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- Introducing Autodesk Maya by Dariush Derakhshani - PDF Drive
(DOC) Behind the Scenes: A Study of Autodesk Maya | Aylish Wood - .
Next page. Learn CG and 3D core concepts and production workflows Get a fast but thorough lesson on the Maya user interface Build a simple animation of the planets in the solar system, right away Explore the basics of NURBS, polygons, and subdivision surfaces modeling Create an alien hand, a steam locomotive, a toy wagon, and more Rig for animation and get the most out of Maya's powerful Graph Editor tool Master HDRI lighting, mental ray rendering, dynamics, visualization, and effects Use reference pictures to model objects more accurately Learn how to apply and adjust textures and materials.
Dariush Derakhshani is an award-winning visual effects supervisor, author, and educator. Start reading Introducing Autodesk Maya on your Kindle in under a minute. Don't have a Kindle? About the author Follow authors to get new release updates, plus improved recommendations. Dariush Derakhshani. Brief content visible, double tap to read full content. Full content visible, double tap to read brief content. Read more Read less. Customer reviews. How are ratings calculated?
Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyses reviews to verify trustworthiness. Top reviews Most recent Top reviews. From linear to interactive animation by Bill Tomlinson. Context, detail, and conversation by Stefan Greuter. Download Download PDF. Translate PDF. These include an interest in aesthetic innovation Purse, , changing studio organizations Tarantini, , and the out-sourcing of labour Yoon and Malecki, Remarking on anxieties specific to computer-generated animation, Mihaela Mihailova comments: Anxieties about the digital could be partially provoked by the relative impenetrability of contemporary animation processes.
To anyone who is not a software developer, animation software might as well run on arcane magic. And while it is possible to demonstrate and subsequently demystify the different creative tasks of cel animation because they are performed by humans, computer processes cannot be observed. Their inner workings can sometimes remain unfathomable and mysterious, even to those who have mastered their use Mihailova, For instance, Noah Wardrip-Fruin says that players gain an understanding of the operational logic of a game as they play.
Understandings of automation and computer animation software can be complicated by this insight, and is developed further through an exploration of the user interface UI of the 3D animation software Autodesk Maya.
Since users experience the automation of software via their interactions with the UI, it offers a ground for closely examining how the inputs generated through human users and automation counterpoint rather eclipse each other. Agency is meant in the sense of the capacity to carry out actions, one that is distributed between both human users of software and also the software itself. Autodesk Maya, or Maya, has retained a pre- eminent position in the visual effects, games, television, and advertising industries since its release in Maya is explored through a methodology that combines an analysis of the visual organization of the UI alongside interviews with users of the software, in particular modellers and animators.
Drawing on these different approaches, the argument put forward is that systematic building of models and movements and also creative uses of automation co-exist. Released in to great acclaim, the software won an Oscar for Technical Achievement in , and was rapidly associated with films that won and were nominated for visual effects Oscars. Some 10 years later, it remains a key component of many studio pipelines, for instance in the making of Avatar , James Cameron , Epic Chris Wedge, , and the Despicable Me films Chris Renaud and Pierre Coffin, and One of the reasons for its wide adoption in the visual effects, animation, and advertising industries, and also in games and data visualizations, is that the software is open.
Many studios and users write scripts that automate repetitive tasks or add functionalities specific to the projects on which the studio are working. Over the years a number of these extensions have been incorporated into the core functionality of the software, enabling developers to keep innovating and Maya to retain its position amongst an increasing range of competitive software.
The longevity of Autodesk Maya and its continued pre-eminence makes it a good case study through which to ask questions about the experience of users of computer animation software.
Animating a bouncing ball is a fundamental learning exercise. Having used the modelling tools to generate a ball, the user then works with the animation toolset to make it move.
A timeline is set in numbers of frames per second. Along this timeline the ball can drop from a height say 5 to 0, bouncing back to 3, beginning in position A, bouncing at B and ending at C. The heights and positions are in the X and Y-axes respectively. A very basic animation could have three key frames in positions A, B and C. The software would generate the movements between those the key frames based on the calculation of the quickest route from A to B to C.
To achieve a more nuanced and stylised movement, such as easing into and out of a bounce or the acceleration of falling and deceleration of rising, the user would work the tangents of the curve of motion, adding key frames at intermediate points between A or B or C to get the kind of movement they want to see.
If the ball needs to swerve through the depth of the Z-axes, the user would control that curve too. Working this pathway along the timeline is only one element of movement, as the ball would most likely not only move but also rotate in flight and deform on impact. Figure 1 shows the animation curve of a ball that has been thrown over a wall into a yard, and has bounced back off the wall on the right of the image. The curve shows a range of accelerations and decelerations.
More complex animations can be seen as developments of this exercise. A simple complication is to animate 3 balls of different weights, say foam, rubber and wood, where the task is to animate in a way that demonstrates the different weights and timings of a bounce. Extrapolate these options to a scene where a figure is animated interacting with an object. A figure is a complex rigged model. Each moving part of that figure has a characteristic movement, many of which may be active in a sequence generating a multiplicity of animation curves.
Each curve has their own set of key frames on the timeline, each with different patterns of movement. For instance, even in a scene with smaller scale movements, such as a conversation between the characters Ronin, M. In addition to the animation, Maya can be used to generate the environment of the action, such as a landscape or cityscape, inside or outside.
To achieve a particular look, such as the animation style of Epic that combines a highly detailed texturing of the figures and their environment, shading is added to the surface of the wireframe models to create the minute details and textures of a scene, along with lighting and shadow. To create imagery such as that seen Epic and other films, many different people would be involved in building the scene.
Teams work on different parts of a production pipeline, involved in making models, rigs, doing the animating, shading, and lighting before the sequences are rendered and then edited to create the sequence of images seen by an audience. Initially released by Alias Wavefront in , Maya has a hybrid code pedigree.
The merger brought several key programs and their source codes under the same company roof. From this combination of source codes, Maya was developed to offer a range of functionality, including toolsets for modelling, animation, lighting, and rendering Alt, Given this diversity of functionality there is a potential for information overload.
To combat this, the UI was and continues to be designed to streamline accessibility and enable users to easily locate their toolset of choice. From the perspective of design, the arrangement of the UI prioritizes access to the toolsets. Instead of using drop-down menus or relying on hotkeys, the screen can be overlaid with a customizable selection of toolsets. As well as providing training about toolsets and workflow, these organizational strategies operate at a conceptual level too.
A software studies approach to computer games, the framework of operational logics provides a beginning point from which to look more closely at the question of user agency in the context of automated processes.
Within software studies, software is far from neutral Fuller, ; Chun, Chapter Rendering. Chapter Particle System. Chapter Introduction to nParticles. Chapter Fluids. Chapter nHair. Chapter Maya Fur. Chapter Bullet Physics. Tutorial files zipped PDF file. Free Technical Support For free technical support, please email to. Description Start modeling right away with this hands-on guide to learning Autodesk Maya Introducing Autodesk Maya is the official guide to the most popular and complex 3D application on the market.
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