2009
Table Of Contents
- Contents
- Overview
- Maya Basics
- Polygonal Modeling
- Introduction
- Preparing for the lesson
- Lesson 1: Modeling a polygonal mesh
- Introduction
- Setting modeling preferences
- Using 2D reference images
- Creating a polygon primitive
- Modeling in shaded mode
- Model symmetry
- Selecting components by painting
- Selecting edge loops
- Editing components in the orthographic views
- Editing components in the perspective view
- Drawing a polygon
- Extruding polygon components
- Bridging between edges
- Adding polygons to a mesh
- Splitting polygon faces
- Terminating edge loops
- Deleting construction history
- Mirror copying a mesh
- Working with a smoothed mesh
- Creasing and hardening edges on a mesh
- Beyond the lesson
- NURBS Modeling
- Subdivision Surfaces
- Animation
- Introduction
- Preparing for the lessons
- Lesson 1: Keyframes and the Graph Editor
- Lesson 2: Set Driven Key
- Lesson 3: Path animation
- Lesson 4: Nonlinear animation with Trax
- Introduction
- Open the first scene for the lesson
- Creating clips with Trax
- Changing the position of clips with Trax
- Editing the animation of clips
- Reusing clips within Trax
- Soloing and muting tracks
- Scaling clips within Trax
- Open the second scene for the lesson
- Creating clips from motion capture data
- Extending the length of motion capture data
- Redirecting the motion within a clip
- Beyond the lesson
- Lesson 5: Inverse kinematics
- Introduction
- Open the scene for the lesson
- Understanding hierarchies
- Viewing hierarchies using the Hypergraph
- Creating a skeleton hierarchy
- Parenting a model into a skeleton hierarchy
- Applying IK to a skeleton hierarchy
- Creating a control object for an IK system
- Constraining an IK system
- Limiting the range of motion of an IK system
- Simplifying the display of a hierarchy
- Applying parent constraints on an IK system
- Planning an animation for an IK system
- Animating an IK system
- Beyond the lesson
- Character Setup
- Polygon Texturing
- Rendering
- Introduction
- Preparing for the lessons
- Lesson 1: Rendering a scene
- Introduction
- Open the scene for the lesson
- Creating shading materials for objects
- Refining shading materials for objects
- Maya renderers
- Rendering a single frame using IPR
- Rendering using the Maya software renderer
- Batch rendering a sequence of animation frames
- Viewing a sequence of rendered frames
- Beyond the lesson
- Lesson 2: Shading surfaces
- Lesson 3: Lights, shadows, and cameras
- Lesson 4: Global Illumination
- Lesson 5: Caustics
- Dynamics
- Painting
- Introduction
- Preparing for the lessons
- Lesson 1: Painting in 2D using Paint Effects
- Lesson 2: Painting in 3D using Paint Effects
- Introduction
- Preparing for the lessons
- Brushes and strokes
- Rendering Paint Effects strokes
- Paint Effects on 3D objects
- Creating a surface to paint on
- Painting on objects
- Using turbulence with brush stroke tubes
- Using additional preset brushes
- Mesh brushes
- Converting mesh strokes to polygons
- Modifying a converted polygonal mesh
- Beyond the lesson
- Lesson 3: Painting textures on surfaces
- Expressions
- Scripting in Maya
- Index
4 Select Skin > Go To Bind Pose.
5 Select the ikHandleLeftArm in the Hypergraph. Use the Move Tool to
move the handle manipulator slightly in any direction. When you release
the mouse, note that the arm does not move and that the IK handle
manipulator snaps back to the desired position at the end of the joint
chain. Repeat this step for any other IK handles you posed previously.
6 Turn on Modify > Evaluate Nodes.
You must do this step to enable the IK solvers so you can manipulate IK
handles in the scene again.
To position a sphere to be used as an influence object
1 Right-click Jackie’s surface (anywhere but on the skeleton) and select
Actions > Template from the marking menu.
By making Jackie a template, you won’t accidentally select Jackie in
subsequent steps.
2 Select Create > Polygon Primitives > Sphere >, and name the sphere
elbow_influence.
3 Scale the sphere to be slightly smaller than any of Jackie’s joints (see
illustration below).
4 Move the sphere so that its surface is positioned where the elbow would
jut out, but still within the skin. You can optionally reshape the sphere’s
curvature to resemble the tip of an elbow jutting out from a bent arm.
For example, you can scale the sphere in one dimension to squash its
shape or you can move individual vertices. A top view of the sphere’s
shape and position follows:
The exact position and scale of the sphere is unimportant. You can make
slight position and scale adjustments later to enhance the deformations
that result from its use.
Influence objects | 327