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Aprendendo Autodesk Maya® 2008 Guia Ofi cial de Treinamento Autodesk® Aprendendo Autodesk Maya® 2008 Modelagem e Animação Aprendendo Autodesk® Maya®: Modelagem e Animação Do original Beginning SQL Server 2005 for Developers Copyright © 2006 da Editora Alta Books Ltda. Authorized translation from English language edition, entitled Learning Autodesk® Maya® 2008 The Modeling & Animation Handbook, published by Autodesk, Inc Copyright © 2007 by Autodesk, Inc. PORTUGUESE language edition published by Editora Alta Books, Copyright © 2008 by Editora Alta Books. Todos os direitos reservados e protegidos pela Lei 5988 de 14/12/73. Nenhuma parte deste livro, sem autorização prévia por escrito da editora, poderá ser reproduzida ou transmitida sejam quais forem os meios empregados: eletrônico, mecânico, fotográfi co, gravação ou quaisquer outros. Todo o esforço foi feito para fornecer a mais completa e adequada informação, contudo a editora e o(s) autor(es) não assumem responsabilidade pelos resultados e usos da informação fornecida. Recomendamos aos leitores testar a informação, bem como tomar todos os cuidados necessários (como o backup), antes da efetiva utilização. Erratas e atualizações: Sempre nos esforçamos para entregar a você, leitor, um livro livre de erros técnicos ou de conteúdo; porém, nem sempre isso é conseguido, seja por motivo de alteração de software, interpretação ou mesmo quando alguns deslizes constam na versão original de alguns livros que traduzimos. Sendo assim, criamos em nosso site, www.altabooks. com.br, a seção Erratas, onde relataremos, com a devida correção, qualquer erro encontrado em nossos livros. Avisos e Renúncia de Direitos: Este livro é vendido como está, sem garantia de qualquer tipo, seja expressa ou implícita. Marcas Registradas: Todos os termos mencionados e reconhecidos como Marca Registrada e/ou comercial são de respon- sabilidade de seus proprietários. A Editora informa não estar associada a nenhum produto e/ou fornecedor apresentado no livro. No decorrer da obra, imagens, nomes de produtos e fabricantes podem ter sido utilizados, e desde já a Editora informa que o uso é apenas ilustrativo e/ou educativo, não visando ao lucro, favorecimento ou desmerecimento do produto/fabricante. Produção Editorial: Editora Alta Books Coordenação Editorial: Fernanda Silveira Tradução: Tibério Novaes Revisão: Jacqueline Gutierrez Diagramação: Alexandre Madruga Revisão Técnica: Bruno Romano Impresso no Brasil O código de propriedade intelectual de 1º de Julho de 1992 proíbe expressamente o uso coletivo sem autorização dos detentores do direito autoral da obra, bem como a cópia ilegal do original. Esta prática generalizada nos estabelecimentos de ensino, provoca uma brutal baixa nas vendas dos livros a ponto de impossibilitar os autores de criarem novas obras. R Rua Viúva Claudio, 291 - Jacaré Rio de Janeiro - RJ CEP 20970-031 Tel: 21 3278-8069 Fax: 21 3277-1253 www.altabooks.com.br [email protected] Agradecimentos Diretor de Arte: Michiel Schriever Designer Gráfi co: Luke Pauw Imagem da Capa: © 2007 LAIKA, Inc. All Rights Reserved. Designer de Produção: Diane Erlich Editor: James A. Compton Editor Técnico: Cathy McGinnis Produção do DVD: Roark Andrade, Peter Verboom Gerente do Projeto: Lenni Rodrigues Gerente de Marketing: Carmela Bourassa Diretor de Produtos, Planejamento e Feramentas: Michael Stamler Os agradecimentos especiais vão para: Mariann Barsolo, Tonya Holder, Mary Rujis, Katriona Lord-Levins, Robert Lin, Julie Fauteux e Heather McDiarmid. Este livro não se tornaria realidade sem o generoso apoio da LAIKA Inc. Gostaríamos de extender nossos agradecimentos especiais para Nasseem Moradi, Jim Cheek, Skylr Chamberlin e Dan Casey. Autor Principal Marc-André Guindon, NeoReel Marc-André Guindon é o fundador da NeoReel Inc. (www.NeoReel.com), uma empre- sa de produção sediada em Montreal. Como mestre em Autodesk ® Maya ® e usuário avançado do software Autodesk ® MotionBuilder™ , Marc-André e a NeoReel se asso- ciaram à Autodesk Inc. em vários projetos, incluindo as séries Art of Maya e Learning Maya da versão 6.0 à atual. A NeoReel também foi a força propulsora por trás dos DVDs Maya Techniques™, tais como How to Integrate Quadrupeds into a Production Pipeline e Maya and Alias MotionBuilder. Marc-André estabeleceu caminhos complexos e desenvolveu inúmeros plug-ins e fer- ramentas, tais como Animation Layers para o Maya, para uma variedade de projetos nas indústrias de fi lmes e de jogos. Seus últimos projetos de fi lmes incluem a pré-vis- ualização em Journey 3-D (Walden Media ®), bem como Unearthed (Ambush Entertain- ment), XXX: State of the Union (XXX: Estado de Emergência) (Revolution Studios), Scooby- Doo 2™ (Warner Bros. Pictures) e Dawn of the Dead (Madrugada dos Mortos) (Universal Pictures). Trabalhou também com a indústria de jogos para integrar a captura de movi- mentos em Prey (2K Games) para a Xbox 360™, Arena Football™ (EA Sports) e a série Outlaw Game Series: Outlaw Volleyball™, Outlaw Golf ™ e Outlaw Tennis™(Hypnotix). Marc-André continua procurando desafi os em sua vida, para a NeoReel e para sua equipe formada por profi ssionais de grande talento. Sobre Moongirl Laika Entertainment Moongirl segue Leon, um menino que sai para pescar à noite com seu esquilo, Earl the Squirrel. Quando de repente a lua escurece, Leon percebe que pegou mais do que esper- ava, quando um peixe-gato, feito de estrelas, engole seu vaga-lume que lhe servia de isca. O peixe o joga pelo céu direto ao centro da lua, onde ele encontra uma menina responsável por manter a lua iluminada. Junto com a Moongirl, ele deve combater os temíveis Garga- loons, espíritos sinistros determinados a extinguir para sempre a luz da lua. Moongirl é o primeiro curta-metragem animado produzido pela Laika Entertainment e foi recebido com grande aclamação. O fi lme foi apresentado em festivais internacionais e gan- hou vários prêmios, incluindo o de Melhor Curta no Animacor International Film Festival, em Córdoba, na Espanha. Apesar de seu sucesso, Moongirl, na verdade, originou como um experimento - um híbrido entre uma tentativa tecnológica e uma prova de arte. Dan Casey, diretor do Digital De- sign Group da Laika, explica: - Tivemos a oportunidade de criar um novo caminho. Em vez de uma esfera de cromo quicando sobre um chão xadrez, queríamos algo que envolvesse mais conceito e foco. Para gerar idéias, a Laika realizou um concurso interno, no qual os empregados podiam criar projetos. A proposta mais interessante veio de Michael Berger, que teve a idéia de um curta-metragem sobre uma menina que morava na lua, pegando estrelas em uma rede. Ao mesmo tempo, o estúdio estava elaborando sua lista de diretores para projetos de maior vulto e se deparou com Henry Selick, já renomado por seu excelente trabalho em fi lmes como O Estranho Mundo de Jack, James e o Pêssego Giagante e A Vida Marinha de Steve Zissou (efei- tos visuais sob a água). Casey explica que trabalhar com Selick foi um dos maiores incentivos para a equipe: - Foi uma oportunidade incrível trabalhar com ele. Selick reescreveu Moongirl criando uma história mais misteriosa com uma mudança no fi nal, na qual a Moongirl deixa Leon encarregado de ser o próximo de uma longa fi la de tomadores de conta da lua. Casey descreve como o novo enredo mudou o projeto: Ele pas- sou de algo “engraçadinho”, típico de um conto de fadas, para algo muito mais estilizado e moderno. A empresa também trouxe para junto de si o artista Peter Chan, que havia traba- lhado em Lemony Snicket’s A Series of Unfortunate Events, Harry Potter e a Pedra Filosofal e o colorista Courtney Booker (Os Incríveis e Procurando Nemo) para trabalhar com Selick no desenvolvimento da estética do fi lme. Selick, Chan e Booker desde então colaboraram com um livro de ilustrações baseado no fi lme publicado pela Candlewick Press. A esplêndida trilha sonora do fi lme foi criada por They Might Be Giants. Parte da visão de Selick era que a animação tivesse um pouco da sensação de stop-motion e não fosse tão “tranqüila” como um típico trabalho de CG (computação gráfi ca). Isto caiu como uma luva para os animadores da Laika, já que as raízes da empresa estão na clayma- tion (técnica de animação baseada em modelos de barro) e no stop-motion. A Laika foi criada em 2003, quando Phil Knight, co-fundador da Nike, adquiriu a antiga Will Vinton Studios, líder na indústria de animação de stop-motion. A empresa tradicional- mente fazia trabalhos comerciais, animando mascotes inesquecíveis em propagandas como a da California Raisins, o Noid da Domino’s Pizza e, mais recentemente, a família Ad- ams da M&M. O animador Kyle Bell já trabalhava na empresa quando ela se ramifi cou para a área de CG em meados da década de 90, e explica que a transição nem sempre foi fácil: - Queríamos defi nir uma keyframe para cada frame, pois era assim que sabíamos trabalhar. Ironicamente, foi exatamente assim que os animadores conseguiram ter a visão de Selick com Moongirl, defi nindo keyframes para poses muito mais difíceis e não permitindo que o computador preenchesse tanto assim as intermediárias. Algumas das seqüências mais impressionantes do fi lme ocorrem nas transições de cena: nos créditos de abertura, quando um sapo verde se mescla ao título e depois se divide, transformando-se em vaga-lumes; e quando a grama do brejo afunda na água à medida que as sombras de fundo se erguem transformando-se em árvores às margens de um rio. Casey explica que esses momentos representaram um desafi o no mundo dos efeitos: - O fato de simplesmente ter que fazer com que tudo se encaixasse foi difícil, além de não deixar parecer uma transformação barata. Embora lidar com personagens humanos também tenha apresentado desafi os, o maior obstáculo foi desenvolver o próprio processo de produção. Como o fi lme foi projetado para resolver distorções e fazer com que a equipe se acostumasse a um fl uxo de trabalho de fi lmes de primeira linha, Casey admite que “muitas vezes, estávamos construindo os trilhos bem na frente do trem.
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