Muutke küpsiste eelistusi

Rigging for Games: A Primer for Technical Artists Using Maya and Python [Pehme köide]

4.00/5 (1 hinnangut Goodreads-ist)
  • Formaat: Paperback / softback, 392 pages, kõrgus x laius: 235x191 mm, kaal: 816 g, 2 Tables, black and white; 4 Line drawings, black and white; 275 Illustrations, color
  • Ilmumisaeg: 01-Dec-2015
  • Kirjastus: Routledge
  • ISBN-10: 0415743052
  • ISBN-13: 9780415743051
Teised raamatud teemal:
Rigging for Games: A Primer for Technical Artists Using Maya and PythonSuurem pilt
  • Formaat: Paperback / softback, 392 pages, kõrgus x laius: 235x191 mm, kaal: 816 g, 2 Tables, black and white; 4 Line drawings, black and white; 275 Illustrations, color
  • Ilmumisaeg: 01-Dec-2015
  • Kirjastus: Routledge
  • ISBN-10: 0415743052
  • ISBN-13: 9780415743051
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780415743051.html
Märksõnad:
Rigging for Games: A Primer for Technical Artists Using Maya and Python is not just another step-by-step manual of loosely related tutorials. Using characters from the video game Tin, it takes you through the real-world creative and technical process of rigging characters for video games and cinematics, allowing readers a complete inside look at a single project.

Youll explore new ways to write scripts and create modular rigs using Maya and Python, and automate and speed up the rigging process in your creative pipeline. Finally, youll learn the most efficient ways of exporting your rigs into the popular game engine Unity. This is the practical, start-to-finish rigging primer youve been waiting for!











Enhance your skillset by learning how to efficiently rig characters using techniques applicable to both games and cinematics





Keep up with all the action with behind-the-scenes images and code scripts





Refine your rigging skills with tutorials and project files available on the companion website
Acknowledgments x
Introduction xii
Chapter 1 The Creative Cycle 1(24)
From Page to Screen
1(2)
Where Do Ideas Come From?
3(3)
The Production Cycle
6(1)
Pre-Production
7(13)
Step 1: Planning the Story/Game Outline
7(3)
Step 2: The Script/Game Design Document
10(1)
Step 3: Concept Art
11(1)
Step 4: Storyboards
12(5)
Planning the Storyboard Scenes
14(1)
Color Scripts
15(2)
Step 5: Asset Lists
17(1)
Step 6: Asset Management and Organization
18(2)
Step 7: Animatic/First Playable Prototype
20(1)
Production
20(3)
Modeling
21(1)
Surfacing
21(1)
Rigging
22(1)
Animation
22(1)
Post-Production
23(2)
Chapter 2 Concept Art and Modeling 25(28)
Concept Art
25(13)
References
31(3)
Character Sheets
34(4)
3D Modeling
38(15)
Output Medium
39(1)
Level of Detail and Topology
39(1)
Square Is Good—Polygon Types to Use and Avoid
40(2)
Alternatives to Mesh Density
42(2)
Sculpting Pitfalls
44(1)
UV Maps
45(2)
File Referencing
47(6)
Chapter 3 Rigging Concepts 53(72)
An Overview of Rigging
53(1)
The Basics
53(39)
Nodes and Connections
54(3)
Parenting
57(4)
Constraints
61(3)
Direct Connections
64(3)
Deformers
67(2)
Joints
69(6)
Joint Orientation
75(10)
Kinematics
85(2)
Attaching Meshes to Joints
87(2)
Smooth Binding
89(2)
Rigid Binding
91(1)
Introduction to Scripting
92(2)
Scripting in Maya
93(1)
MEL
94(14)
The Script Editor
95(3)
MEL 101
98(2)
Anatomy of a Script
100(6)
Saving the Script
106(2)
Python
108(17)
Our First Python Script—tgpGears
110(1)
Creating the GUI
111(6)
Querying the GUI Values
117(3)
Creating the Gears
120(3)
String Formatting in Python
123(2)
Chapter 4 Scripting Mechanics 125(38)
Engineering the Fantastic
125(1)
Python's Object-Oriented Programming
125(3)
Classes in Python
126(2)
Building a GUI Framework
128(11)
Defining the UI Class
129(8)
Adding Button Functionality
137(2)
Creating tgpMechanix
139(20)
Referencing the UI Class
140(2)
Error Checks
142(1)
Creating a Utility Section
142(1)
The Connectors
143(2)
Making the Spring
145(4)
Assign Functionality to the Buttons
149(2)
Making the Piston
151(8)
And Now for a Lite Version of the GUI Framework
159(4)
Chapter 5 Rigging Mechanoids 163(92)
Rigging Meep
163(1)
Rigging Pre-Flight
163(3)
Sketching Out the Rig
164(1)
Which Rig? Bind vs. Control
164(1)
Analyzing the Rig Behavior
165(1)
Rigging the Legs
166(47)
Placing the Leg Joints
169(2)
IK/FK Leg Setup
171(3)
Setting Up the Switch
174(7)
Creating FK Leg Controls
181(1)
Scripting tgpControlOrient
181(6)
Stretchy FK Joints
187(2)
Creating IK Leg Controls
189(7)
Knee Controls
196(5)
Stretchy IK Joints
201(2)
The Condition Node
203(5)
Going the Distance
208(5)
Setting Up the Wings
213(11)
Neck
224(6)
Building the Head
230(7)
Putting Together the Body
237(8)
Finishing Touches
245(10)
Global Scale
246(9)
Chapter 6 Rigging Humanoids 255(24)
Rigging Leaf
255(1)
Analyzing the Bind Skeleton
255(6)
To T-Pose or not to T-Pose?
256(2)
Human IK Overview
258(3)
Creating the Bind Skeleton
261(18)
Rotate Order
267(1)
Scripting tgpRotateOrder
268(3)
Binding Leaf's Mesh to the Skeleton
271(2)
Smooth Bind Overview
273(3)
Weight Assignment and Painting
276(3)
Chapter 7 The Control Rig 279(72)
The Control Rig
279(15)
snapAB Script
281(1)
Building the IK Leg
282(12)
Automating the Limb Creation—the Limb Class
294(10)
Using a Dictionary
294(3)
Coding tgpLimb
297(7)
Building the Spine
304(15)
Hips, Shoulders
305(6)
Stretching the Spine
311(2)
The Neck and Head
313(6)
Building the Arms
319(5)
Setting Up the Clavicles
319(4)
Driven Keys
323(1)
After You! No, After You—Polite Space Switching
324(4)
Space Switching Using Parent Constraints
324(4)
IK/FK Redux
328(15)
Snappy Logic Part 1—FK to IK
329(2)
Snappy Logic Part 2—IK to FK (with a dash of pole vector magic)
331(12)
Finalizing the Rig
343(8)
Adding Global Scale to the Rig
343(4)
Cleaning Up the Channels
347(2)
And?
349(2)
Chapter 8 Game On! 351(16)
Exporting to Unity
351(1)
Animating for Games
351(1)
Prepping the Rig in Maya
352(1)
Methods of Exporting Animation from Maya to Unity
353(1)
Baking the Animation Keys
354(2)
Exporting to the FBX Format
356(2)
Importing Animation Files in Unity
358(2)
Blending the Animation Cycles
360(7)
Epilogue 367(2)
Appendix 369(2)
Index 371
Eyal Assaf is a Technical Artist currently living and working in Toronto, Canada. A graduate from the Ontario College of Art and Design, Eyal has been involved in the animation, gaming and broadcast industries since the mid-90s when digital dinosaurs began to roam the big screens.

His wide range of experience led him to positions such as Visual Effects Supervisor on an award winning animated 3D television show, as well as other lead positions in a variety of commercials, broadcast, film and game projects.

He is also an internationally published illustrator in various trade publications and teaches 3D and Design at a college level.