnode joints,handlesdeformers.upObjectsmadeand areMaya created in Sceneobjectsitemssuchare cameras,ascurves, surfaces, dynamics, components.Selection flexibilitythemasksallowyouselect to transformselectingcanbyouMayaobjects objects theirinand There are a varietyof a Thereare

or surface. that lie directly on a curve Param points are points ParamPoints the shape of an object. and trim edges define Lines such as isoparms Lines shape of an object. are used to modify the and polygonal vertices Points such as CVs Points secting lines. created by inter Faces are patches Faces transformations occur. the location around which Pivot points determine PivotPoints at once. transform rows of CVs be used to select and connect CVs. They can Hulls are guides that Hulls your hierarchies.your Hypergraphseewindows to YouOutlinertheuseor can animationsand organized. modelingyour keep help Workinghierarchieswith can parent-childa relationship. nodesarrangedleasttwo in hierarchyA consistsat of Hierarchies middleFingerNail. and middleFinger of parent the is middleFingerGroup where hierarchy Asimple - to help control characters. Skeleton joints are used SkeletonJoints the shape of an object. flexors and lattices modify Deformers such as cluster Deformations mation control. to joint chains for ani IK handles are applied Handles

- THE ART OF MAYA

Hierarchy Object Component Hierarchy Selecting by hierarchy allows you to select objects at either the Root, Leaf or Template node level. Unlike Object and Component selection Selection Masks masks, you are not able to turn on more than one mask at a time. Selection masks allow you to select the specific items you want to work on. There are three main groups of selection masks: Hierarchy, Object and Component. Hierarchy mode allows you to Object select nodes at different levels. In Object selection masks allow you to make selections based on the object types you specify. Left-clicking on the arrow to the left of the this mode, you can select the Root, pick masks displays a menu allowing you to turn all objects on or off. Leaf and Template nodes. Object mode allows you to select scene elements at the Transform node level. These include objects such as surfaces, curves and joints. Component Component type selections are Component selection masks offer a variety of pick masks to choose selections made to objects at the from. Right-clicking on a mask displays more selection options. Shape node level, such as isoparms and CVs. Selection Priority Right Mouse Button Selections Objects and Components are Clicking the right mouse button over an object will selected in order of priority based bring up a marking menu that allows you to choose on an assumed production work- from both Object and Component selection types, flow. For example, if you want to while remaining in Component mode. The menu select both joints and surfaces, Maya choices are specific to Preferences anticipates that you want to select the object selected or You can change the order in which Objects and joints first. To select more than one Components are selected by choosing Window > the object beneath the object with different priorities, select Settings/Preferences > Preferences and marking menu. choosing the Selection category . the first object and Shift+click on the object of different priority. Root node selection Hierarchies viewed in Hypergraph. When working with a group of Quick Select objects that are arranged in a hier- Using Quick Select, you can type in the name of an archy, you may want to specifically object in the text field and it will become selected work at the Root node or Leaf in your scene. node level. When there are several objects in a scene If you choose to work at the Root with a common name, you can type in the name node level of a group (also known as preceeded and/or followed by an asterisk (*) and the top node in a hierarchy) you can all objects containing that name will be selected. toggle on the Select by Hierarchy: Root mask. In this selection mode, you can click on any object in the hierarchy and only the top node of the object picked will be selected.

If you want to work at the Leaf Toggling on the Select by Hierarchy: Root mask node level, toggle on the Select by allows you to select any Leaf node in a hierarchy to Hierarchy: Leaf mask. In this mode, automatically select the Root node. only the leaf nodes or children of a hierarchy will be selected. 29 exploring maya Dependency Graph 30 Dependency Graph Dependency dependencies,shadinggroupdependencies,nodeown your make and object.anshadingand of architecture,thisWith createinter-objectcanyou butesdeterminesuch shape,position,thethingsas construction history connectionsbetweenmadevirtuallybe to everythingattriMaya.Node in E Hypershadewindows. diagrammatica viewedinbefashion can throughandHypergraph the and Theseconnections allowinformationanothertomovenode onefromto collectionDependencyThenodeswhicha ofGraphis connected.are Nodeswith Attributes that are Connected connections. created between the animation curves and the object being animated. being object the and curves animation the between created are dependencies node Maya, in produced is an animation When Curve Animation dependent on the Curve node to make the revolve.the make dependenttoCurvenodethe on chessthe Revolvepiecesurfacetheand isnode dependentRevolvetheisShapenodeon fornode material,renderthetoShapenodethethe on dent depenShaderisthat:nodetheobject.see you Here Eachpartcreatingplaysafinalnoderenderedin the chessdependenteacha onup piece. make otherto arenodesthatthe seediagram can thebelow youIn NodeDependencies connectedattributes.othernodeto node-basedThis architecture allows attributeswithrepresentednodeverythingisMaya a inby be canthat - view the node dependencies used to create them. create to used dependencies node the view and textures and can makematerials you Hypershade, the Using Hypershade the Hypershade does. Hypershade the as swatches have not does it However, dependencies. group shading create and view to beused can also window Hypergraph The Hypergraph ShadingGroup Dependencies Hypershade and HypergraphHypershadeand windows. shadingsamethegroupshowdependency the in representingeach node. diagramsThebelowboth nodes. HypershadedisplaysThe thumbnail images breakconnectionsand betweenshading group ShadingNetwork.a as to dependenciesnode built.is referrednetworkThisis networkofmaterialMaya,created a inisaWhen The Hypershade window allows you to make Hypershademake windowThetoallowsyou - object’s input and output connections. selected object will give you access to an Clicking the right mouse button over a Button Mouse Right THE ART OF MAYA

Viewing Dependencies Making Connections Dependencies are relationships created between nodes that are Connections made in Maya represent the flow of connected. There are many ways to view and edit dependencies in information from one node to another. You can Maya including the Hypergraph, Attribute Editor and Channel Box. make your own connections between nodes as well By selecting a node and clicking the Up and Downstream as break connections using the Connection Editor. Connections button in the Hypergraph window, you can view node The Connection Editor offers a list of node dependencies on a selected node. This window visually displays the attributes that can be connected to other node connection between nodes, with arrows showing the direction of their attributes. For example, you can map the scale dependency to one another. of one object to influence the rotation of another. The Attribute Editor is made up of several tabs allowing you to This creates a connection between the two nodes view related nodes of a dependency group. In the Attribute Editor, where every time you scale one, the other you can edit the attributes that affect these nodes. automatically rotates. In the Channel Box, the selected node is shown with a listing of any The Connection Editor can extend the keyable attributes that belong to it. Depending on the node selected, possibilities of your production by automating it will also show input, output or shape nodes. If you select more than tasks done through the connection of nodes. one node with the same keyable attributes, you can modify them at the same time using the Channel Box.

Channel Box Attribute Editor In the Channel Box, you can edit any keyable In the Attribute Editor, attributes on the selected node. you can adjust the attributes on the input and output connections of a selected node.

Hypergraph In the Hypergraph window, you can see the input and output connections of a Connection Editor selected node. The Connection Editor allows you to make connections between nodes attributes.

Hypergraph In the Hypergraph, you can view the result of connections made in the Connection Editor.

Construction History When an object is built in Maya, Input nodes can be viewed in the Dependency Graph containing information on how the object was created. These Input nodes allow you to edit an object based on the Construction History On geometry used to build it. For example, if you were to create a curve and use the Revolve Tool to make a surface from it, the curve used to create the surface would hold information as to how the surface was created. Using construction history, you can go back to the original curve and alter the shape of the object. Construction History Deleted

31 exploring maya Transformations 32 andpress the the point,select a Transformmanipulator andpress the outcomeofyour transformation. Tochange thelocation ofyour pivot tanttobeaware ofbecause theposition ofyour pivot point affects the Objectsaretransformed around their pivot point location. Thisisimpor SettingPivot Points for Transformations Transformations relative to the view. a center handle to move for each X, Y and Z axis and The Move Tool has a handle Tool Move Manipulators Rotate ToolstransformobjectX,tousedalongthe an are axes.Z and Y informationtheand Transformation Toolssuch Move,theScaleas and T Object is rotating around a properly positioned pivot point. completecontrol. thetransformation to one, two or three axes at atime, allowing for transformation. the of direction Thesehandles are designed to constrain the distinguish to easier it making view, the of corner leftbottom the handles. X, colored the blue of colors matchthe These Y, at locator Z and green red, use manipulators the Eachof space. 3D and graphic ortho in objects rotate and scale move, to used are Manipulators Pivot point is in the wrong location. Home orientationspace.scaleinand The Transformthisof holdsallnode ransformationschangesare object’san tomade position, key on a Mac.onakey Move your pivot point tothedesired location Insert

or Home sphere rotates in all directions. relative to the view, and a virtual X, Y and Z axes. One ring moves The Rotate Tool has a ring for the Tool Rotate key againkey tosetthe pivot point. selecting the center handle. can also scale proportionally by non-proportionally in X, Y or Z. You With the Scale Tool, you can scale Tool Scale Insert key on a PCorona key - - its Scale attributes.Scale its for 1 of value a and attributesRotate its for 0 of values have Translateand now will object your that means position. default its as scale and This object’srotation position, current Transformations Select FreezeTransformations efficientlyMaya,the in Toquicklywork and QWERTYHotkeys pressingthe byused youtoollast the offersMayaaccessto additionthesetools,to Manipulators( ( ( keyboard:Selectthe correspondingon key want,simplypressits Toyoutoolselect the transformationtools. accesswayfasttheto a QWERTYofferhotkeys objects in your scene. keyboard to select and transform the Use the QWERTY shortcut keys on your tool to use this tool. Transformation Tools > Move/Rotate/Scale Scale manipulators into one tool. Select This tool incorporates the Move, Rotate, and Tool Move/Rotate/Scale Reset Transformations. select position, original its to object your reset transformation. new its with To satisfied be not may you object, an manipulated have you Once ResetTransformations e) q) , Scale,( , Move( , Modify > Freeze> Modify r) w) , Show , y , Rotate, key. t) . In . to keep your keep to Modify > Modify

Modify > Modify w

y q t r e THE ART OF MAYA

Scale Tool Rotate Options The Scale Tool allows you to change the size of an Use the Rotate Tool to rotate an object around any object both proportionally and non-proportionally. of the three axes. The Rotate Tool Settings window The default coordinate system for scaling is local. offers three rotate modes: Local, Global and Gimbal. Double-clicking on the Scale Tool icon will open the Scale Tool Settings window, where you can modify the tool’s default behavior.

Move Tool Local The Move Tool enables you to move objects through 3D space using Local is the default setting. It allows one of four coordinate systems: Object, Local, World and Normal. you to rotate an The default system is World, but you can change this in the Move Tool object in Object Settings window by double-clicking the Move Tool icon. space. Note that in this mode, the Each object has its own coordinate space with the origin located axes rotate with at the object’s pivot point. When the object is rotated, the object’s axes the object. are also rotated. Local space uses the pivot point of the parent or root node in a hierarchy as the location for its axes. Thus, all objects are moved in relation to their parent. Global World space is the coordinate system for the scene. When objects Selecting Global are moved, they are moved relative to the origin of the scene. mode means the Normal space exists at the component level and all coordinates object will rotate within world are relative to the surface you are working on. The axes are U, V and N, space. In this where U and V represent the axes that lie on the surface and N the axis mode, the manipu- that points out from the surface, known as the surface normal. lator rings never change direction.

Gimbal In Gimbal mode you can rotate your object in only one axis at a time.

Local Normal

Universal Manipulator The Universal Manipulator is similar to the Move/ Rotate/Scale Tool, but it lets you transform objects with greater precision. When you click on its manipulator Object World handles, a numerical input field appears 2D Transformations for you to enter When transforming an object using the Move Tool in the top, front a precise value and side views, you are constrained to move only in two dimensions. by which you When using the Rotate and Scale Tools in an Orthographic view, you can transform can transform an object in both two and three dimensions. an object. 33

Animation

When 3D artists animate, they paint with motion instead of color. As an object moves, rotates or changes shape over time, it is being animated. This motion can be at a constant speed or it can accelerate or decelerate. At times, this motion will attempt to mimic real-world events such as an object falling off a table, while at other times, it will take the form of an actor telling an audience a story.

Models that are animated must be set up with mechanical properties that define how they work. To have a door open and close or a drawer slide in

and out, 3D artists must understand the mechanics of their models so they can animate them.

There are a number of tools for creating motion in Maya software. In some cases, 3D artists will animate all the parts of an object separately. In others cases, they use higher level controls to help streamline their workflow. Situations can even be set up where the animation of one object controls that of another. animation Animation Techniques 36 keys to lock down the motion. ting of several motion path the bounce requires the set shaping the curve, but timing the path of the bounce by This method lets you describe the path of the bouncing ball. A curve is used to represent Method1 Animation Techniques Animation the object.the properly,upset createmotionyouinstillsthat character inlife and size,changecolorandshapeand theseoverthesechangestime.If are W depictsgoing.objectwhereisthe curveclearlypath,sincespaceitsmovesthrough3Da around in particularobjectwayunderstandtheantoeasy is time.Itpoints in determineat tousedobjectbewhere willarethepath the on Pathanimationinvolves attaching curvewherepointsa object tothe PathAnimation involvesettingofformsome keys. combinedwillMayakeyframing.somewithanimation inMost do you object.Otherananimationeditingmotion ofthe techniques usuallyare valuesagainst key time. analyzingThesegreatcurvestoolsforareand generateyouanimateanimationyou usingkeys, curves theplotthat objectanimated. time.backplaycanyoumultipleyour setsee youkeys,sceneto theAs particularobjectsmoreatattributeor one for pointskeys invalues as computer.a onanimating 3D in techniqueThis involves recording Settingfundamentalmostthekeyframing, isor technique keys for SettingKeys results.best oftenmostwillyou combine theseseveraltechniques of achieveto the differentthe animationtechniques project,realaavailable Maya.In in possiblecommonexploreexample,istobouncinga it as Usingball a By setting keys on attributes at at onattributes keys setting By Attributes Keying the peak of the bounce. the peakof the near slow and ground nearthe fast is that motion down and an up with Y keyed is Translate bounce. the of end and beginning the at keyed X is Translate example, For an object. of motion the define you times, different In Maya, there are a number of waysobject.animatenumberofanto a Maya, thereare In Setting keys gives you a great deal of controloverofgreatdeal Settingtiming.a you gives keys When hen you animate, you bring to life otherwiselifeanimate,youbringtohenmotionyoustatic and less objects.less Youobjectsuchtheaspectsof take position,its as - Path Pivot Path indicate its impact with the ground. ball; scaling of the ball is used to Rotate Z defines the rolling of the SecondaryMotion

suit a bounce. cartoon-style along a curved path, which might to animate the ball bouncing This method is ideal if you want and scaling are keyed normally. while the Y translation, rotation the X and Z translation of the ball Here, a curve is used to replace Method2

TranslatePivot PathPivot the motion and lets you reshape the curve. the reshape you lets and motion the of speed the you shows Editor Graph Maya The keys. the inbetween attribute the define helps that curve anby animation connected then are keyframes The time. to value attribute’s mapthe you keys, setting By Curves Animation reserve a node for the motion path. motion the for a node reserve to helpful always is it animations, path motion for a hierarchy building When want different levels of animation. of levels different want you where objects complex more for useful can bevery but ball, a bouncing for required really isn’t complexity added This own. ontheir them key then orientation, and points pivot own their with nodes updifferent can set you itself, to an object grouping By object. your of nodes Transform onthe keys your of many You set Animation Hierarchical ScalePivot Path Pivot Path RotatePivot in the hierarchy. is keyed on a lower node The bouncing of the ball THE ART OF MAYA

Set Driven Key Non-linear Animation Set Driven Key allows you to control or "drive," Non-linear animation uses animation clips that contain keyframed the value of one attribute with another attribute. The motion. These clips can be cycled and blended with other clips in the relationship between the two attributes is defined by Maya Trax Editor. For a bouncing ball, a single bounce clip could be an animation curve. The driving attribute can be used cycled, then blended with a clip of the ball rolling. These clips can be to drive multiple attributes. For example, the rotation moved, scaled, cycled and blended. You can also add and subtract clips of an elbow joint could drive a bulging bicep muscle from the Trax Editor to quickly explore different animation options. and the wrinkling of a sleeve. Custom attributes can be added to a control node, Bounce Clip then connected to other attributes in the scene using Keys are set for the up, down and forward motion Set Driven Key. This creates centralized controls. of a single bounce. This one bounce can be cycled to create a number of cycles.

Roll Clip Here, a clip is created for the rolling of the ball. This clip contains keys for the Rotate Z, Translate X and Translate Y of the ball. Drivers Set Driven Key lets you use one attribute to drive other attributes. Blended Clips Here, the Translate X of the ball drives the Translate Y and roll of the The blending of the two ball. As the ball moves forward, the bouncing action takes place. The clips has the ball bounce resulting animation curves map the keyed attributes to Translate X several times while getting instead of time. closer to the ground and rolling forward. Expressions Another way of animating object attributes is through expressions. Expressions can be Dynamic Simulation mathematical equations, conditional statements To animate a ball that is bouncing off a series of objects or against or MEL commands that define the value of a given a non-flat terrain, a dynamics simulation is required for the most attribute. Expressions are evaluated on every frame. realistic results. The ball can be turned into a rigid body that is You can animate using an expression when you propelled forward using dynamic attributes. Forces such as gravity have a mathematical relationship that you want to or wind can then be applied to the ball to bring it to the ground. achieve. In the case below, the absolute value of a Objects in the scene can also be turned into rigid bodies so the ball sine wave creates the bounce of the ball. will collide with them. If they are passive, they will not be affected by the collision. If they are Active Rigid Bodies, they will move as the ball hits them. In the end, the simulation can be baked to turn the motion into keys.

Active Rigid Bodies sine Initial Velocity An active object is affected by When an object is set up for dynamics, it can forces and by collisions with other have attributes such as initial velocity and Active Rigid Bodies. Active objects initial spin that give it a starting motion. will animate during a simulation.

abs (sine)

Bounce Expression A sine wave placed on time creates the bouncing motion. An absolute value function keeps the motion in positive Y and the forward motion is driven directly Fields Passive Rigid Bodies by time. Other multipliers are used to control the size Objects can be subjected to fields Passive objects are used as collision such as gravity, wind or turbulence. objects by active objects, but of the bounce and the phase of the motion. Expressions they do not react to either forces are evaluated at every frame of the animation. or collisions. 37 animation Setting Keys 38 Setting Setting ton to change time without updating object values. motion. You can drag with your middle mouse but Click+drag in the Time Slider to quickly preview the Scrubbing determinevaluein-betweenthekeys. the attributespecificvaluesattimes. Then,animationtousedcurves are TranslateattributeXlight’s thefor or intensity. markKeysto used are car’sanimatetheforthesechanges keys setto needMaya, you in F have selected. depending on which object or character you Keys show up as red lines in the Time Slider, Keys Character or Object keys. thetimingofthe editalso can backplayyou or “scrub”animationyourevaluateto timing. this You in-betweenthe motionachieves desiredtheresults. The Sliderlets Time animation. Youtimedproperlyposesarethatand ensure mustkey your importantmostthe of one is components Timing creatingwhenan The time. The keys are then stored as animation curves. can set keys for one or more attributes at the same Keys are set for at least pointstwo in time. You Keyframes 1: Step motion.yourqualityof GraphEditor.theeditedin editingThisfeaturecontrol helpsyouthe keys. the interpolationThis animationanberesults cancurve thatin eachwhiletangentsatdetermineset interpolation the key in-between attributesspecifictime.atframes in values,theThesekeyframesset object’san ofmore or onevalues for key you keys, setyouWhen KeyingAttributes editingtimemotion.morethe technique,settingtimespendlessyouandthatfindsoon will you keys easilyfamiliaredited.areresultsbethisyouthewithOncecan and niques. animationThistechnique easilyobjectsyourappliedbetocan a car mightoff.movecarandforwardlightmightblinkon a a or To animated,changemustbeobjectit to an or overtime.For example, As a 3D artist,important3Dmostyour ofa setting one Asis tech keys TimeSlider Keys - scaling keys by dragging on the end arrows. move keys by dragging on the center arrows and key. This creates an editing bar. You can use this to You can click+drag over several keys using the Shift and Selecting set that define the shape of the curve. animation curves. At each key, there are tangents In the Graph Editor, you can view and edit the Shape Curve Animation 2: Step synchronize your keys. The audio waves will be visible to help you into the Time Slider using the right mouse button. You can import a sound file into Maya, then load it Sound Modifying Keys Modifying -

Play models. For example, if you keep an object’s ankeep object’s you if example, For models. your animating for possibilities unique discover to begin will you Maya, in available nodes different the about more learn you As keyable. is attribute every virtually InMaya, Attributes Keying materials, cameras and other node types. node other and cameras materials, lights, to belonging onattributes keys You set can also node’s history. Input the on keys can set you History, Construction Range Slider. subsections of a larger animation by updating the be set separately. This makes it possible to preview The animation’s Range and the Playback Range can Range Time You can also change tangents on the selected keys. up menu allowing you to cut, copy and paste keys. mouse button over the Time Slider to access a pop- With selected keys, you can then click on the right Button Mouse Right curve to create the resulting motion. the keys and the values defined by the animation When you play back an animation, the object uses Playback 3: Step Next Key Next Next Frame Next < Backward | Forward > Forward | Backward < Last Frame Last

THE ART OF MAYA

How To Set Keys Hotkeys There are a number of ways to set keys in Maya. A fast and easy method for setting keys is through hotkeys. Hitting the S key will set a keyframe for all Each one offers a different way of recording time keyable attributes on the selected object or character and value information. In some cases, you may want set. Pressing Shift w, Shift e or Shift r, will set keys Selected Keys to set keys for a number of objects and in others, for just the translation, rotation or scale of an object. you may want to set keys for a single attribute. The results are always the same, as animation curves Selected Character are created for any attribute for which you set a keyframe. The only difference lies in choosing Set Key a workflow that meets your needs. The Animate > Set Key tool is designed to create keys for all the keyable attributes that exist on selected objects or characters. If a character is selected from the character pop-up then it is keyed. Prompt Otherwise the selected object is keyed. One of the Set Key options is to use a prompt window to let you set the keys for multiple points in time. For example, you could set a key for frames 5, 10 and 15 all at once using this window. The same attribute value would be keyed for each of these times.

Auto Key Off Auto Key On

Attribute Editor Auto Key When viewing attributes in the Attribute Editor, Auto Key lets you key automatically as you edit Channel Box you can click the right mouse button over individual objects in your 3D views. Auto Key will set keys The Channel Box always displays the keyable attributes of a selected attributes and choose Set Key. Since this window whenever the value of an animated attribute is object. The Channel Box also lets you highlight one or more channels and shows both keyable and non-keyable attributes, changed. Make sure to turn this option off when you then select Channels > Key Selected to set keys for the highlighted you can use this method if you need to key an have finished using it. attributes on all the selected objects. attribute that does not appear in the Channel Box.

What is Keyed? Viewing and Editing Keys Generally, you set keys on attributes belonging To view and edit keys, you can focus on the animation curve’s shape to selected objects. You can further control which or its timing. Select Window > Animation Editors > Graph Editor to attributes are keyed using the Set Key options access the animation curves and define their shape and timing. Select where you can work based on keyable attributes, the Window > Animation Editors > Dope Sheet to focus on timing. In both manipulator handles or the pop-up Character Menu windows, you can set the attribute value, edit tangents and cut, copy (where you only key character-specific attributes). and paste keys. In the Graph Editor, you can edit the weighting of the tangents. Keyable Attributes This feature provides you more control over in-between motion. This is By default, the Set Key command sets keys for all keyable attributes of a given object or character set. Attributes can be set as either in addition to the various in and out tangents that you can set in both keyable or non-keyable from Window > General Editors > Channel windows using the menus. As you become more proficient with the control. The keyable attributes are visible in the Channel Box and Graph Editor curves, you will begin to appreciate the Dope Sheet where can be keyed with the Animate > Set Key command. Animated attributes that are non-keyable retain the keys set while keyable. you can easily make more general edits.

Manipulator Keys can also be set using your manipulator as a reference. In the Set Key options, you can choose to either use the manipulator or the manipulator handles as the keyable attribute. Therefore, keys would be set depending on which manipulator you are working with. This allows you to focus your keyframing on the attributes you are currently editing.

Character Menu If a character has been selected from the Character menu found under the playback controls, only that node will be keyed with Set Key. The use of this menu assumes you have chosen a character- focused workflow when setting keys. You can set the character to Graph Editor Dope Sheet None to set keys on other objects in the scene. This window offers a view of the animation curves The Dope Sheet focuses on keys. You can select themselves. This makes it possible to view the keys hierarchically and edit them using this window. in-between motion and edit curve tangents. You can For example, you can use the Dope Sheet Summary also move keys around and edit their values. to edit keys for all the selected objects.

Modeling

Modeling is the process of creating shape and form on screen. Models in

Maya can be hard objects with sharp edges or organic objects with a softer look. Using one of several geometry types, 3D artists can build surfaces, then push and pull points to change their shape.

Modeling on the computer can be a challenge at first because the goal is to mimic 3D objects on a 2D screen. In this chapter, 3D artists will learn how to use manipulators and different view panels to navi- gate this virtual world so they can focus on sculpting and building their models.

While building good looking models is important, 3D artists must also be aware of how the model will be used down the line. Models might need to bend or twist or simply move around your scene. Also, the way surfaces are texture mapped will depend on how they were modeling Geometry 42 Geometry basicgeometricelements. surface.Eitherway,physical a presencegive thesetoworkwill you carefullywithbuildconstructeda tousedthencurves arethatlinesor manipulatedefineform.Otherstarttimes,pointsshapeandyoutoits modelingMaya.Sometimes,in startyouexisting anwithsurface and manipulatecreatecomputer.andthetoobjectsuse willon3D you Points,surfacescurvesbasicgeometricandtheare elements that Points,Curves and Surfaces math behindmathit. geometryeditwithout understandhavingtheto screen. toolstointerfaceuser youMayaThe gives T the animationtheprocess. aspectscompletesatisfiesallof itneedswhenof the line.mappedthedown lookinggoodonlymodelisA geometryanimatedthetexturebehowwilland manipulatetounderstandhow togeometry and in 3D space. key role in defining how surfaces work be rendered. Instead, they can play a only have one dimension, they cannot for animating objects. Since curves object. They can also be used as paths are useful for defining the shape of an connected, you have a curve. Curves When ortwo more points are Curves tone and highlight. see the shape of the surface as gradations of When you shine light onto a surface, you can be textured and rendered to create 3D images. directions, you have a surface. Surfaces can When a series of lines is connected in two Surfaces computer to determine what you see on thecomputerdetermine onseeto youwhat mathematicsthehe geometryby used ofis The creationessencesurfacesThetheofofcurvespoints from isand In order to buildcomplexordertoscenes,need In you

Above is a wireframe view of a street scene. Scene a Building viewed without hardware shading or texturing. Complex scenes can be redrawn more quickly when individual parts. while not denying you access to the hierarchy that can work as a single object, bring together the into parts a selectable models. These models require grouping to other, you begin to get more complex surfaces is positioned in relation to each define an object in 3D. When a series of One surface is often not enough to fully Objects for snapping. Points are also very useful as references and lattice deformers (lattice points). surfaces (vertices, edit(CVs), points) the shape of object such types as curves control points are used to help define using X,Y and Z coordinates. In Maya, Points are defined in three dimensions Points

THE ART OF MAYA Geometry Types One of the first decisions you have to make when you start a project is how you are going to build your models. There are four types of geometry: polygons, NURBS, Subdivision and Bezier surfaces. You can use any geometry type to create either simple or complex models. You can use one geometry type as a starting point for another or you can build models that combine geometry types. In general, if you are building organic shapes, you will probably use NURBS or Subdivision Surfaces. They will give you smooth surfaces and have the fewest control points, making edits to the surface easier. Since NURBS are limited to a four-sided patch, there are limitations to the types of organic shapes you can make from a single surface. This is where it is beneficial to use Subdivision Surfaces because they can represent many more types of shapes with a single surface. If you are building non-organic shapes, such as a desk or wall, it is easier to use polygons because they easily make shapes like corners or edges. If you are building a surface that combines hard edges with an organic shape, Subdivision Surfaces work well. In this chapter, you will learn more about your options so you can decide on the geometry that best suits the way you want to work.

NURBS Polygons Subdivision Surfaces NURBS geometry is spline-based. The geometry is derived from Polygons are shapes defined by vertices that To create objects with Subdivision Surfaces, you need curves and surfaces approximated from the surface’s control create three, four or n-sided shapes. Polygonal some understanding of both NURBS and polygonal modeling. vertices (points) locations. NURBS allow you to start with curves objects are made up of many polygons. Subdivision Surfaces are mostly built using a polygon mesh as a base that are then used to generate surfaces. This workflow offers Polygons can appear flat when rendered or the and then refined. The advantage of using this geometry type is that precise results that can be easily controlled. All NURBS surfaces Normals across adjacent faces can be interpo- detail is added only where needed. It creates smooth surfaces like are four-sided patches, although this shape can be altered using lated to appear smooth. NURBS but does not have the limitations of being four-sided patches. the Trim Tool.

Scene Hierarchy View Tessellation Within the Hypergraph window, you can view The Maya renderer requires polygonal objects in order to be able to the objects in the scene and any relationships execute rendering calculations. Therefore, NURBS and Subdivision between them. An object will have a Transform and Surfaces are broken down into triangles or tessellated, during the a Shape node. The Transform node contains infor- rendering process. The advantage of letting the renderer tessellate a mation such as translation, rotation and scale. The spline-based model is that you can set the quality of your tessellation Shape node contains information such as History, to match the size and scale of your object in a scene. Tessellation, Render Stats and Object Display. When you select an object, the Channel Box will display information for both the Transform and Shape nodes. If you are using the Attribute Editor, the Transform and Shape nodes will be represented by different tabs.

Even though the boot is a NURBS surface, it will be Transform node tessellated into triangles when it is rendered. This is true Shape node for all surface types that are rendered in Maya.

43 modeling Modeling Techniques 44 Modeling Techniques Modeling and Pointand Snapping,intersecting network,such curvestoSnap as: createa tools withintoMaya precisesurfaces. severalThereare essentialcurvesissmoothandfor modeling,ofnetworkcreating of a isoparms.orFor industrial types createdcurves,frombeedgestrim surface.theizationSurfacesof can parametercontrolshapeandthe toused becurvesnetwork can of Forprecisemoresurfaces, a Networkof Curves surfacecurveduplication. Snapshots,rebuildingcurve and projectingand curves, Animated it to a SubdivisionSurfacebeginningthenaextrude. andto to it startSubdivisionsimplyplacetogoodconvertingmodel byaa is cube beginorganicto modelingobjectssuchof parts.bodyas polygonA NURBS developingfor environments charactersand interactiveforgames. detail.moreadd to techniqueThis usingpolygonsfrequentlyis used primitiveshape.awith expandedmoldedthensimpleorThisshapeis beginto commonmodelismostwaysthecreate a ofto One Startingwith Primitives convertedbecan SubdivisionSurfaces.to Surfaceslater. Polygons, however, convertedcannotbe NURBS,butto convertedbeNURBScanbecausewith it polygons Subdivisiontoor possiblebeginistogeometry with, itwork of typeto what unsure of areyou used.If texture bewilldeformedmapsofkind and what and animatedwhetherbemodelwillbe,the tocomplex model has how the C on several factors, such as: how the model is going to be used,severalsuchbefactors,on going to model is the how as: hoosinggeometrydependmodelthesuitswillyourbestthattype

primitives,such spherescommonlycylinders,areandasused - formed to create the curves to use for a Loft. the path to the shape of a thumbnail. Finally, an Animated Snapshot was per attached to a motion path. The curve was scaled and deformed at the end of The thumb was created using a profile curve for the base of the thumb and had faces extruded and was finally converted to a Subdivision Surface. CV manipulation. The model above began as a polygon cube. It was then scaled, Surfaces Tool was used to create the main shape, which was then tweaked with spans and sections in both directions to have sufficient detail. The Artisan Sculpt The model on the left was created from a NURBS primitive sphere that had several

All primitives have the option of having Primitives can be made of NURBS or polygons. Primitives different spans and sections.

- THE ART OF MAYA

Symmetry Organic Modeling Most objects in life, whether they are organic or When the surfacing tools are not sufficient to create the shape you are industrial, have symmetry. Modeling only half the looking for, direct control point manipulation sometimes is the only object and mirroring it offers an efficient method solution. Artisan is an excellent tool for creating broad shapes but it for completing the entire object. This technique is can be difficult to use in tight areas where you may need to manipulate widely used for industrial design, but can also be only a few CVs or vertices at a time. Manipulating on such a fine level is used for organic shapes such as heads and bodies. an art in itself that demands patience and skill. A helpful tip for viewing a mirrored copy update Selecting the points for manipulation can be the first challenge interactively while you work on one half, is to use because it is easy to accidentally select points on the back of the model. an Instance duplication with a negative scaling Artisan Paint Selection Tool can be handy for selecting or deselecting instead of a regular copy. points since it works on the surface under the brush and does not affect points on the back surface. Also, being able to hide unselected CVs lets you focus on the surface without the clutter, making it easier to change your selection. On NURBS models, when hulls are on they offer good Artisan Paint visual clues as to where the CVs are in space. After the selected CVs using reflection have been modified, use the keyboard arrows to pick-walk to the next row.

Mirroring half of head

The human head is one surface and not mirrored. Instead, it was created using The left model displays only those CVs that are being modified. By pressing F, the view is focused to the Artisan Paint Tool with the Reflection feature that sculpts on both halves center on whatever is selected, making tumbling the camera easier for evaluation of the affected surfaces. at the same time. The alien head was modeled as one half and mirrored as a -1 The model on the right uses the Paint Selection Tool to select front surface vertices, avoiding wrong scale in the X-axis. selections on the opposite side of the model.

Patch Surface Modeling Rotoscoping This method of modeling requires more planning If the model needs to have exact than the others. This method creates a surface out proportions or is being developed of many smaller NURBS surfaces that have surface from a sketch, you can import refer- continuity and, typically, the same number and posi- ence images as backdrops and roto- tioning of isoparms. scope (or trace) them. Maya Image The planning stage of Planes are objects in the scene that patch modeling involves can display images or textures. Each deciding where the cutlines Image Plane is attached to a specific are to be positioned and what camera and provides a background the parameterization of the or environment for scenes seen surfaces will be. The Stitch through that camera. and Rebuild Surface Tools are used extensively to create An Image Plane is used as a guide to model a hand. surfaces with this method. Image Planes can use single image files, a numbered sequence of image files or a movie.

45 modeling NURBS Surfaces 46 tions on a NURBS surface have an origin and togetheroriginNURBSsurfaceandandefinehavetheyathe tionson direction,onedirections.NURBS surfacewhiletwothehas directwoThe related.aretwo obviousdifference:an Thereis only NURBScurvehas a T Surfaces NURBS or textureplacement.or certainmodelingrenderingand operations, such attachingas surfaces surface.Beingawarethesesurface of properties usingwhenhelpwill surface,theNormalswhichof determinebackfrontandthe the of principlesbehindNURBSappliedcurvesareto sidedpatches. NURBSthewith As duplicatingdesiredsurfacethethelocationscurvesat re-lofting. and However,surfacetheparameterization modifiedbeaftercan creationby affectcurvewillqualityoftype characteristicsand the surface.theof fewestevenlythewithspacedisoparms CVs. or earlier stated,As the industrialseveralnature,generallyadjoiningofarein upmade four NURBS NURBStheof componentsNURBSThesurfacethosesimilarverytheareto of Anatomyof a NURBS of a four-sideda of surface.NURBS of the surface. are dependent on the parameterization ment of U and V. The values at this point point that represents a measure You can select a Surface Point Surface surfacesefficiently, proficientbecreatingmust youincurves.good sameThe NURBScurve.NURBSthesurfacefoundationis hea of TocreateNURBS NURBS Marking Menu Menu Marking NURBS

surfacesspanswhichhullsandCVs,have shapedefinethe

curve, except the edit points are not moveable.curve,notpointseditexceptarethe - the distribution of CVs in a crowded area. CVs. The hull offers a better visual cue for are actually selecting all of its associated connect CVs. When you select a hull, you The hull comprises straight lines that Hulls NURBS and duplicated to create individual Several patches can be selected by an enclosed span square. A NURBS Patch Surface

Surface models,whetherorganicarethey or

surfaces. curve, it is desirabledefineissurfacescurve,to it

surface patch is defined

surfacessincethe specify the number of segments or spans. Revolve, Primitives, orLoft rebuilding, you can at edit points. When creating surfaces using A span or segment is the space between isoparms Spans This distinction is important for some modeling actions. that is a span or section, it displays as a solid, yellow line. or section, it displays as yellow dots. If you select an isoparm curves and snapped to. If you select an isoparm that's not a span V directions. Isoparms can be inserted, removed, used to make Isoparms are lines that represent cross-sections in the U Isoparms -

direction (blue). a line indicating the surface Normal and labels them U and V. It also draws the first U and V isoparms (red and green) Turning on this display option highlights SurfaceOrigin the shape of the surface. surface but are used to manipulate They do not exist on the actual ControlVertices

and

THE ART OF MAYA

Building Surfaces The majority of the surfacing tools begin with creating curves defining the surface. In some cases, the curves are used to create simple surfaces that are then rebuilt and modified by CV manipulation. Other times, the curves are used to create much more Fillet Blend Surface complex surfaces that would be difficult to attain otherwise. To help you understand The Fillet Tool creates a seamless blend between two surfaces. The three types are: Circular Fillet, the operation of the tools, view the Help Freeform Fillet and Fillet Blend. These terms are Line as you scroll through the menus. discussed later in this chapter.

Profile Curve 1 Profile Curve 2 Rail 2 Birail Surface The Birail Tool creates a surface by using two or Profile Curve 3 more profile curves that sweep along two rails. The profile curves must intersect the rail curves to create a surface. Profile and rail curves can be isoparms, Curves-on-Surface, trim boundaries, Freeform Fillet or boundary curves of an existing surface. The advantage of this tool over the Loft is Rail 1 greater control with the addition of rails. Loft Surface A Loft Surface is created when a surface is applied to a series of profile curves that define a frame. There must be at least two curves or surface isoparms and ideally the same parameterization for each curve, to achieve a clean surface. If the curves have the same curve degree and parameterization, Primitives the Loft Surface will have the same number of spans NURBS primitives are common geometric in the U direction. objects such as spheres, cubes and cylinders. Primitives are often used as the foundation for other shapes.

Deformed Half Sphere Curve 1 Curve 2

Revolve Surface The Revolve Tool creates a surface defined by a profile curve that revolves around a defined axis. Trim Surface Extrude Surface The use of construction history is very useful to To create a trimmed surface, a closed Curve-on- The Extrude Tool creates a surface by sweeping a cross-sectional profile curve tweak the shape after the revolve operation. The Surface is required. There are various ways of along a path curve. The profile curve can be an open or closed curve, a surface front fender began as a revolved surface that was creating these curves which will be discussed later isoparm, a Curve-on-Surface or a trim boundary. The extruded surface on this then scaled, deformed and finally trimmed. The in this chapter. model creates a lip for the scooter surfaces and gives the illusion of depth. tire and rims are simple revolves.

Path Curve

Curve-on-Surface Profile Curve Profile Curve

47 modeling Polygon Modeling 48 PolygonModeling operationperformoperationandtheinstructed. as automaticallyswitch rightcomponentedittheanytofor type given selection nent componentsmodify,towish youthat togglingbyon thesecomponents.editto you Youindividualselectthetoneedwill UVs.facesand polygonThereareediting operations allow thatMaya in mesh.theeditcreateand componentsThesemainvertices, are edges, Eachpolygonconsistsmeshcomponents ofmodifiable arethathelp to PolygonComponents NURBS,SubdivisionSurfaces, Paint DisplacementFX, Fluids. or operations.conversionacreated frombybepolygonalso canmesh A complexshaperesultspolygonMayausingthefromediting createdmorePrimitivesusingbethe acan Maya,butwith comethat n-gons.Joined together, polygoncreatemesh.theya polygonmeshA resultingtheface. triangles, exist ascanface quadrangles A (quads)or P Vertex Selection mode. make a face. Press F9 for Three or more connected vertices A vertex is a point in 3D space. Vertices Selected Edges Selected select multiple component types. allow you to change selection modes interactively. This method allows you to Use the right mouse button over the model to access a marking menu that will Press F11 for Face selection mode. face can be moved, scaled or rotated. more than four sides is a n-gon. A with four sides is a quad and with with three sides is a triangle, more connected edges. A face A face is made up of three or Faces create a shape or face.Pointsshapeorcreate aconnected aresurroundedgesthat by connectednumberofpoints adefined thatolygons asbe can (Preferences Polygons).Modeling>> willMaya

Selected Vertices Selected these restrictions. rendered output often do not fall under content, models created for software- While these restrictions apply to game exceed a certain number of polygon faces. This means that these models do not specific polygon count target in mind. and the gallery) were created with a polygons. Some models (like the scooter All of these objects were created from Polygon Edges Edges connect vertices by drawing a straight line between them. tion mode. mesh. Press F12 for UV selec corresponds to a vertex on the on a mesh. A to display or render a texture coordinates that are required UVs are the two-dimensional UVs A single edge can be moved, Convertcompo Objects scaled or rotated. Press F10 for Edge Selection mode. Triangle Faces Selected Quad UVs Selected

UV directly

- the middle mouse button to alter its position. Create Polygon Tool To create a polygon shape, select Polygon shape is achieved. Press Enter to finish. You can continue to place points until the desired final edge. by pressing Enter. The dashed line represents the After the 3 1 sides each, but appear to be planar. is planar. The second and third shapes have four The first shape has only three sides and by nature face is considered non-planar. plane than the other vertices of its face. The third The third shape has the fourth vertex on a different game engine. if you are creating a polygon mesh for export to a be rendered in Maya, they may cause problems four or more sides. While non-planar faces can use the cleanup operation to tessellate faces with then either triangulate the non-planar faces or ation occurs as a result of a modeling operation, > Options > Keep new faces planar you can toggle on avoid this when creating or appending polygons, the other vertices, it creates a non-planar face. To be aware that if a vertex lies off the plane from When working with quads and n-gons, you should Polygons Non-planar 2 st nd Click Click rd Creation click, the polygon can be completed 5 th Click Mesh > Create Polygon Tool . After placing a point, use Mesh > 4 th Click . If this situ 3 rd

Click - THE ART OF MAYA

Polygon Primitives Maya includes several polygon primitives that can give you a starting point for your model. The majority of these primitives are closed shapes and all primitives are created with a default set of UV information. These primitives have Sphere Cube Cylinder Cone Plane Torus Prism Pyramid Pipe Helix Soccer Ball Platonic Solid construction history which can be modified at any time.

Modeling a Head Extruding Faces Using some of the more common You can further refine your shape by extruding the face polygon modeling tools, the steps of a polygon. This extrusion operation inserts faces at the for creating a polygonal head are edges of the face to be extruded and allows the selected illustrated below. face or faces to be moved, scaled or rotated from their original position. If you are extruding multiple faces and want them to maintain a cohesive shape, toggle on Edit Mesh > Keep Faces Together. This only inserts faces at the edges on the border of the selected faces. Otherwise, faces will be inserted at every edge. This tool can be found Face four is selected. This is the After the extrude is complete, new under Edit Mesh > Extrude. face that will be extruded. faces were added at the edges of the extruded face.

A default cube was created and Splitting Polygons then smoothed by selecting Mesh The Split Polygon Tool allows you to divide a polygonal > Smooth. The two rear bottom face. You can also use the tool to insert vertices on an faces were then extruded to cre- edge. To assist you, the tool has options that allow you ate the neck and the front lower to set how many Snapping Magnets you want and the edges were moved down to create Snapping Tolerance for the magnets. By setting Snapping the chin. Magnets to 3, the edge being split will have three equally spaced division points. Increasing the Snapping Tolerance increases the influence of the magnets. With a Snapping Tolerance of 0, the vertex can be added anywhere on the edge. A tolerance of 100 will force the vertex to snap A common use of the Split Polygon Tool However, the face can be split any directly to the division points. is to divide a face in half. This is done way you want as long as the last with a tolerance of 100. vertex ends up on an edge.

Joining Objects Sometimes you will create the individual parts of a model The lower faces of the front were and then want to join them together. For objects to be split for the nose and the middle joined, they must match certain criteria. The objects edges were moved up to create must be combined to create a single object and must have the eyebrow area. The nose and their Normals pointing in the same direction. Combining eyes were created by splitting objects will create a single object with construction history faces in the appropriate areas and relating back to the original objects. The separate pieces then moving vertices to get the of the new object are called shells. Shells are pieces of an desired shape. object that are not connected to the rest of the object by shared edges. Objects that are combined with opposing Normals will give an unexpected result when their edges are merged. This is because their edges run in different The torso and arms are selected The three objects have been directions. This is true for appending polygons between and ready to be combined. Mesh > combined into one object. shells as well. Combine to do this. However, there are three separate shells.

The mouth was created by splitting the faces in the mouth area and then moving vertices.

The border edges of the left arm and left torso The same steps as before are applied. But, Here you can see the problem. The left arm and opening are selected and the Edit Mesh > the result is different because the edge torso have their Normals pointing out, while the Merge operation is applied. The arm and torso direction of the two shells are opposite each right arm’s Normals are pointing in. You could now share common edges and the holes in the other. Maya was able to merge the front solve this by selecting a face on the right arm, left side of the torso and left arm are closed. edge of the right arm and the rear edge of select Normals > Reverse > Options. Toggle the torso, but could not continue and stopped on All faces in the shell and Reserve user The eyes and neck were further merging edges. normals and then press Reverse Normals. The refined and then the edges of right arm's Normals now follow the rest of the the model were smoothed in object and the edges can be merged properly. the proper areas.

Deformations

In the real world, some objects are hard and some are soft. The surfaces on the soft objects can be bent and folded into different shapes. This kind of surface deformation can be set up and animated in Autodesk®

Maya®.

Pushing and pulling the control points on a surface deforms its shape.

Yet to sculpt every surface point-by-point can be time consuming. Maya offers deformation tools that give 3D artists a higher level of control.

A deformer applied to one or more objects can be used to achieve bending and twisting by editing a few control points or attributes.

Deformers can also be used as modeling tools because they are great deformations Deforming Objects 52 Deforming Objects Deforming can many affect control points on the surface that would specified region of the surface. Moving one lattice point Each lattice point controls several control points in a manipulator made of a small number of lattice points. easier in some way. For example, a twist or bend or make the process of deforming a surface perform a specific of type surface deformation such as Maya has a category of tools called deformers that either Deformers be difficult to select and move individually. positionscontrolpointsofsimplyinstead translatingof rotating and theirshapehaveanimated.toable be meansanimatingThis the rotates. Toachieve effectsthesekindsof Maya,surfaces intohave stretchesandelbow theground,bendshuman asskin thehitsand it as M dynamic fields such as turbulence and gravity. whose control points are controlled by particles and flames and flags. A ing and dynamicsoft, moving materials like curtains, Maya has features for simulating properties of cloth SimulatedDeformations whichwork.yourinused be can one becomingthesetechniques,familiarofall with decidebestcanyou deformers,otherchangetoolsthatthereare objects.shapeofBythe animateorganicor forms. calledMayatoolsin ofset aWhile thereare object.an of modelsurfacesyouhelp to used beThesedeformers can wayschangenumberofto a Maya, thereare In shapedeform theor Typesof Deformation wholeobject.the a softrubbersquashesaballchair a it, someone in sitsas gives changetoableworld areany3D ourobjects intheir shape— soft body is a geometry object lattice is a cage-like -

specific location. useful when you need to move a surface point to a points and translate, rotate or scale them. This is or geometry is to select component level control The most rudimentary method of deforming a curve CVand Vertex Edits around the neck joint would rotate as well. you could rotate a neck joint and the geometry deformed as the skeleton is animated. For example, geometry to a skeleton causes the geometry to be them) and the geometry will be animated. Binding can then animate the joints (usually by rotating geometry (skin) to these joint hierarchies. You parented to each other. You can group or bind are a continuous hierarchy of joint nodes that are connected visually by bone icons. Skeleton chains A skeleton chain consists of joint nodes that are SkeletonChains surface deformation to The same face after using folds for eyelids. widen the chin, and make smile, round out the cheeks, reshape the nose, add deformations. A face with no

THE ART OF MAYA

Deformer Sets When a deformer is created, certain control points of the surface will be affected by it. The control points that are affected by a given deformer are said to be part of that deformer’s membership. Maya keeps track of which control points are members of which deformers by using sets. It is possible to add or remove control points from a deformer’s set membership by selecting Edit Deformers > Edit Membership A non-deformed sphere with its CVs displayed. The same sphere with a lattice deformer applied. Tool. The top rows of lattice points have been moved up to deform the sphere.

Alternatively, an explicit list of the CVs belonging to this set membership can be viewed and edited by selecting Window > Relationship Editors > Deformer Sets.

To select the lattice, click on Edit Deformers > A row of CVs is removed from the lattice’s mem- Edit Membership Tool. This highlights the CVs on bership with the Edit Membership Tool. Now the the sphere that are affected by the lattice. The yel- deformer has no effect on those CVs. low CVs are part of the lattice’s membership. Deformer Order One of the many powerful and flexible features of deformers is the ability to layer multiple deformers together. For example, you could apply Bend, Lattice, Blend Shape, Click+drag to reorder Skeleton and Cluster deformers on the same object and all will interact to produce the final deformation. However, the order in which Maya evaluates these deformers does affect the final shape. Fortunately, you have control over the order in which the deformers are evaluated.

To access the List of History Operations window, place the cursor over the object and use the right mouse button and select Inputs > All Inputs. This window displays a list of Input nodes connected to the text object. Click+drag the middle mouse button on the list of items to Here, a Squash deformer is added first, then a When the order of deformation is reversed so the left to change the order Maya evaluates these Bend deformer. Notice that the how the deforma- that the Bend deformer is evaluated before the Input nodes. tion looks. Squash deformer, the result is a different look to the deformation.

Artisan Sculpt Surfaces Tool Maya Artisan provides you with a set of brushes to sculpt detailed organic models, for simple NURBS surfaces, subdivision surfaces and polygon meshes. You can push, pull, smooth or erase deformations on your model and even add a texture map to further displace it. Select Edit NURBS/Subdiv Surfaces > Sculpt The model after the Sculpt Geometry Tool has Geometry Tool to use the Artisan Sculpt Surfaces been applied. This second image uses a more Tool. This is an easy way to paint deformation onto a detailed surface, allowing subtle definition and surface interactively. wrinkles to be added.

53 deformations Deformers 54 Deformers Deformers with the focusanimation.heavilybeingmorethewithon Thesedeformersare modelingtheanimationbothand inused process, deformers are predictableand manner. Lattice, cluster, wire,wrapsculptand therefore,offermechanism a controlledmoreanimatea pointstoin L you can also use theusealso can you Wrinkledeformer. duringmodeling. Tocreatefurther wrinklingeffects, shapingusefulforobjectsbealsodeformers can settingforeyebrowanddeformations. lip up Wire objects.shapeof changeNURBScurvesmoretoor one use you the shapeobjects.sculptorsto deformer,wirea With armaturesthebyused like deformersareWire Wire influencethepointsoflattice lattice.base theand generatedsurfacecalculatingisby differences betweenlatticethe default.by influencetheWhenlattice edited,resultingtheis deformed influenceanlattice lattice,base a andlatterthe which of invisibleis deformablelatticeaalso object.deformedisbe sinceitcan encompassentireanyobjectcontrolthenumberorpoints.of a Even componentstheunderlyingdeformtothe to or surface. latticeThe can translation,as latticetheappliedrotationscalingtobe canor object manipulatecanchangeyouthat to object'stheshape. Operations such latticeA deformersurrounds deformablecage-likeboxa objectawith LatticeDeformer deformersurfacebackthesnapwilland original itsshape.to satisfiedresultingthewithdeformation, simply deletecantheyou deformations.thenotDeleteinareHistory you operation Ifbake to deformingsurfaces. locatedeachDeformandundermenuthe uniqueofferssolutiona for being pushed through a keyhole. you get the ofcartoon effect an object If you push an object through a lattice, PushingThrough a Lattice manipulatepointslargenumberusingsimplerofobjectsa and, attices,clusters,wires,sculptsw and In characterIn usefulbesetup,deformerscanwire latticeaWhen created,actuallyis therearelattices two created: a modelingusecantool,anya youWhen deformerasused is

Deformer raps are deformers that candeformersthatare raps These nodes can also be animated just like any other deformers. ated, allowing you to go back to previous nodes and make changes. timeEvery you use the Soft Modification Tool, a nodesoftMod is cre History DeformersModification Soft > Toolbox. correspondingThe actionis fartherawaycenter.thefrom push/pull,thecentergraduallyofthe and falls off sculpture. deformationamountofThegreatest is at a sculptoronpushgeometry andwouldapull as SoftThe Modification Toolpullandpush youlets SoftModification The SoftThe Modification Toolthelocated inis

divisions, the greater the lattice point resolution. S, T and U divisions. The greater the number of You can specify the lattice's structure in terms of LatticeDeformer U Divisions U T Divisions

Tool .

S Divisions Create -

THE ART OF MAYA

Flexors Clusters Flexors are special deformers designed for use with Using clusters solves some fundamental problems for keyframing rigid skinning. They provide various types of defor- control points. These points can only have their position in space mation effects that improve and enhance the effects animated because they don’t have a Transform node. Clusters are provided by rigid skinning. There are three types of deformers that create a set out of any number of control points from flexors that can be attached to a skeleton: lattice, one or more multiple surfaces and provide them with a Transform node. sculpt and joint flexors. Once they are applied, the Once a cluster has been created, you have the ability to keyframe its joint is usually rotated to see the effect of the flexor scale and rotation based on the cluster’s Transform node’s pivot point. and further adjustments can be made. Set Driven You can also group clusters into a skeleton hierarchy. Key is an ideal tool to set up a relationship between the flexor and its affecting joint. Weight of 0.5 Cluster icon

Weight of 1.0

Six CVs around the top eyelid are clustered and weighted. The pivot point for the cluster is then placed at the center of the eye so the surface deforms around Cluster rotation pivot the eyeball. Without a cluster and pivot point, the Wrap Deformer eyelid would move straight through the eyeball. The function of a Wrap deformer is similar to that of After creating a cluster, you can assign a percentage to the CVs to a lattice deformer, with some slight differences. The control the amount the points will move via the Edit Deformers > Paint most obvious being that a Wrap deformer can be Cluster Weights Tool. For example, if a control point is weighted 1.0, it made from a NURBS or polygon mesh and be any will move 100 percent of the transformation. A value of 0.5 will only shape. Just like the lattice, the wrap also creates a transform 50 percent. The top row of CVs for the eyelid are weighted base shape and any difference in position, orienta- 0.5 and the bottom 1.0. This allows for nicer tucking when the eye is tion or shape between the base shape and the wrap open. Otherwise, the top of the eyelid would recess too far into the influence object results in a deformation of the head with a value of 1.0. surface. This technique uses an influence object with fewer points than the object you are deforming. The primary visibility is turned off for the wrap deformer, so it does not render.

Polygon mesh used as Wrap deformer The above left image shows how a cluster was created with the weighting at the default value of 1.0. The adjacent image shows the same cluster, but with the CVs weighted in a tapering effect. The selected CVs are shown in the Component Editor with their assigned weight.

Flow Path Object Sculpt Deformer The Flow Path Object function creates a lattice around Sculpt deformers are useful for creating any kind of rounded deforma- the object that has been animated on a motion path. tion effect. For example, in setting a character for animation, you could This technique allows the object to deform to the use sculpt deformers to control a character's cheeks or to bulge a bicep. shape of the curve. There are two options: around the When you create a Sculpt deformer, select components to only affect object or around the path curve. They both achieve the that region of the model. same look unless you decide to add deformations to the lattice.

The Sculpt Tool can be very useful for simple bulging effects, but it also allows for much more complex deformations. For example, you can use a NURBS surface that deforms to create a more organic feel, or you could use a texture map where you can paint the deformer influence. 55

Character Animation

One of the most challenging and rewarding forms of computer graphics is character animation. Here, 3D artists combine the transformation of a digital skeleton with the deformation of a skinned surface to set up a character that walks, talks and moves around in 3D space.

Of course, a character doesn’t have to be a human or an animal. Any object that is animated with expression and tries to speak to the audience through its actions is considered a character. In fact, the same techniques used to animate a dog might be used to animate a dancing bottle, a tiger or a tree.

Autodesk Maya allows you to combine all the controls found on different parts of a character into one or more character sets. This makes it easier to pose characters and work with them in the Maya non-linear Trax animation system. These techniques character animation 3D Characters 58 digitalperformers. complexitycharacter'stheof controls.offersMaya manycreationthese the toolsforof interactively.easilyand specificTherequirements character's theof motiondictatewillthe A Characters 3D deformers,expressions, Key,SetDriven constraints, BlendShapes,IK, etc. fullyriggedcharacterA bringstogetherquiteitcomplexjoints, skeletonbeas cansurfaces, animating.processanimatorthetheofletfocuson to controls used called rigging isis and typicalcharacter.a partsmanageup the make that preparingprocessThisofcharacter moveproperly.alsobendmustand youhelptoolsthatnumber includesMayaof a character’sThe mechanics convincingclothingbemustandaudienceskin thean and to ATypical Character used to control the different finger joints. For example, a hand joint could have attributes for controlling different of parts a character. Key and expressions, you can set up attributes Using animation techniques such as Set Driven CharacterControls it has been rigged up for animation. This makes it easier to work with a character after of a character’s hierarchy that are to be animated. Selection handles give you quick access to parts SelectionHandles use inverse kinematics for even more control. joints defines the motion of the character. You can character’s hierarchy. The rotation of the skeleton Joints are used to create a framework for a SkeletonJoints grab hold of a fixed object. weights to make a character pick something up or locators. You can then animate the constraint a skeleton to objects in your scene or even simple It is possible to constrain the kinematic controls of Constraints characterfullydeveloped.is possiblebeginanimatingto entirebefore the characterresolutionalow of version it makesalso switchfullyriggedthecharacterto rendering.for A interactivelyworktowhile animating. Youthencan possibleitsurfaces makesskeleton parentedthe to Therefore,resolutionlow acharacter hasthat interactivemanipulation playbackand scene.theof thedownsurfacesslow candeformersthatand characterfullyrigged3DA includesmany bound CharacterResolution 3D character3D digitalactor.a is Whethercharacteryourbounces that canwithtin a is personality,photorealistica or controlhumananimatorbeing, theittoneed will

skeleton to achieve more interactivity while animating. animating. while interactivity more achieve to skeleton your to parented surfaces resolution canlow use you animate, you As which rotates the joints. directly. IK allows you to position IK handles, kinematics allows you to set the joint rotations from forward or inverse kinematics. Forward To control your skeleton joints, you can choose Kinematics be used for talking and for showing emotion. such as BlendShape to create facial poses that can To animate facial features, you can use deformers Animation Facial are then associated with particular joints. places points from a surface into clusters that joints to make them move together. Binding be either parented or bound to the skeleton Surfaces of a character’s skin and clothing can BoundSurfaces can be used. deformers such as flexors and influence objects To help the surfaces bend realistically at joints, Deformers

THE ART OF MAYA

A Typical Character Animation Workflow Motion Capture The development and animation of a 3D character involves a As an alternative to setting keys, you can use motion number of steps. Once you have a design, you must begin to build capture to simulate real-life motion on a character. the character’s model, lay down skeleton joints and rig the skeleton Generally, motion capture involves recording joint so that it is capable of an appropriate range of motion. Character positions and rotations from an actor that are then controls can also be set up to assist the animation process. applied to a skeleton. Motion capture works well with While it is possible to work in a linear fashion, starting with non-linear animation where motion capture clips can modeling and ending with rendering, most productions require be blended together. some form of concurrent work to be done. An animator might need Note that you can import mocap data from to begin laying down motion while the model is still being finished. Autodesk® MotionBuilderTM software via the At the same time, character deformations and texture maps may FBX® file format. each be assigned to different parts of a team. For this reason, you may use your low resolution character to begin animating and blocking out scenes while the higher resolution character is refined and set up for deformations and rendering. © 2000, Image courtesy of Ascension Technology Corp.

Motion capture offers realistic motion performances that can be imported as animation curves and applied to digital characters. Binding Skeleton Modeling The surfaces are bound to the Using the sketches, a detailed skeleton and joint rotations Character Design model is built with an awareness of tested. Deformers are used In support of the story, the how it will be bound to the skeleton to enhance the final look. character is designed using later. sketches, storyboards and Rendering in some cases, clay models. The character is rendered in its final These visual aids give the 3D setting. You might also render the artist a clear understanding character on its own, then use a of the character and the compositing package to integrate character’s range of motion Integration it with and emotion. the background. The animation from the low resolution character is applied Animation to a fully rigged skeleton with Skeleton Rigging A fully rigged model that uses bound surfaces and deformers. Using sketches or the model low resolution surfaces parented as a guide, joints are drawn to the skeleton can be used for and kinematics and character initial animation studies. controls are set up.

Character Sets Character Sets On a typical character, you will have This set is the root of a character setup. You can have attributes many attributes on many different assigned to the character or you can nodes that need to be keyed. A assign sub-characters to it. If you character set allows you to collect select this set and set keys, you also key the sub-characters. those attributes in one place and build up a character definition. When this Sub-Character Sets character is highlighted in the These sets help break down a character into smaller parts in case pop-up Character menu, that character set is active whether or not it is you want to focus on one area. These selected. This feature makes it possible to easily set and edit keys for sets can be set up to control specific that character since it is always active. Character sets are also necessary body parts such as arms, legs and facial features. to animate using non-linear animation through the Trax Editor since Trax clips can only be created for a character set. Keyable Attributes Select Character > Create Character Set to start a character, then For each character and sub-character set, you can choose which key- select Character > Set Current Character Set > Character Set Editor to able attributes need to be brought add and subtract attributes from the set. The Character menu found near together to effectively animate the the Time Slider can also be used to highlight a character. different parts of the character.

59 character animation Animating Characters 60 your character.your consolidateonyou help keys theseattributesseteasierto it make and Transformcharacter.theup make nodesthat toolscannumber of A T having to be selected.behaving to space.Highlighted charactersGraphEditor thewithoutin upshow also SettheKey Toolpartsworkitsselectedthenotif evenarein key), (S Characterthelightedonmenu. highlightedA character by keyed is transferredare associatedtheto attributes. singleplace.CharacterKeysa on insetSets them on keys setandedit collectyouattributesletsets differentfrom Characterpartsaand of CharacterSetsoffer high-level you control overcharacter. your These CharacterSets Select been assigned to a character. typical character set that has A Sub-character set is a Set Sub-Character to the highlighted character. of these sets. It will be assigned Sub-character Animating Characters Animating Create Character it with Sub-character sets. Select may not contain any attributes if you are using This is essentially the root set of a character. It CharacterSet add attributes to characters. Set Box, then select attributes, you can highlight them in the Channel sub-character when they are created. To add more Some attributes will be part of a character or Attributes and poses and place them into the Trax Editor. Only character and sub-character sets will be recognized when you create clips To animate using non-linear animation, you must have character sets set up. Animation Non-linear . You can also use the Relationship Editor to butes that are scatteredarebutesthat manyaroundthehandlesjoints, andIK character,animatea o attrilargenumberofa with deal must you CharacterspecialSetstreatmentgivenhigh arearethey when Character > Create to create one Character > Add to Character to create one of these sets.

Character > acter set highlighted here is the active character. and edit characters and sub-characters. The char lower right of the workspace lets you quickly select This pop-up menu found next to the timeline in the Menu Pop-up Character - - - - characters in the Trax Editor. and paste, animation clips between the mapped its target. Then you can import and export or copy between a source character's nodes or attributes and Use the Character Mapper to establish a relationship Mapper Character animate as a group. breakdowns should mimic areas that you want to of a character to give you more control. These Sub-characters can be created for different parts Sub-characters to the Character Sets. left, then click on attributes on the right to add them Relationship Editor. Highlight a Character Set on the Editor Set > Character Set Editor If you select RelationshipEditor from the Range Slider toolbar, you open the Character > Set Character Current or Character Set

THE ART OF MAYA

Constraints Constraints allow you to control a character using other objects (such as locators). Constraints let you control parts of a character like the position of IK handles with a point constraint or the rotation of joints with an orient constraint. The advantage of constraints is that they are flexible. If an arm or leg cannot reach its constraint, it pulls away from the constraint gently, rather than being abruptly Arm Eyes Elbows and Knees stopped. When you see this A character’s hands can be constrained Aim constraints can be used to control a A pole vector constraint can be used to using point and orient constraints. You character’s eyes. These would be parented control the positioning of elbows and knees. pulling, you can quickly adjust may want to parent these to the shoulders to the head but could still be moved on These locators help orient the IK handle’s other constraints to minimize the so they move with the body. If you have their own to offset the gaze. It is a good pole vector, which helps prevent the IK solu- pulling of the first constraint. any finger attributes, you may want to idea to use a different locator for each eye tion from flipping. Pole vector constraints can use the locator as a Control node. to avoid having a cross-eyed look. also be parented to parts of the body.

Animated Constraint Weights Control Nodes It is possible to add more than one constraint to an object. Each of In some cases, you will not want to add every these constraints is given a weight, and the object will be constrained attribute to a character. Instead, you will want based on the average of the constraints’ weights. Therefore, you can specific Control nodes that have custom attributes animate an object that switches from one constraint to another by linked using reactive animation techniques (such as keying the weights from 0 to 1. If you are animating the weights, make Set Driven Key or direct connections), sure you don’t set all the weights to 0. This would create a confusing to other attributes in the scene. This creates an situation for your object when working interactively. intermediate level of control that lets you focus on handlebar fewer attributes, while maintaining control over seat constraint constraints many attributes. hand constraints

pelvis constraint feet constraints running board constraints

Step 1: Character Constraints Step 2: Scooter Constraints The character’s pelvis, arms and legs are constrained The arm locators are parented to the handle-bars to locators. The arm locators are parented to the so they rotate with the steering mechanism. The shoulder so they move with the body, while the leg and leg locators are parented to the running board and pelvis locators are in world space. This lets you move the pelvis locator to the seat. When the scooter the character freely without it being locked down. moves, the character constraints will also move.

Step 3: Key Initial Weighting Step 4: Key Final Weighting Control Nodes and Manipulators While the character walks freely, the character con- As the character sits on the scooter, the character’s Dynamic or custom attributes can be added to specific nodes to straints are keyed at 1 and the scooter constraints constraint weights are keyed at 0 and the scooter let you animate several other joints or attributes using one control. are keyed at 0. This puts the character constraints constraint weights are keyed at 1. Now you can Some custom attributes could roll a finger while others could control in control until the character sits down. You will animate the scooter and the character will follow. an eye’s pupil dilation. These attributes would later be included in a want to add the Constraint node’s weight attributes You might want to animate the scooter constraint character set for automatic keyframing. to a Character node to make sure they are keyed weight for the pelvis to move up and down as the with the character. scooter goes over bumps.

Materials and Textures

While geometry describes the shape of an object, its material describes

how its surface will appear when rendered. In the real world, when light

hits a surface, it reacts to the surface qualities. Some of the light is absorbed

and some is reflected. A shiny object reflects light directly, while a matte

object diffuses the light. While reflected light does not actually illuminate

surfaces in Autodesk Maya, materials and textures can be set up to simulate

the real-world reaction of surfaces to light.

To create realistic images, material qualities such as color, specularity,

reflectivity, transparency and surface detail must all be set. Maya uses

special connected nodes called Shading Networks to set up the material

qualities of your surfaces.

Textures let 3D artists create more complex looks for their surfaces.

A texture can be a set of procedures set up in Maya or a bitmap image materials and textures Shading Your Models 64 Shading Your Shading Models Digital the in found is information camera and Lighting rendering shading all explore to required is softwarerendering while lights, some and textures quicklypreview to used be can render.rendering Hardwareand lights with objects your illuminate then camera, a up set maps, texture Toand networks shading preview EvaluatingShading Networks and can be achieved in Maya using Raytracing. such as glass, can also bend light. This is called refraction label, cap and paint, remain solid. Transparent surfaces, the glass on this jar, while opaque areas, such as the It is possible to see through transparent areas, such as Transparency surface’s 3D qualities 3D apparent. surface’s a gradation from light tothe dark that makes when illuminated. As light hits a surface, it defines Shading shows you how the surface appears Shading Basic networks are made up of nodes that define the final look of a rendereda offinaldefinenodeslook thatthe ofnetworks upmade are rials,texturessurface.lightsaffectwillandShading a offinal look the parencytexture.and W translated into attributes on shading network nodes in Maya. in nodes network shading on attributes into translated be can shaded is object an how of achieve.understanding to basic A trying be will you that qualities material various the consider to useful is it network, shading complex more a at looking actually Before MaterialQualities buildshadingyouthatnetworks render thatsuccessfully. surface.Learningeachproper ofrolethe theseensure nodeswill of Maya uses Shading group nodes to tell the rendererShadingtheusestellMayawhichgroupnodes to mate

hile geometry defines the shape of a model,shadinggeometryhileadefines definesshape ofhowthe the model’sthe surfacesdetailslightandsuchreactto color,as trans Cinematography chapter.Cinematography situations.More in-depth discussion of types is found in the Rendering chapter.Rendering the in found is types

textures and up to eight lights. It offers a preview of the color of HardwareRendering while reflections simulate light bounced from surrounding objects. Specular highlights show the hotspots where the light sources are reflected, As a surface becomes shinier, it begins to show highlights and reflections. Reflections and Highlights

- - add color and texture. realistic with the addition of shading networks that The geometry shown as a wireframe becomes more Displacement Maps. achieved with special textures called add a realistic look to a surface. This can effect be Surface relief, such as bumps and scratches, helps Relief Surface

Reflections and all lights. sucheffects as bump, specular, shadows It is capable of rendering all shading SoftwareRendering bump highlights Specular and THE ART OF MAYA

The Anatomy of a Shading Network Shading networks are built as nodes that control specific aspects of the shading effect. These networks define how various color and texture nodes work with associated lights and surfaces. The placement of textures on surfaces is also controlled by nodes within the network. There are several ways to view shading networks in Maya. The Hypershade window lets you easily connect nodes and view the connected attributes. You can also double-click on any node to open the Attribute Editor. Along the way, you can zoom in and out in the Hypershade window to get the complete picture. You can also view shading networks in the Hypergraph window but this view does not give you swatch images.

2D Texture Placement Node File Texture Node A texture is mapped in 2D space when it is File textures are bitmap Shading Group mapped to the UV space of the geometry. This images imported into Maya This node is the root of the shading network. It sends information node is used to define the texture’s positioning that can be used for texture about materials and textures, lighting and geometry to the renderer. and orientation within the UV space. mapping attributes such as In most cases, you will not have to work directly with the Shading color, bump or transparency. group node because the Material node is where you will make most of your texture connections.

3D Texture Placement Node This node lets you define a position in 3D space for your texture and makes it easier to texture multiple surfaces as if they were one. The icon in the modeling views can be used to interactively Material Node establish the texture’s position in world space. Material nodes define how the surfaces will react to light. The term shader is often used to describe the role played by the Material node. Environment Texture Node In general, this node An environment texture is used to simulate will be the focus of reflections on the surface. This node might be your work as you build shared among several shaders and have an up all of your shading effect on many surfaces. networks.

Shading Network Connections Shading network nodes have input and output attributes. Texture mapping involves making connections between these Input and Output attributes. One way to connect them is to drag one node onto another in the Hypershade window. You are then offered a list of input attributes to map to. In this case, the Output attribute is a default attribute, such as outColor. For more complex mapping, the Connection Editor allows you to select input and output attributes directly.

When a texture node is dragged onto a Material node, you are given a pop- Placing the cursor over the line that connects two nodes up menu of possible input attributes. gives you information about the connected input and This makes it easy to connect two nodes together. output attributes. You can use this information for The Connection Editor can be used when the desired You can also drag nodes directly onto attribute names in future reference. To break the connection, select this line attribute is not available in the pop-up menu, or when the Attribute Editor to connect them. and delete it. you want to make a special connection, such as the Out Color R of the one node to the Diffuse of another.

65 materials and textures Surface Materials 66 Surface Surface values that approach 0. 0. approach that values Diffuse have surfaces mirror-like or smooth while values Diffuse higher have to tend surfaces Rougher imperfections. surface by directions all in scattered is much how and absorbed is light much how determines Diffuse Diffuse with the Diffuse and Specular attributes. Specular and Diffuse the with Maya in simulated highlights. are specular bright behaviors see world real These we eyes, reachesfocused. our light or this coherent When more is light reflected and absorbed not is light so imperfections, surface no or little have surfaces light. diffuse as known Veryis and smooth even and soft appears light reflected absorbed. be or scatter,scatteredtrapped, to of become them type causing This reflected, are rays whichlight at angle the distort can imperfections Surface complex. quite is life real in surface a strikes it when light of behavior The MaterialQualities rendered.geometrybe to combinedShadingisinformationwith wheregroupitnode about the lights and shadingfocaltexturingpointforanda theinformation.into fedas then is It Lambert,and eachthat differentdefinea shadingmodel. MaterialTheactsnode surfacesshaded.areincludesMaya several material types, such Phong,Blinnas mathematicala isnodeshading simulatesmodelthatnatural reactionlight.a to whilerough surfaces havesofter a look because they disperse light. MaterialA M appearance of holes in a surface. texture map to create the transparent. You can also use a opaque and other values are semi- White is transparent, black is Transparency 0.25, 0.25, 0.25 on all objects. Ambient color has RGB values of a light source. In this image, the even illumination, without requiring This attribute creates the of effect AmbientColor this base color. light and reflections will influence and blue attributes. The color of Color is made up of red, green Color The MaterialattributesThenumbercontainsnodeof a control youhow letthat Polishedsurfaces areshiny because they reflect light with strong highlights, aterialsinthereal world react tolight byabsorbing orreflecting it.

Materials

to a surface. node, can be used to add the appearance of atmospheric noise This attribute, found in the Special section Effects of the Material Glow no on effect other surfaces. The Incandescence attribute is not actually emitting light and has This attribute can be used to make a surface appear to emit light. Incandescence

depending on the characteristics of the surface. components of the total reflected light will vary, In real life, the proportions of the specular and diffuse Effect Combined surface Normals. map to alter the direction of the surface relief by using a texture This attribute lets you add Bump reflections are consistent. materials to make sure the scene’s space and can be assigned to various texture maps are positioned in world relying on reflections. Raytraced These define a reflected environment without This attribute can be texture mapped to Color Reflected objects in the scene. Reflected Color, or actual reflections Raytraced of be a 3D texture map connected to the material’s reflects its environment. This environment could This attribute controls the amount a surface Reflectivity have a softer highlight. angle. Rougher surfaces like brushed metals will no surface imperfections to distort the reflection have very bright, tiny highlights because there are specular highlight. smooth Perfectly surfaces will resulting in an intensely bright region called a of light that is reflected at a consistent angle, Specular shading attributes determine the amount SpecularHighlights two maintwo sections. Common Material The Material nodes have attributes in chosen material type. Attributes change, depending on the nodes, while the Specular Shading Attributes are found on most Material

THE ART OF MAYA

Material and Shader types Several different material and shader types offer you distinct shading characteristics. The main difference between materials is how they handle specular highlights when rendered. Shaders are specialized materials that render differently and specifically for some objects. Below are six of the most commonly used material types and five specialized shaders. Various attributes such as color, bump and Materials and shaders can After creating a Material node, you specularity can be mapped with textures and will affect the appearance be dragged from the Create can change the material type quickly section of the Hypershade, where using the pop-up menu in the Attribute of the final render. you can assign them and make Editor. This will change the types of texture connections. attributes available for shading.

Lambert Material Phong Material PhongE Material This material type is the most basic This material adds a sharp specular This material type adds a and does not include any attributes for highlight to the Lambert material. different kind of specular high- specularity. This makes it perfect for The size and intensity of the highlight to the Lambert. The PhongE matte surfaces that do not reflect the lights are controlled by the Cosine material includes attributes such surrounding environment. The Lambert Power attribute. This material can as Roughness that controls material type can be transparent and will also have reflections from either the softness of the highlight, refract in a Raytrace rendering, but with- an environment map or Raytraced Whiteness that controls its out any specularity, it won’t reflect. reflections. The Phong material is intensity and Highlight Size. good for plastics. Blinn Material Many artists use this material type Anisotropic Material Shading Map Material exclusively because it offers high-quality This material type simulates This material type allows you specular highlights using attributes such surfaces which have micro-facet to create custom shading on as Eccentricity and Specular Roll Off. grooves and the specular highlight surfaces. A ramp texture controls This material type can be edited to look tends to be perpendicular to the the positioning and color of the like a Phong material, which has sharper direction of the grooves. Materials shading and highlights on the highlights, in cases where you need such as hair, satin and CDs all have surface. If you want to emphasize better anti-aliasing of highlights during anisotropic highlights. the dark areas, simply darken the Ramp an animation. This material is good for lower end of the ramp. texture glass and metals.

Ramp Shader Ocean Shader Hair Tube Shader This shader gives you extra control The Ocean shader is a specialized Hair tube shader simulates a thin over the way color changes with light shader with attributes defining tube, where the width of the tube and the view angle. You can simulate realistic waves on large bodies of is small enough that local shading a variety of exotic materials and water. It is usually used through the effects can be ignored. All shading tweak traditional shading in subtle Fluid Effects > Ocean > Create derives from the view and the tube ways. All the color-related attributes Ocean command, which auto- direction. Because the highlights in the Ramp Shader are controlled matically creates nodes required to are spread across the entire tube by ramps. render an ocean. width, rendering fine hairs does not require as high anti-aliasing levels. Layered Shader A Layered shader allows you to combine two or more Material nodes Use Background Shader that each have their own qualities. Each material can be designed The Use Background material is primarily meant separately, then connected to the Layered shader. The top layer’s for combining CG and live-action components. The transparency can be adjusted or mapped to reveal parts of the material is assigned to stand-in geometry that repre- layer below. sents surfaces and objects in the live-action plate. Layered shaders render more slowly than other materials. Instead The material then catches shadows and reflections of using a Layered shader, it may be better to set up a regular Material from objects in the scene. Many of the diagrams in node that uses a Layered Texture node mapped to Color. Specular and this book have been rendered with a white back- Diffuse maps can create the appearance of variations in the material ground and a Use Background material assigned to a qualities of the surface. plane to catch shadows.

Tin material (top layer) Transparency map ( top layer ) Reflection catchers Shadow catchers Rust material Layered shader To create convincing results, you must set up your lighting and position your (bottom layer) camera to match the background image to your model. While compositing, you White areas of the map are completely transparent, while black areas are opaque. Shown above are would remove the image plane and render with a black background. The Use the two materials and a map that would result in the layered shader. Background shadows are available in the rendered mask channel. 67

Digital Cinematography

When preparing a digital scene, lights and cameras play a very important role. Both lights and cameras make it possible to view objects in a realistic context. Artistically, they both allow 3D artists to control the look of their animation with the same creative control as a live-action cinematographer.

In some ways, the most difficult aspect of using lights and cameras in Maya is that the possibilities are endless. It is very easy to fly a camera around without a clear sense of purpose or add too many lights to a scene. The question is whether or not the creative decisions support the story being told. Therefore, it is a good idea to consider how live- action movies make use of camera moves and lighting. digital cinematography How Light Works 70 in order to supportorderto inscene’s the emotionalcontext. lightqualityin Theof Learningimportantcontrolan lighttoisskill. 3D emotionalsettinganlevel worksbyon time, itatmosphere. and mood L intensitysettingslights themselves.theof adjusted.beInstead, todon’tneed lightcontrolledlevels are usingthe doesn’tbounce.cameraisn’tHere,lightexposedcontrolsfilmand to bouncedlightcomingothersurfaces.from lightingbecauseCGisThis informationexposureThisadjustthetousedsettings is camera. the of measureslightlevels,thewhich includeindirectdirectbothand light. reflected.lightisred whilethe cinematographerA lights,thenupsets absorbedlightisbluebecausegreenand redobjecttheappears An eithersurfaces.absorbedbouncedallislamp,orand by a orsun the world,reallightbounces.the In Lightstarts lightsource, suchafrom as RealWorld vs. equallydigitalimportant,isshota althoughdifferent.rulesarethe 3 2 1 controlled controlled by the camera. The film’s exposure to light is Inthe Real World more intuitive to position the light and its look at point.atlookposition itslightintuitiveandtomore the camera.awere it if asview thepan methodThisoftenit makes Look Panels> SelectedThrough pointposition. properly,workto set while Ambientpointlightseyerequireandonly an direction.Spot, light’s Transformnode. Adjustingtranslationthesepointsthesets rotation and thevalues on definespointing.pointthatcamerawhereisatthelook a source and defineslightpointdisplayedthatpositiontheeyetheis ofan with positionedbeLightscan usingthe PositioningLights How exposed to the film. to control how much light is time and film speed are set Stop, shutter angle, exposure Camera controls such as F- the camera. proper exposure settings for a light meter to determine the Light levels are measured using issofter. surfaces other from bounced light iswhile lighthard, Direct intensity. a controllable with a source from is emitted Light defines the shape and form of objectssamespaces,thedefinesofandformshape whileand atthe affectsight whichwaythein world Lightaroundthe us. see we Cinematographersilluminatescene,lighttotheuseobjects thein In Maya,surfacesilluminatedInare directlylights.by no Thereis Youselectinglightpositionbylight,alsochoosingthenthecan a pointsdefineslight’satlookthe andbetween lineeye The the Light Works Light Area and DirectionalandArea lightstheirdirectionshavemust DigitalCinematography 3 . theuse youletsThis Show ManipulatorShow 1 C as an area light or an ambient light. would need to use a secondary light such To simulate a bounced light in Maya, you 2 B

Alt key Alt Tool 1 . Each. light to dollyand to

Lights can be created using either CreatingLights Looking through a spot light. light’s shape node. attributes can be edited using the swatches in the Hypershade. Light Create > Lights controlled controlled by the lights. The scene’s lighting is directly Onthe Computer C B A Point Look at surface. to calculate the illumination on the intensity, color and decay, are used The light’s attributes, such as should be used in the shot. and used to determine which lights from the surface’s shading group A list of associated lights is taken of view. a surface from the The renderer samples a point on Eye Point menu or using the camera’s point

the

Cycle Index

THE ART OF MAYA

Light Types Light Nodes Maya has several light types, each of which When a light is created, it is built illuminates a scene differently. A typical scene with two nodes. The Transform combines a number of different light types. You can node holds all the information switch between light types in the Attribute Editor. about the light’s position and orientation. For most light types, scaling a light will not change its shape, or the effect of its illumination, but it will allow you to change the size of the light icon to make it more visible in the workspace. Spot The one exception is with area lights, as their intensity is affected by Spot lights emit light that radiates scaling. The Shape node holds all the information about the light’s illu- from a point within a limited cone mination. Some of the spot light attributes can be edited when using angle. You can use this cone angle to limit the area receiving light. the Show Manipulator Tool by clicking on the Cycle Index icon. Each click allows access to different manipulators that control attributes such as Cone Angle or Penumbra Angle. Spot Light Attributes Directional The spot light’s Shape node Directional lights use parallel rays of contains attributes that control how light to illuminate a scene. Shading is the light will illuminate the scene. very uniform without any hotspots. These rays are similar to the light of Since the spot light contains the the sun, which hits the earth with most attributes, it is used as the parallel rays. example here. The other light types contain a subset of the Spot Light Attributes. Point Point lights emit light in all directions, radiating from a single Intensity Decay Cone Angle point. This creates an effect similar This attribute determines how much This attribute determines how This attribute determines to a light bulb. This light creates light is emitted from the light source. much the light intensity diminishes the width of the spot subtle shading effects with definite As you increase the Decay and as the light gets further from its light’s cone of influence. hot spots. Dropoff values, you need a more source. Therefore, if you choose to The areas outside the cone intense light. use Decay, you need to increase are not illuminated. the Intensity.

Area Color Penumbra Angle Area lights emit light using a two- You can set RGB values for the light This attribute creates an dimensional area. The area light’s being emitted. This will have an area at the edge of the spot icon can be used to help define the influence on the color of your scene. light where the light fades. light’s direction and intensity. A larger A larger value here creates area light has a stronger intensity. a soft look for the light. Hotspot The point where the light is most intense is referred to as the hotspot. You also know it as a specular highlight. The look of the highlight is a result of the intensity of the light and the shading qualities of the Ambient surface’s Material node. Ambient lights emit light uniformly in all directions. The Dropoff Ambient Shade attribute adds This attribute determines how positional behavior. Bump maps much the light intensity dimin- are not visible with ambient ishes as it gets to the outer light alone. edge of the light. This puts more emphasis on the light’s hotspot. Volume Volume lights emit light in all directions for a finite distance based on a 3D geometric shape. The light shape can be a box, a sphere, a cylinder or a cone.

71 digital cinematography Casting Shadows 72 StoredDepth Map Value shaded during the rendering process, When a point on a surface is being Step2 point and the light source. the distance is measured between the Casting Casting longertouch each other. happeningiswhatknowbecause charactershadowyouandthe no characterscharacteryourground.theIfprops to and air,theleapsinto O point of view.pointof shadows. Yougeneratedlight’sisDepththeMapfrom thethat see can lightevaluatesspotinformationa Depth Mapshowshowgenerate to shadow.in sceneisyour pointin a notwhetheror diagramThebelow light’sthefrom view,pointofinformationusingthisthen evaluate to light’sthein On to AttributeEditor. Depth efficientmoreshadowstheDepthMapshadoware types. two the of A DepthMap Shadows appropriateadjusttheto bewill attributes.easier itthe account.intotaken be shadowscast,abouthowknowareyoumore The lightattributes, such Coneas Angle,affectwill shadowsyourmustand whichoffer different qualityrenderinglevelsandof speed. Sometimes shadows.your Youchoosecan RaytracedandDepthMapfrom shadows a greater distance from the light. to the light, while the various shades of gray show light. White is used to show surface points closest measures how far the various objects are from the When rendering a starts, Depth Map is created that Step1 In Maya, there are manyMaya,thereaffectarethatInfactorsquality and look of the Depth Map shadows work by recordingshadowsDepthMapbyZ-depthworkthe information light. Shadows add drama to your scenewhilelight.youranchorhelpingShadowsdramatoadd nodramatic mostareasofthelightingaspects in of of occurs ne

Map shadow Map Shadows can be created by settingcreatedbybecan Use Depth Use Map ShadowsMap underneath the chair in this image. does not. That is why you can see the wood texture illuminate of parts the scene where the spot light Note does not contribute to the shading. If the point is in shadow, the light’s illumination 4 Step up a scene, they are well worth the effort. While shadows do require extra work when you set grounded, and it is easier to read the scene’s depth. how the scooter in the second image is much more use shadows and the second one does. You can see Here are shotstwo of a scene. The first does not Withand Without Shadows Depth Map, the point is in shadow. distance is greater than the distance stored in the information stored in the Depth Map. If the point’s This measurement is then compared to the depth Step3 : Another light, such as an ambient light, may

THE ART OF MAYA

Raytraced Shadows Depth Map Default Depth Map Soft 732 x 450 pixels 732 x 450 pixels To calculate Raytraced shadows, Maya sends a ray Render Time - 1x Render Time - 1.05x from the camera and when this ray hits a surface, it spawns another ray toward the light. This shadow ray reports whether or not it hits any shadow- casting objects on its way to the light. If it does hit a shadow-casting object, then the original surface is in shadow. Raytraced shadows have the disadvantage of Raytrace Soft Raytrace Default 732 x 450 pixels being slower to render than Depth Map shadows. 732 x 450 pixels Render Time - 11.87x However, depending on the look you are interested Render Time - 1.38x in, there are several reasons why you would use Raytraced shadows in your scene. These include transparent shadows, colored transparent shadows and shadow attenuation. If you want Raytraced shadows, but not reflections and refractions, then set Reflections and Refractions to 0 in the Render Quality section of the Default Renderings Soft Shadows Render Settings. Using the default settings built into a spot light, By tweaking the Depth Map shadows attributes the Raytrace rendering offers a sharper shadow you can see much better results. Using Light than the Depth Map shadows. Rendering time is Radius and Shadow Rays to soften the Raytraced longer for the Raytraced scooter. shadows, you can see how the rendering took even Transparent Shadows longer. When casting shadows from transparent objects, Depth Map shadows do not take into account the Shadow Attenuation transparent qualities of a surface, while Raytraced By default, Raytraced shadows look more accurate and crisp than Depth shadows do. This may be a deciding factor when it Map shadows. This can result in an undesirable computer-generated comes to choosing which technique you will use to look in most cases. To avoid this, the shadows can be softened using a cast shadows. combination of a non-zero Light Radius and Shadow Rays greater than 1. These controls are found in the Raytrace Shadow Attributes section of the light's Attribute Editor. The biggest difference between a Raytraced soft shadow and a Depth Map shadow is that a Depth Map shadow is evenly soft around its edges. By contrast, a Raytraced shadow will dissipate or attenuate with distance from the shadow-casting object. This can be slow to Depth Map Shadows Raytraced Shadows render but is often used to create beautiful looking shadows in When a Depth Map is generated at Raytraced shadows are computed still renderings. the start of a render, it does not take during the rendering process. transparency into account. For this Therefore, the transparency of the reason, the shadow generated by a object is taken into account. As a Depth Map will appear solid. result, Raytraced shadows clearly represent the details of a transparent or transparency mapped object.

Colored Transparent Shadows Another feature of Raytraced shadows is that you can create colored transparent shadows. For example, in Depth Map Soft Shadows Raytraced Soft Shadows the real world, when light passes through a stained The light’s Dmap Filter value affects the softness Light Radius and Shadow Rays define the of a Depth Map shadow. softness of a Raytraced shadow. glass window, you see the colors transmitted by the light passing through the window onto the floor. In Maya, Raytraced shadows will automatically create Shadow Limit colored shadows when the transparency channel on When working with Raytraced shadows, you should also set the a material is colored or when it is mapped with a Shadow limit attribute. For example, if you have a shadow-casting colored texture. object with several transparent surfaces behind it followed by an opaque surface, you would expect to see a shadow on the opaque Raytraced Shadows surface. In order to see this shadow, set the Ray Depth Limit on the The color of the transparency auto- light to a value that is the number of transparent surfaces + 1. Be matically casts a colored shadow. sure that the Shadow limit in the Raytracing Quality section of the Render Settings is not set lower than this value, or you will not see your shadow.

Rendering

A 3D artist’s ultimate goal is to create a sequence of images that can be synchronized with sound and played back as a movie. The creation of these images occurs in the renderer where surfaces, materials, lights and motion are all taken into account and turned into bitmap images.

The art of rendering involves finding a balance between the visual complexity needed to tell a story and the rendering speed that determines how many frames can be rendered in a given time. Simple models render quickly and complex models take longer. rendering Rendering Scenes 76 find a way of gettingwayofacanfind fastestimagequalitybestyou thethat rendertheand times so while.computeryourquitea forbusy animationthestageintothisprocess isat key The completeimage. renderinvolvesA complexlargenumbercalculationsofa keep canthat differenta formrenderingcreationgivenorderpixels tothearethat inofis colors R Scenes Rendering process,overviewanshownthroughout is chapter.this insightactuallyMayawhatsoftwareduringsceneintodatayourwiththedoes render rendercalculations performedarefinalbitmapresultthatimages. in Tosomeyou give settingsandscenedatayour ofrendererwhere all handed softwareoffareisthe to and knowledgemoregreatresults.dealbestrequireunderstandingtheandaand get to The Maya. software,MayaareThey vector.andmentalray rendering.specifically,More threedifferentthereare software renderersshippingwith realizetodifferent twotherearethat rendermethodsimages:tosoftware hardwareand deadlines.yourmeet renderedhardwarethewith renderer. qualifiedagraphics card. beonly canalsoThey shaders. Tohavemustyoutheseshaders,view overtageotherrenderers.the renderer,performanceespeciallytheto due advan renderingoftype futurethisoftheinlies as compositingapplication.However, changingisthis effectspreviews,andwhich laterenhanceda arein primarilyusedrenderhardware-typeto particle currentlyis graphicsIttionrender frames.cardsto leveragesincreasingeverthenext-genera powerof seamlesslya integrated renderingsolution that screen.the hardwareMayaThe rendererpresents computer’sgraphicshardware displayobjectsto on Hardwareshading,texturing lightingand theuse HardwareR sophisticatedresults. addedfunctionalitythe achieveyoulets more hardwareasfast renderingas notrendering, is computer’sthe hardware. Therefore,whilesoftware algorithmswithoutcodethebeingrestricted in by companiesfunctionalityaddcan changing by flexiblemorehardwarethan rendering. Software productioncycle. renderingthatsuretimes support make the ambientGlobalIlluminationplacelights,of in to employshortcuts,yourenderersletmost such as behaviorprohibitivelycalculate,wouldbetoslow bitmapimages.Becauselight’saspects someof true textures,andphysicsthecreatewith finallightto of combineelements,to such geometry,as cameras threesoftwareAll complexrenderersusealgorithms Softwa and effectsand finalcomessequencesimpletogetherveryimages.terms,aInofinto settinginwork themodels, textures,ofupendering whereall islights, cameras The softwareThe considerablyrenderersare complexmorehardwarethan rendering Beforeexploringspecificthe renderingdetails of animation sequences, importantis it Maya also supportsalsoMaya andCgFX ASHLIhardware Softwarerenderingadvantagethebeinghas of reRendering endering

- - tion and can also be launched from a Command Line. Render > Batch Render You can create a rendering software in the Render view window or by using Rendering Software using the panel’s Shading menu. texturing and lighting in any view panel You can display hardware shading, Shading Hardware . The Batch Renderer is always used to render anima

time than with rendering. software broadcast-resolution images in less The Hardware renderer can produce Renderer Hardware - THE ART OF MAYA

Software Render Process LEGEND 1. Geometry Filtering To start the rendering process, Maya determines Main render flow which objects in the Maya scene file will be rendered. Any objects that are hidden, templated, or do not belong to a shading group, will not When Raytracing is on be rendered. Triggered when needed

2. Light Depth Maps When in IPR mode From the point of view of each shadow-casting light, Maya renders Z-depth files called Depth Maps to be used later to compute the shadows in the scene. Two Depth Maps are created because the Use Mid Dist is turned on by default in the light’s Attribute Tessellation Editor. Maya uses triangles at render time to approximate NURBS surfaces, Subdivision surfaces and displacement mapped or quadrilateral polygonal 3. Tiling/Primary Visibility objects. This process is called tessella- By looking at the bounding boxes of the geometry, tion. Tessellation is time-con- Maya can determine which objects are visible to suming, so the artist sets the camera and approximately how much memory attributes on a per-object will be required to render them. Based on these basis to manage the estimates, the image is divided into rectangular number of triangles regions called tiles. Each tile is a manageable the renderer will use. amount of data for the renderer to process at one During the render time. It is possible to explicitly set the maximum process, tessellation tile size (in pixels) from a Command Line. is triggered only when needed.

4. Shading Maya computes all of the texturing, lighting, shading Anti-aliasing, 3D motion blur, etc. for the visible surfaces in each tile.

Deep Raster Generation When an IPR render is launched, a temporary file is created and written to disk in the iprImages directory. This deep raster file stores the image itself and all the data required to allow interactive tuning of shading and lighting attributes during an IPR render. Raytracing If Raytracing is enabled in the Render Settings window, any secondary rays needed for reflec- 5. Post Processing tions, refractions or raytraced shadows After the frame is rendered, Maya completes the will be computed and will contribute to final image by creating and automatically compos- the shading process. The hybrid nature iting any of the post process effects that you have of the rendering architecture ensures specified. These effects include Depth of Field, 2D that primary rays are not raytraced and motion blur, Glow, Paint Effects, Fur, etc. only specified objects participate in Raytracing. This allows for a highly efficient approach to achieving added realism in a render.

77 rendering Render Output 78 Render beginningStartthewith Frame number. attribute10.toevery10 rendersonlycase,Mayathis In renderevery10 default.betweenframesbyintheHowever,all renders wantyoutoif animation. AfterStartaFrame FrameEndspecified, anare and Maya Rendertheof Settingstop thepreview at window. indicateschosenyour format.file Youthesecombineda seecanas whichSliderin Time rendered. imageisthe formatfileextensionThe sequence. framenumberTheextension represents the framein the syntax.namefile sion. combinationAthesethree componentsofreferred isthe as to animation:name,framefilenumberextensionformat file extenand consistsnameimagethreefilecomponentsAnof renderingwhen an RenderingAnimation only available on certain platforms. is also documented. Some formats are information. The Maya IFF file format mats handles image, mask and depth description of how each of these for documentation of Maya has a detailed rendered frames to be in. The online you to specify the format you need your The Image Formats pop-up list allows Formats Image padding, are set from the Renderthepadding,fromset areSettings Window. outputting to.it Theseimageproperties, such size,asframeformat and B ased on your post-productionyouronased requirements, finalrenderedyour image or sequence of images will need to suit the medium you aremediumyouthe suitsequence images toneedimagewill or of YourenderrenderingframeswhenwhatMayatotell an to need animationtheimagesinall for namebase the is namefile The th

frame for test purposes, you can set the By FrameBythepurposes, testsetframefor can you Output - th frame,

- used in the industry. tion from a list of those commonly allows you to quickly select a resolu pixels. The list of presets in Maya dimensions of a rendered frame in The Render Resolution refers to the Resolution Render attribute does not whichaffect camera a Batch render. This Render Settings render from more than one camera in in the Batch render. It is possible to choose which camera will be used The pop-up camera list allows you to Camera Renderable View window within Maya. is used while rendering in the Render

- THE ART OF MAYA

Channels Image Formats The color channels of a rendered image are made The Maya Render Settings lets you render your up of red, green and blue (RGB). A mask channel, images in the specific format that you need for your or alpha channel, stores information about the production pipeline. The default image format is the coverage and opacity of the objects in your Maya IFF, but you can choose from a list of many scene. This channel allows you to work with standards used in computer graphics such as your rendered images in a compositing software color (RGB) TIFF, GIF, JPEG, PSD, etc. Most of the formats application like Autodesk Combustion or are 8 bits per channel, but Maya also renders Autodesk Toxik software. 10 bit Cineon and several 16 bit formats which are A depth channel records the distance from commonly used for film. Human eyes can perceive the camera to the objects in the scene. This is more colors than 8 bits can represent, so high- often called Z-depth and you can look at it using resolution formats, such as film, sometimes require the Z-key in FCheck. mask better color definition to look realistic. Maya can render an image file that contains Maya also lets you render directly to AVI or RGB color information, a mask channel, a depth QuickTime movies. While this may be convenient, channel or any combination of the three. The flags you might also consider rendering in one of the other in the Render Settings window let you choose formats that creates separate images, so that you what channels will be rendered. Some image have more flexibility. An application such as Autodesk formats do not support embedded mask or depth Combustion allows you to create a movie from the channels; in these cases, Maya generates a sepa- depth images after any adjustments have been made. rate mask or depth file and puts it in the mask or depth sub directory of your current project. AVI (.avi) AVI is the Microsoft Audio Video Interleaved movie Rendering Fields file format. Maya only renders uncompressed AVI files as these are the most common for reading into When an NTSC television displays images, it uses a technique other applications. called interlace, where electron beams horizontally scan all of the odd- numbered lines first and then fill in all of the even numbered lines (for QuickTime (.mov) PAL, even lines are scanned first). Each of these scans is called a field This is the file extension for Apple QuickTime and they are half a frame apart in time. This means that instead of 30 movie files. Maya only renders out uncompressed frames per second, you actually see 60 fields per second (50 fields per QuickTime files as these are the most general for second for PAL) when you watch television. reading into other applications. Rendering fields in Maya takes advantage of this interlace technique to achieve smoother motion on video. Instead of rendering whole frames, Maya renders each frame in two fields where the odd scan lines are rendered separately from the even scan lines at half-frame time intervals. The two fields are automatically put back together to form a whole image at the end of the frame render. The result is that the motion of an object in-between frames is captured in the render. In the final interlaced image, moving objects will look ghosted when viewed on your computer monitor because the monitor shows you both sets of scan lines at the same time. However, when the same image is viewed on a television screen, the objects will look correct.

Animated scooter rendered as interlaced fields.

Interactive 3D Through video games, visualization and the world wide web, 3D computer graphics have moved beyond the movie screen and into our everyday lives. Today, computer games consist of complex 3D characters and environments produced under aggressive production sched- ules. As such, game production has shifted away from the traditional animation pipeline, adapting new ideas such as game engines and blind data.

While many of the concepts covered in this book can be used by game developers to help them in their work, gaming environments have rules that are required to get graphics to play in the most efficient manner possible. Therefore, the kinds of models and textures that game developers can create are limited. interactive 3d Interactive 3D 82 to let customerspreviewlettheirproducts3D.to in suchas E-commercebeginningtechnologiessitesareuseto mass-marketmoreforconsumption.web the on games,similarbeginningcontentappear isto prevalentmostvideoWhileisinteractivein 3D 3Don the demandinteractionmorecontent thewiththey relationshipthis changingis audiencesasbegin to digitalcontent.relationourtheworld,inIn roleto audience.an totold audiencepassiveThe playsa T inhabitthem. environmentscreatethese3D who actorsthe and toolsdesignedgamenumberhelpoftodevelopers experience.the Forreason,thisincludesMaya a furtherservesown,tooursimilar to enhance decisionthemakers. and actorsbecomeworldsthecanwhere newthey resultinginimmersed action.wantbePlayers to decisionsshapethethat key “player” makes who gamescharactermainwherethe viewerorthe is Interactionvideoevidentmostcontentwithinis The viewing.are Interactive 3D Interactive supportsnarrativea traditionstoryis where a scenesrenderinganimatedinto3Dhemovies of The ability to interact in 3D environmentsinteractability3DTheto in VideoGame Generation VRML (virtualVRML realitymodeling language) Web

Animation dynamics and particle The effects. limits are set by the system itself. on the fly. With next-generation systems, there will be support for more complex Generally, are effects added to video games using 2D sprites that are composited Effects Models built for interactive 3D are primarily polygonal models that use Modeling kinematics and (IK) some do not. (the player's Forcontrol). character animation, some systems support animation is stored in small sequences that are controlled using the joystick When playing a game, the player drives the motion of the scene. Therefore, Animation Subdivision surfaces may soon follow. game systems already have support for Bezier geometry, and NURBS and controlled polygon counts to suit the gaming system. Some next-generation the animation.the suchgeometryissuesastype,texture mapping and choicesbestthe make youhelp decidingwhen on video.Understandingandfilm tothese ruleswill differenthasInteractive3D rulescompared ADifferent Workflow attain faster playback. faster attain help tricks texturing and Lighting playback. real-time for designed be must textures and Models player. the to content present to rendering hardware use games frames, still of series a to rendered is animation an Whereas Rendering Interactive

inverse

THE ART OF MAYA

A Short History of Gaming Sprite-based Games Real-Time 3D Bitmap graphics have been the driving force for video games from Once graphics engines began supporting the beginning. These bitmaps were created as “sprites” that would the display of polygons to the screen, 3D be overlayed during game play in reaction to the player’s moves. To became interactive. With the creation of true 3D envi- preserve playability, the number of colors was limited to suit the power ronments, players could now roam around a game of the game system. To this day, games are being produced using 24 and discover its secrets. Every year, the systems bit sprites rendered in programs such as Maya. Sprites are sometimes become stronger and there are fewer restrictions on used in real-time games to add effects. the games.

1 bit B&W Pixels 8 bit Color Pixels 24 bit Color Pixels Low Polygon 3D Next Generation ~ 1980 – 1990 ~ 1985 – 1994 ~ 1993 – Present ~ 1995 – 2000 ~ 2000 – Future These games used simple bit- Adding more colors offered richer With a more complex color These games offer the freedom The polygon counts are now maps to generate the game play. environments, but the limited space, 3D programs could now of motion within a 3D environ- becoming high enough for much Graphics could be easily created palette meant that the sprites had be used to generate sprites. ment, but models maintained smoother artwork and more using simple pixel based to be painted by hand. This created richer game- a jagged look because of low stunning visual effects. paint systems. play environments. polygon counts.

The Rules Are Changing Setting the Limits In the world of interactive 3D, the term To make a game truly interactive, the game next-generation is a bit of a moving target. art must not interfere with the game play. Systems are becoming more powerful, game Therefore, the speed at which a game can get engines more open and game developers more polygons and other sprite based graphics to the inventive. Also, systems are beginning to accept screen is crucial to this interactivity. different geometry types, and hardware rendering techniques are becoming more realistic. Hardware As mass market uses of interactive 3D rise, Games are run on both these techniques will begin to be incorporated into computers and game more open standards, such as Web3D, which will consoles. The ability of the help make interactive 3D a more integrated part hardware to process graphic of how we work and live. information has a strong impact on the look of the final game. Hardware rendering is measured in Polygons Per Second (PPS) and the higher the PPS, the more complex an interactive 3D scene can be. This PPS rate is affected by textures, animations and in-game effects, and can lower the hardware’s total PPS. Game Engine The game engine is the software that handles the user’s input, calculates animation and dynamics, and renders the graphics to the screen. The game engine is built by the game developer to create the most sophisticated game experience possible for players. When designing a game engine, a developer must decide on a production pipeline that matches the intended hardware platform. 83 interactive 3d Game Creation 84 developerconceptwithworkartists,to modelers,animators,texture complexthesepartsallundertakingaof tion is requiresthatgamethe real-timegameatointogame.programmers, builditwho coordinaThe behavior,textures,lighting.andshaders informationThisgiven then is T designed to work intimately with the actual programming of the game. repetitively to make the most efficient use of game memory. The level builder is to create the gaming environment. This is where many objects will be placed Level building is where the various digital game art pieces are brought together Building Level missingandlineit. differenceprojectthemeanbeginningcan a of betweendead makinga tasksinvolved,numberoftheBecause of establishingworkflow the ata time.samethethesehappenactivities atcan of all aslinear one a art,gameart, level buildinggameand programming, necessarily notis gamingworkflow. workflow,This designfromdocumentconcept to distinctbasicWhileworkflowastudio,a studio fromvarytheretoiswill GamingWorkflow more.or 30 of largerpeople,teamstoso or 5 smallgrownteamsfromhaveof systems(gameconsoles, graphics hardware PCs),developmentand few. abilityphotorealisticneartheWithfor outputnext-generationfrom artists,leveldesigners,programmers,musicians,anda name writers to the look and feel. boards. The plan defines the workings of the game, while the sketches define laid out along with detailed design sketches that become the game’s story player’s real time experience. Characters, environments, puzzles and music are gameEvery with starts a design document that lays the groundwork for the Planning and Design Game Creation Game a wide range of digitalrangecontentofwide sucha characters, 3D as levels,motion, gamecreateenvironment,a o gamedevelopera togetherputmust - built in such a way that the programming runs very smoothly. run through a game engine designed for a specific console. Ideally, the game art is This is where most 3D artists tend to be less involved. andThe artwork levels are Programming Game those in the background. detail since props and characters in the foreground can have more detail than other game specific data are also added. Models are built for different levels of techniques defined by the chosen game engine. Texture maps, lighting and Starting with the design sketches, 3D characters, props and sets are built using GameArt - - THE ART OF MAYA

Game Art Level of Detail All the visual content created for a game, whether it be concept draw- One of the ways to keep frame rates consistent in ings, 3D assets or levels, can be referred to as game art. The concept a game is to use a technique called Level of Detail drawings can be used in Maya as a reference to create 3D assets. 3D (LOD). With this technique, multiple versions of a assets can consist of characters models, or items for use in the game. model created with varying polygon counts are These 3D assets can also be rendered to create sprites. Levels often use switched depending on their proximity to the camera. varied amounts of these 3D assets to help create a feeling of realism in When the model is close to the camera, the the space and for items like weapons or power-ups. higher detailed model will be used. As the object moves farther away, the higher detail models will be Environments replaced by lower detail models. Maya will let you Environments, or levels, comprise the take a group of models and assign them to an LOD world that the player sees and interacts with. These environments can be broken group. This group will switch between the models down into interiors and exteriors. They based on their distance from the camera in Maya. can be created in Maya using polygon manipulation, procedurally with height maps or a combination of the two. LOD Visualization When setting up the LOD group, the high- detail model is selected first, with lower detail models selected in descending order. Props You need to have two or more objects Props can be items like the pictures and benches selected to create a level of detail group. in the gallery or a key that the player must collect. Edit > Level Of Detail > Group will assign Props help a game convey its realism or lack of them to the LOD node and automatically realism. Maya toolsets allow the creation and set up distances to switch models. You can modification of these props. select this node and change the distances that the models will switch. For example, looking at the images to the left, the top Characters image shows a model that is closest to Characters help bring a game to life. the camera and consists of 1422 polygons. A character can be the hero of the The second image was set up to switch at game or its evil villain. Maya 8 units from the camera; it contains 474 character animation tools allow polygons. The third and final model of the for the creation of animation that LOD group will switch at 20 units from can breathe life into your game the camera and consists of 220 polygons. characters. Animation that you You can also use a quad with a software create can also be reused on render of your model mapped to it as a different characters to speed up texture map. production. Blind Data Traditionally, data such as item spawn points, environmental conditions (slipperiness, noisy Color and Texture floors) and condition triggers (enemy attacks, The skillful use of color and texture on a model can help you imply door opens, platform moves) fell into the game detail. You can apply color to a model and use a grayscale texture programmer’s domain. Today, the ability to map to suggest shading. This technique can also help you save assign this information visually also allows 3D texture memory. Maya not only allows you to paint color informa- artists and level designers to control where it’s tion on a model, but also to create textures by using Paint Effects in placed on a model or environment. canvas mode.

Textures Textures are used to add detail where no geometric detail exists. Some textures will be on what is called a decal. A decal can be a singular texture map or multiple textures laid out into a square to maximize texture space.

Color per Vertex Color information can be stored at the vertex level and is derived from prelighting geometry, painting the color on or setting color values at each vertex.

Painting Blind Data Lightmaps Blind data can be painted onto components using the Artisan tool sets to help Lighting information in a scene can be saved to a you see where the data is being applied. You can set multiple data types and picture file that can be applied to the base texture assign colors to them. Here, the door trigger is being painted. You can see the as a light map so that lighting for a level does not color applied to the model. have to be calculated at runtime. 85 Official Autodesk Training Guide

8.0 Foundation