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Maya 2011 Essential Training
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Finalizing the character


From:

Maya 2011 Essential Training

with George Maestri

Video: Finalizing the character

So now we have our dog pretty much rigged. We've got everything kind of in place. So I've got my arms, my gloves actually move the hands, and my ears are floppy, and I've got the blinks. But I still haven't tied him altogether into a complete character. So let's go ahead and do that. I've got my Outliner here. You'll notice that each part is separate. I don't really have a whole hierarchy here. So if I selected my body, you'll notice I can just move that away.
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  1. 3m 50s
    1. Welcome
      1m 34s
    2. Using the exercise files
      26s
    3. A note on screen resolution
      1m 50s
  2. 1h 0m
    1. Overview of the Maya interface
      7m 42s
    2. Working with files and Maya projects
      2m 27s
    3. Navigating viewports
      5m 56s
    4. Reviewing the Viewport menus
      6m 28s
    5. Configuring safe frames and grids
      3m 21s
    6. Selecting objects
      4m 33s
    7. Using the Move tool
      3m 48s
    8. Rotating and scaling
      4m 31s
    9. Manipulating pivots
      3m 59s
    10. Understanding the Channel Box
      5m 36s
    11. Working with the Attribute Editor
      2m 28s
    12. Using the Hotbox
      2m 59s
    13. Working with marking menus
      3m 6s
    14. Customizing the interface
      3m 36s
  3. 59m 25s
    1. Creating polygonal objects
      6m 28s
    2. Working with polygonal components
      4m 42s
    3. Selecting polygonal components
      5m 44s
    4. Working with Soft Select
      7m 3s
    5. Using the Extrude tool
      6m 47s
    6. Keeping faces together
      2m 42s
    7. Extruding along curves
      3m 27s
    8. Using the Polygon Bevel tool
      4m 14s
    9. Smooth and subdivision surfaces
      7m 6s
    10. Blocking out a character body
      11m 12s
  4. 36m 6s
    1. Working with edge loops
      3m 27s
    2. Inserting and offsetting edge loops
      3m 38s
    3. Symmetrical modeling techniques
      5m 53s
    4. Combining objects
      3m 50s
    5. Using the Polygon Bridge tool
      2m 7s
    6. Connecting components and splitting polygons
      2m 48s
    7. Poking and wedging faces
      2m 49s
    8. Working with polygon booleans
      3m 17s
    9. Modeling with nonlinear deformers
      4m 54s
    10. Modeling with lattices
      3m 23s
  5. 1h 18m
    1. Introducing NURBS modeling
      5m 3s
    2. NURBS primitives
      5m 54s
    3. Using the NURBS curve tools
      5m 7s
    4. Creating Bézier curves
      1m 59s
    5. Creating text
      3m 51s
    6. Manipulating NURBS curves
      4m 13s
    7. Refining NURBS curves
      4m 16s
    8. Offsetting NURBS curves
      2m 31s
    9. Editing NURBS surfaces
      7m 3s
    10. Refining NURBS surfaces
      7m 22s
    11. Using NURBS Revolve
      7m 31s
    12. Using NURBS Loft
      4m 11s
    13. Using NURBS Extrude
      6m 0s
    14. Using NURBS Planar
      4m 47s
    15. Stitching NURBS surfaces
      8m 52s
  6. 35m 53s
    1. Extracting NURBS curves from surfaces
      5m 57s
    2. Creating curves on a surface
      3m 53s
    3. Projecting curves on surfaces
      7m 2s
    4. Trimming NURBS surfaces
      3m 42s
    5. Using the NURBS Fillet tool
      5m 31s
    6. Sculpting NURBS and polygonal surfaces
      5m 52s
    7. Converting NURBS to polygons
      3m 56s
  7. 33m 22s
    1. Working with the Outliner
      4m 58s
    2. Grouping objects
      4m 2s
    3. Creating hierarchies
      4m 17s
    4. Duplicating objects
      4m 51s
    5. Understanding the Hypergraph
      3m 32s
    6. Working with Hypergraph connections
      2m 31s
    7. Hiding and showing objects
      2m 12s
    8. Creating layers
      4m 2s
    9. Working with selection masks
      2m 57s
  8. 40m 18s
    1. Overview of renderers
      3m 24s
    2. Understand the basics of materials
      6m 15s
    3. Creating and applying maps
      5m 13s
    4. Using bitmaps as texture
      2m 59s
    5. Working with the Hypershade window
      5m 12s
    6. Working with mental ray materials
      6m 57s
    7. Using displacement and bump mapping
      3m 14s
    8. Using the Ramp Shader
      2m 36s
    9. Using the 3D Paint tool
      4m 28s
  9. 30m 14s
    1. Texture-mapping NURBS surfaces
      5m 46s
    2. Projecting textures onto surfaces
      4m 0s
    3. Texture-mapping polygonal surfaces
      7m 0s
    4. Applying UV mapping
      8m 11s
    5. Using the UVW Editor
      5m 17s
  10. 41m 16s
    1. Creating joints
      10m 2s
    2. Deforming a mesh using the Skin tool
      5m 2s
    3. Creating IK handles
      6m 48s
    4. Creating blend shapes
      5m 39s
    5. Rigging nonlinear deformers
      2m 36s
    6. Finalizing the character
      4m 45s
    7. Rigging the character to the scooter
      6m 24s
  11. 1h 5m
    1. Working with the Timeline
      4m 16s
    2. Creating and adjusting keys (keyframes)
      5m 4s
    3. Editing keys
      3m 13s
    4. Modifying keys in the Graph Editor
      5m 47s
    5. Modifying keys in the Dope Sheet
      2m 51s
    6. Creating breakdown keys
      2m 28s
    7. Animating objects along paths
      5m 54s
    8. Animation playback using Playblast
      3m 10s
    9. Animating with constraints
      6m 16s
    10. Creating animation cycles
      8m 25s
    11. Using set-driven keys
      6m 13s
    12. Adding sound to animations
      2m 24s
    13. Finishing the animation
      9m 45s
  12. 1h 2m
    1. Lights and lighting types in Maya
      7m 29s
    2. Adding depth-map shadows
      4m 13s
    3. Using Raytrace shadows
      3m 28s
    4. Understanding the basics of cameras
      7m 14s
    5. Adding depth of field
      6m 31s
    6. Adding Bokeh using mental ray
      4m 33s
    7. Using motion blur in Maya Software Renderer
      4m 10s
    8. Using motion blur in mental ray
      3m 5s
    9. Raytracing reflections and refractions
      4m 41s
    10. Interactive rendering with IPR
      3m 33s
    11. Lighting a scene
      8m 29s
    12. Batch rendering
      4m 53s
  13. 25s
    1. Goodbye
      25s

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Maya 2011 Essential Training
9h 8m Beginner Jun 01, 2010

Viewers: in countries Watching now:

In Maya 2011 Essential Training, George Maestri demonstrates the tools and feature set in Maya, as well as the skills necessary to model, texture, animate, and render projects with this deep and robust piece of 3D animation software from Autodesk. This course takes an in-depth tour of Maya's interface, including navigating and manipulating objects in 3D and customizing the workspace. The course also covers object creation and modeling basics, shading and texturing, surface mapping techniques, character rigging, and lastly, rendering and final output. Exercise files accompany the course.

Topics include:
  • Getting familiar with the Maya interface
  • Organizing scenes
  • Creating hierarchies
  • NURBs modeling for solid objects
  • Adding color to models
  • Applying bitmap textures
  • Working with mental ray materials
  • Polygonal modeling for characters and organic objects
  • Deforming with the Skin tool
  • Setting up lights and cameras
  • Creating realistic effects such as depth of field
  • Working with the Timeline
  • Creating animation cycles
  • Batch rendering
  • Rendering with the mental ray engine
Subject:
3D + Animation
Software:
Maya
Author:
George Maestri

Finalizing the character

So now we have our dog pretty much rigged. We've got everything kind of in place. So I've got my arms, my gloves actually move the hands, and my ears are floppy, and I've got the blinks. But I still haven't tied him altogether into a complete character. So let's go ahead and do that. I've got my Outliner here. You'll notice that each part is separate. I don't really have a whole hierarchy here. So if I selected my body, you'll notice I can just move that away.

He is not all tied together. This is where hierarchies really come in handy. So, for example, if I want the head to move along with the body, then I need to place it under the body in the hierarchy. So I'm going to go ahead and middle- click over the head. Drag it directly over that body node in my Outliner. So now, everything goes together. But underneath my head, I really need to have my eyes and my ears also go together.

So, let's go ahead and take both of these eyes, drop them over the head. So now, that all works together. Let's go ahead to the ears. Here is an issue that's going to come up with ears. If I drag the ears themselves over the head and I move them, these deformers don't go with them. So let me show you what the problem is going to be here. If I take this bend and I bend that ear and then I actually move the head of the character, notice how that gets all weird.

Well, that's because the actual shape of that is controlled by this bend. So I need to move the bend itself along with the head. So I'm going to middle-click up both of these and put those so that they move along with the head as well. So now, if I select this and bend it, it should just go along with the head. Okay, so you need to make sure that those deformers go along with the objects that they're deforming.

Now we have a similar problem with the arms. So what's really moving the arms on this character are two things,. Because I have IK setup, I've got this shoulder which is set up to move and I've got the glove, which is set up to move the other end. So you think, okay, so I've got the shoulder of the skeleton and the glove moving along with the character. So I need those to be under the body.

I need those within that body hierarchy. So I can middle-click on these, and drag them over here. So now when I move the body, everything moves. Now the one thing that I did not put underneath this hierarchy is the actual arm itself, because the arm is deformed by the skeleton. If I would've drag this under the body, then what I would be getting will be-- You see how that jumps? Why that is is because what's happening is is he is getting a double deformation.

So as soon as I put it under that body, the position of the body is deforming it because it's in a hierarchy. Then the shoulder joints are performing it because it has a skin modifier on it. So what I need to do is take these arms, and make sure that they are not in that hierarchy. So, I'm going to go ahead and do the right arm. I'm going to make sure that the right arm is under the body. Then these two things, the actual things that deform, I really can't touch.

So I'm going to go ahead and put those into a group and just call that Deformed. In some rigs, you'll actually see people type the letters "do not touch." But I'm just going to go Deformed. That way I know that these are things that are already being deformed by other things in the scene. So now I can select my character and I can move him around and then I can also move his arms and his head. Now the reason I didn't do the lower body is because ultimately he'll be sitting on the scooter.

So his lower body will be pretty much fixed in place. All that's really going to be moving is his arms and his head. If I wanted to, I can actually go through and use all of these same techniques to rig the entire character and make him entirely deformable. But for this situation, we're just going to work with the arms and the head.

Find answers to the most frequently asked questions about Maya 2011 Essential Training.


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Q: The Chapter 2 exercise file dog_reference.mb appears blank when opened in Maya. I can't see the dog image. What do I do?
A: Make sure you are working with the most current version of the exercise files for this course from the lynda.com site. Try downloading the files again. If the image still doesn't appear, make sure the project folder is set to the matching (Chap02) folder in the exercise files.
 
Also check to make sure you have "hardware texturing" enabled under the viewport's Shading menu.
 
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