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E-raamat: Getting Started in 3D with Maya: Create a Project from Start to FinishModel, Texture, Rig, Animate, and Render in Maya [Taylor & Francis e-raamat]

(University of the Incarnate Word)
  • Formaat: 428 pages, 700 Line drawings, color
  • Ilmumisaeg: 09-Feb-2012
  • Kirjastus: Focal Press
  • ISBN-13: 9780240820453
  • Taylor & Francis e-raamat
  • Hind: 295,43 €*
  • * hind, mis tagab piiramatu üheaegsete kasutajate arvuga ligipääsu piiramatuks ajaks
  • Tavahind: 422,05 €
  • Säästad 30%
  • Formaat: 428 pages, 700 Line drawings, color
  • Ilmumisaeg: 09-Feb-2012
  • Kirjastus: Focal Press
  • ISBN-13: 9780240820453
Teaches how to use Maya to create three-dimensional animation projects, including focusing on such topics as lighting, modeling, and character skinning.





Deliver professional-level 3D content in no time with this comprehensive guide to 3D animation with Maya. With over 12 years of training experience, plus several award winning students under his belt, author Adam Watkins is the ideal mentor to get you up to speed with 3D in Maya.

Using a structured and pragmatic approach Getting Started in 3D with Maya begins with basic theory of fundamental techniques, then builds on this knowledge using practical examples and projects to put your new skills to the test. Prepared so that you can learn in an organic fashion, each chapter builds on the knowledge gained in the previous chapter, showing you all the essentials of 3D in Maya, from modeling and UV layout, to texture creation, rigging animating and rendering. As you go from project to project you'll develop a strong arsenal of skills that combined will form a complete end to end process to creating complete projects in Maya.

The accompanying website provides all the tools you need to develop your skills. Project files to accompany the practical examples used throughout the text, so you can work along with the examples. Additional textures and models will give you all the resources you need to start making your own projects in no time at all.

Acknowledgments xiii
Introduction xv
Chapter 1 Animation Workflow
1(12)
High-Rez 3D
1(1)
Low-Rez 3D
2(1)
Workflow
3(1)
An Idea, a Sketch, Lots of Research, and New Inspiration
3(2)
Research
4(1)
Modeling
5(1)
UV Layout
6(1)
Texture
7(1)
Rigging and Skinning
7(1)
Animation
8(1)
Lighting and Rendering
9(1)
Flexibility in the Process
10(1)
Conclusion
11(2)
Chapter 2 Maya Philosophy
13(34)
A Bit of History
13(1)
So What Is It?
14(1)
What You Need to Run It
15(2)
Processor
15(1)
Memory
15(1)
Video Processor
16(1)
Monitor
17(1)
Three Button Mouse
17(1)
Conclusion
17(1)
How Maya "Thinks"
17(1)
Interface
18(8)
View Panel
19(7)
Tool Box
26(6)
Tutorial 2.1 Tool Box Exploration
26(1)
The Move Tool
27(1)
The Rotate Tool
28(1)
The Scale Tool
29(1)
Power of Maya's Selection System
30(1)
Lasso Tool
30(1)
Adjusting Selections
31(1)
Objects versus Components
32(7)
Paint Selection Tool
34(1)
Soft Modification Tool
35(3)
Universal Manipulator
38(1)
Show Manipulator Tool and Last Tool Used
39(1)
Keyboard Shortcuts
39(1)
Channel Box
39(1)
Outliner
40(1)
Modes
41(1)
Interface Wrap Up
42(1)
Projects
43(4)
Tutorial 2.2 Setting Projects for "Escaping the Madness"
43(3)
Conclusion
46(1)
Chapter 3 Architectural Modeling
47(72)
The Polygon
47(4)
Parts
48(1)
Traits of Polygon
49(1)
Polycounts
50(1)
Modeling Modes
50(1)
Escaping the Madness
51(3)
Gathering Research
53(1)
Tutorial 3.1 Architectural Polygonal Game Modeling: Escaping the Madness
54(28)
Setting the Project
54(1)
Saving a New Scene
54(1)
Laying the Foundation
55(2)
Roughing Out the Scene
57(4)
Scaling and Positioning the Walls with Snapping
61(1)
Duplicating
62(2)
Boolean
64(2)
Component Level Editing
66(1)
Extruding Polygons
67(15)
Conclusion
82(1)
Tutorial 3.2 Prop Polygonal Game Modeling: Escaping the Madness
82(19)
Creating an End Table
83(5)
Constructing the Frame
88(1)
Insert Edge Loop Tool
88(3)
Cut Faces Tool
91(1)
Bridge
91(6)
Bevel
97(4)
Conclusion
101(1)
Tutorial 3.3 NURBS Modeling in Architecture
101(17)
Curves (Splines)
102(2)
Surfaces
104(4)
Smooth
108(2)
NURBS for Trim
110(6)
Import
116(1)
Conclusion
117(1)
Homework
118(1)
Chapter 4 Organic Modeling
119(60)
Tutorial 4.1 Game Character Modeling
120(54)
Some Notes
120(1)
Getting Started
121(1)
Image Planes and Setting Up to Work
121(5)
Display Layers
126(1)
Create Polygon Tool
127(2)
Merge to Center
129(8)
Creating Dynamic Mirrored Geometry
137(11)
Sculpt Geometry Tool
148(1)
Soft Modification Tool
149(3)
Append to Polygon Tool
152(1)
Interactive Split Tool
153(21)
Mirror Geometry
174(2)
Conclusion
176(1)
Homework
177(2)
Chapter 5 UVs and UV Layout
179(46)
UVs
180(1)
UV Texture Editor
180(2)
Maneuvering with UV Space
180(1)
UV Texture Editor Interface
181(1)
Selecting Components
181(1)
Shells
182(1)
UV Maps, Snapshots, and the Purpose for It All
182(1)
Projections
183(1)
Getting to It
183(1)
Tutorial 5.1 UV Layout for Architecture and Level Design
184(17)
Dummy Material
185(3)
Automatic Mapping
188(2)
Planar Mapping
190(2)
Sewing and Moving and Sewing UV Edges
192(4)
UV Snapshots
196(1)
Cut UV Edges
197(1)
Saving Out UV Snapshot
198(2)
Wrapping Up
200(1)
Conclusion
201(1)
Tutorial 5.2 Organic Form UV Layouts
201(22)
The Head
201(2)
Cylindrical Mapping
203(1)
Smooth UVs
204(3)
Refining the Face Region
207(5)
Half the Work, Twice the Results
212(1)
Armor Pieces
212(2)
The Belt and More Cylindrical Mapping
214(1)
Cylindrical Mapping Revisited
215(1)
The Boot
216(1)
Chests, Backs, and Planar Mapping
216(1)
Hands
217(1)
Misc. Cleanup
218(1)
Mirroring
219(2)
Scale and Organize
221(2)
Conclusion
223(1)
What's Next
223(1)
Homework
223(2)
Chapter 6 Material Creation and Texture Painting
225(46)
Nomenclature
225(1)
The Hypershade
226(2)
Creating and Applying Materials
228(1)
Tutorial 6.1 Game Level and Architectural Texturing
228(31)
Walls
229(1)
Texture Resources
229(1)
Photoshop Preparation
230(5)
Trying It On for Size
235(3)
Layering Textures
238(6)
Ambient Occlusion for Texturing
244(7)
Beyond Color
251(5)
Bump Mapping
256(3)
Conclusion
259(1)
Tutorial 6.2 Textures for Organic Forms
259(11)
Preparation
259(4)
Faux AO
263(3)
Textures as Painting Basis
266(3)
Implementing into Maya
269(1)
Conclusion
270(1)
Wrapping Up and Moving On
270(1)
Homework
270(1)
Chapter 7 Lighting and Rendering
271(48)
Maya's Lighting Instruments
272(1)
Tutorial 7.1 Lighting Instrument Exploration
273(14)
Point Light
274(5)
Spot Light
279(3)
Directional Light
282(3)
Area Lights
285(1)
Volume Lights
286(1)
Ambient Light
287(1)
Tutorial 7.2
287(19)
Mental Ray
292(3)
Cycs
295(5)
Shader Types
300(4)
Preparing for Final Render
304(2)
Conclusion
306(1)
Tutorial 7.3 Character Lighting
306(10)
Scene Setup
307(1)
Key Light
307(2)
Warm Side Fill Lights
309(2)
Cool Side Fill Lights
311(4)
Group Adjustments
315(1)
Conclusion
316(1)
Homework
317(2)
Chapter 8 Character Rigging and Skinning
319(40)
Deformation Objects and Joints
320(1)
Joint Behavior
320(3)
Joints as a Deformation Object
321(2)
Tutorial 8.1 Joint Chain for the Alien
323(23)
Root Joint
323(1)
Legs
324(5)
IK vs. FK
329(2)
Mirror
331(1)
Upper Body
332(1)
Arms
333(2)
Hand
335(2)
Orienting Joints
337(1)
Foot Roll Rig
338(7)
Further Organization
345(1)
Tutorial 8.2 Skin Weighting
346(12)
Component Editor
348(2)
Painting Skin Weights
350(7)
Testing
357(1)
Mirror Skin Weights
357(1)
Conclusion
358(1)
Chapter 9 Animation in Maya
359(42)
How Does Animation Work?
360(1)
Tutorials to Learn Maya's Animation Tools
361(1)
Tutorial 9.1 Animating a Bouncing Ball
361(8)
The Graph Editor
369(7)
Anatomy of a Curve
371(1)
Bezler Curves, Anchors, and Handles
372(4)
Conclusion
376(1)
Tutorial 9.2 Wagging a Tail
376(7)
Tutorial 9.3 A Walk Cycle
383(18)
Rendering Animations
397(2)
Conclusion
399(1)
Homework
399(2)
Appendix A Preparing Character Style Sheets 401(10)
Appendix B Creating Seamless Textures 411(8)
Index 419
Adam Watkins is Associate Professor, 3D Animation, School of Interactive Media & Design at the University of the Incarnate Word. He is currently on a research sabbatical at the Los Alamos National Laboratory in New Mexico, where he is part of the VISIBLE effort creating virtual simulation games for use in non-proliferation exercises. Watkins has headed the 3D Animation program for over ten years and is the author of several books and over 100 articles on 3D Animation. His students are the winners of multiple national and international animation awards and festivals.