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
To make the sphere an influence object
1 In the Hypergraph, select Jackie and Shift-select elbow_influence.
2 Select Skin > Edit Smooth Skin > Add Influence >
. In the Add Influence
Options, select Edit > Reset Settings, and then click the Add button.
Maya completes the operation within a few moments. To ensure the
influence object stays in the correct position at the elbow, you will parent
it to the left_shoulder joint.
3 In the Hypergraph, shift-select elbow_influence, elbow_influenceBase,
and left_shoulder joint, in that order.
The order of selection is important. The parent object should be selected
last.
4 Press p to parent the elbow nodes under the left_shoulder joint.
The elbow_influence nodes appear in the skeleton hierarchy below the
left_shoulder joint.
The elbow_influenceBase is known as a base object. It stores vertex
position information for the influence object. The reason for parenting
the base object to the left_shoulder joint is so that the influence object’s
vertices stay in the correct position at the elbow whenever the elbow
moves to a new position. Other than this step, you do not work with the
base object.
5 Right-click Jackie and select Actions > Untemplate. It is easier to see
subsequent skin deformations when Jackie is displayed with smooth
shading rather than as a template.
6 From the menus at the top of the top view, turn off Show > Joints to
avoid having the joints obstruct your view of the skin.
7 Use each arm’s IK handle (ikHandle1 and ikHandle2) to pose the arms
in the following position.
328 | Chapter 7 Character Setup