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3D Animation for the
Raw Beginner Using
Autodesk Maya
Second Edition
3D Animation for the
Raw Beginner Using
Autodesk Maya
Second Edition
Roger King
CRC Press
Taylor & Francis Group
6000 Broken Sound Parkway NW, Suite 300
Boca Raton, FL 33487-2742
© 2019 by Taylor & Francis Group, LLC
CRC Press is an imprint of Taylor & Francis Group, an Informa business
No claim to original U.S. Government works
Printed on acid-free paper
International Standard Book Number-13: 978-0-8153-8878-4 (Paperback)
978-0-8153-8879-1 (Hardback)
This book contains information obtained from authentic and highly regarded sources. Reason-
able efforts have been made to publish reliable data and information, but the author and pub-
lisher cannot assume responsibility for the validity of all materials or the consequences of their
use. The authors and publishers have attempted to trace the copyright holders of all material
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form has not been obtained. If any copyright material has not been acknowledged please write
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vii
viii ◾ Contents
COLOR 242
SCALE 242
Contents ◾ xi
VUE 360
MAYA HAIR 365
CINEMA 4D 367
HOUDINI 374
INDEX, 427
Preface: Anyone
can do this
Any book that tried to cover Maya exhaustively would either be very,
very long or very, very shallow. The goal of this book is to direct you to the
parts of Maya you need to master in order to create complete 3D projects.
With a sound intuitive understanding of these basics, you should be able to
broaden and deepen your knowledge of 3D principles and of Maya.
The website for this book contains links to video tutorials; they parallel
the structure of this book and they closely follow the examples used in this
book: https://buzzking.com/AnimationTextbook/AnimationTextbook.
html.
The images for this book can be found in color at: https://buzzking.
smugmug.com/3D-Animation-for-the-Raw-Beginner-Figures/.
To get a completely free copy of Autodesk Maya for either Windows or
a Mac, the reader can go to https://www.autodesk.com/education/home
and create a personal account. This version of Maya is not hobbled in any
way; however, it may not be used for commercial purposes and all Maya
scene files will be internally watermarked as having been created with the
academic (free) version. It is incredible that Autodesk does this for people
who want to learn Maya!
If you are an instructor, a student, or anyone using this book, I would
love to hear from you. My email address is buzz@BuzzKing.com.
A final note: the Maya interface changes from year to year, with colors
and icons changing, the menus being modestly rearranged, and new tools
being introduced. Occasionally, tools are removed, but only infrequently
are substantive changes made to Maya. It is a mature and fairly stable
application. The lessons in this book should be readily understandable,
even if you are using a version of Maya released at some point after the
publication of this book.
Acknowledgments
xv
xvi ◾ Acknowledgments
Robert Sims, along with Paul Beaney and his team at Nova Techset, have
been a pleasure to work with. The production of this book has been a rapid
and extremely well-coordinated process.
Finally, my wife Wendy spent hundreds of hours editing this book, over
and over. I want to thank her for her tremendous support.
Author
xvii
Chapter 1
An Introduction to 3D
Modeling, Animation,
and Rendering with a
Focus on Autodesk Maya
1
2 ◾ 3D Animation for the Raw Beginner Using Autodesk Maya
Maya, that is, to take a deep vertical slice of Maya and present it to the
reader. With this slice of Maya, complete projects can be built. This slice
also serves as a knowledge platform to which beginners can incrementally
add as they master more and more of Maya.
The basic unit of work in this book will be a “scene” file, which includes
all the information needed to create a 3D rendering or a 3D video (although
Maya itself does not render video). In this book, we will look at the entire
3D workflow, including the creation of vector-based “wireframe” models
that make up a 3D scene, the application of materials to the surfaces of
these models, the insertion of lights into a 3D scene, the animating of the
3D models in a scene, and the rendering of a scene.
WIREFRAME MODELS
Consider Figure 1.1. This image, taken from the “Viewport” of the
main Maya window, is of a polygon sphere. (We’ll worry about what
this means soon.) The important point is that this is a 3D structure
formed of lines. This is what we call 3D vector graphics. A line is, by
An Introduction to 3D Modeling, Animation, and Rendering ◾ 3
use of the word resolution, and it refers to the number of pixels per inch.
A common number—the default in Maya—is 72. This is actually fairly
low, and later, when we use images to create “textures” for materials (to
do things such as give them color or patterns), we will discover that some
texture images have a much larger number of pixels per inch.
Sound is also encoded in “formats,” such as MP3, WAV, and AIFF.
A series of images, along with sound, are bound together into a video
“container” or “container format.” Video is created using some number of
images per second; this is known as the “frame rate.” Somewhere in the
ballpark of 18 frames per second, we are fooled into thinking we are looking
at continuous motion. In Maya, we usually generate at least 24 frames for
every second of animation.
Maya exports images, not video. A video editor must be used to turn
the images, along with a sound file, into video. If we generated 24 frames
for every second of animation in Maya, we would generate video that uses
24 frames per second. The sound file is not output by Maya, but a sound
file that is created with some other program, typically an audio editor, can
be input into Maya so that it can be used to time the animation in Maya.
For example, we might have a sound file of a ball bouncing; we would input
this file into Maya so that we can time the movement of the ball upward
and downward to coincide with the timing of the thump, thump of the ball
bouncing. It is important to remember that this sound file must later be
input separately into a video editor in order to blend it together with the
series of Maya-rendered images to create a piece of video. Also, when sound
is pulled into Maya, it must be in either the WAV or AIFF format, but most
video editors can handle other formats, as well, such as the compact MP3
format.
In sum, Maya renders images. It is not a video editor. It is also not an
audio editor. Typical programs that are used in the same workflow with
Maya are the video editors Adobe Premiere Pro (adobe.com), Apple Final
Cut Pro (apple.com), and Vegas Pro (magix.com), and the sound editors
Adobe Audition (adobe.com) and Steinberg WaveLab (Steinberg.net).
Maya artists use programs like Adobe Photoshop (adobe.com) to process
texture image files. A Maya material might be associated with one or more
texture image files to make a material look like brick or wall plaster or
some other human-made or natural pattern. Texture images are often
made from photographs, but they can also be created from scratch with
Photoshop or a drawing/painting application like Corel Painter (corel.
8 ◾ 3D Animation for the Raw Beginner Using Autodesk Maya
com). Not all textures are defined by using a texture image; there are also
textures that are procedural; that is, their appearance on the surface of an
object is computed by software and not derived from texture images. We
will make use of a procedural texture when we look at a special Arnold
renderer material called “Mix” in Chapter 5. (Arnold is the renderer that
ships with Maya.)
of the scene under development. Our model, the pink sphere, sits at (0,0,0)
in the 3D scene. “ma” refers to Maya ASCII and consists mostly of Maya
MEL code, where MEL stands for Maya Embedded Language, the Maya
scripting language. (As it turns out, you can create entire scenes by writing
them in code instead of using the Maya interactive interface.)
About two-thirds of Figure 1.5 consists of a lighter gray area with the
pink sphere at the center. This is the modeling area, where Maya provides
a nonstop real-time render of the model under development. At the top of
this area is a series of dropdown menus beginning with one labeled “View.”
These menus, along with the row of icons below them, are where the user
can adjust settings that affect the appearance and other localized properties
of the design area (as opposed to the actual underlying properties of the
scene under development). To the left of the gray work area are four buttons
that form the Viewport Layout Settings. In this case, the top button has
been selected (it is selected by default); it causes the viewport to consist
of a single “perspective,” where the scene is viewed at an angle and not
directly along any of the three dimensional axes. Above the Viewport
Layout Settings are buttons for a handful of very commonly used tools;
the bottom three of which are Move, Rotate, and Scale.
There are two high-level menus that affect the overall layout of the Maya
interface. The far upper-right menu, called the Workspace Selector, has
been set to “Maya Classic”; this controls the layout of the window as a
whole, and the Classic setting makes the interface look the way it appeared
in releases of Maya previous to 2017. This Classic setting is very popular, but
later in this book, we will work with other settings. At the almost far upper
left of the window is something called the Main Menu Selector (MMS).
This adjusts the makeup of the Main Menu; the MMS affects the makeup
of menu items to the right of the “Windows” dropdown. The Mesh, Edit
Mesh, and Mesh Tools menus are used heavily in polygon modeling (and
thus we will use them heavily in this book). A bit below the Main Menu is a
series of tabs; these are used to populate the “Shelf,” which provides iconic
button shortcuts to tools that appear in the individual dropdown menus
that make up the Main Menu. In Figure 1.5, tools that are frequently used
in polygon modeling populate the Shelf; these include tools that are used
to create standard polygon “primitives” like Sphere, Cube, Cylinder, Cone,
and Torus, which appear in the left side of the Shelf; clicking on one of
these icons (which are actually buttons) will place the appropriate primitive
in the Viewport and center it at (0,0,0).
10 ◾ 3D Animation for the Raw Beginner Using Autodesk Maya
To the right of the gray work area is the Attribute Editor. This allows
us to adjust the attributes of whatever object is currently selected. In
Figure 1.5, the Sphere is selected; we see that its radius is 8.479. Objects
typically have many attributes, so they are arranged in tabs; the third
tab from the left is currently selected. To the right of the Attribute Editor
are three tabs that let us display either the Attribute Editor, the Channel
Editor, or the Modeling Toolkit. The Channel Editor displays attributes
of an object that can be used to animate it; these include Move, Rotate,
and Scale. The Toolkit is another way (besides the Main Menu and the
Shelf tabs) to access commonly used tools.
At the bottom of the main window is the Timeline, which provides
access to the frame settings that are used to animate the objects in a scene.
Currently, this is set to 120 frames. At the bottom right are the Playback
Controls, which allow the user to run through the frames to view the
animation. (We see here that, as in video editing, frames are in essence
used as units of time.)
A final, very important area of the main window is at the very bottom
right. This is where, among other things, error messages are displayed.
It’s a very good idea to make sure that this area is not blocked by some
other window or application on your computer display. Keep an eye out
for anything appearing in red.
THE HYPERSHADE
The prefix “hyper” in English is usually interpreted as referring to too
much of something or an excessive number of something. Before we get
to the relevance of this prefix in the name of the Hypershade window, let’s
consider a couple of terms. The first is “material,” and we have already
discussed this. Another word is “shader.” This term is used heavily in 3D
modeling and is a very general term. It refers to many aspects of a scene
that have to do with how objects in the scene render. In the Hypershade, the
user can create shader networks, which include such things as materials,
textures, and lights. As for the prefix “hyper,” I assume that it means
that this is where all the shader networks are created and maintained (as
opposed to too many of them).
In Figure 1.6, there are roughly four areas. In the upper left are a series of
tabs that allow the Maya user to manage various items in the Hypershade.
These include Materials, Textures, Lights, and Cameras. This is a good
point to pause for a moment and make note of the overriding paradigm of
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de junho de 49, é o presidente do conselho cabralista, embora em
dezembro de 47 queira impedir a volta ao reino do eminente chefe
do seu partido. Cedendo-lhe em 49 o governo, virou-se logo contra
elle, e d’ahi começou a guerra declarada que veiu a acabar na
Regeneração.
Mas que podia regenerar quem, depois de tantas aventuras, devia
achar-se dorido, e mais ou menos enlameiado depois de tão largas
viagens?
É vaidoso e cheio de si. Demasiado abatido na má fortuna,
enfunado e boiante na prosperidade, e pouco agradecido aos
amigos do infortunio. É mudavel e contradictorio. Está muito
velho e russo, e como signaes de edade temos notado n’elle
um pendor e turno decidido para a mystica, onde parece que
acabará como todos os bourbons, nos braços de uma
supersticiosa devoção; e tambem pensamos que se hoje
houvesse frades iria, por imitação do grande condestavel,
vestir a roupeta do Carmello. Montalembert e Valdegamas
converteram-no em Paris. Estuda theologia. (Rocha, Rev. de
Port. 1851)
O retratista perspicaz, que tão a proposito notava a physionomia
de Saldanha, esboçando-o como um typo medieval, entre barão e
monge, não esquecia, porém, um traço que é commum aos heroes
da Edade-media, aos modernos, e aos de todos os tempos: a
necessidade de dinheiro. «Allega que não póde passar sem vinte
contos por anno», (Ibid.) e as cousas tinham-no forçado a demittir-
se de todos os seus rendosos cargos. Como viveria sem os vinte
contos? Não foi Saldanha o primeiro dos barões rebellados por
dinheiro; mas em caracteres taes, de si confusos, sem lucidez nos
planos e designios, não se póde dizer que o dinheiro seja o estimulo
immediato e directo, como é nos genios frios, politicos, em que a
habilidade predomina.
Com effeito, erraria quem suppozesse o marechal avarento ou
sybarita. Pelo contrario: no fundo tinha uma bondade ingenua e
simples que, misturada com o orgulho balofo, lhe impedia de vêr a
realidade das cousas. Se nem quando o compravam o percebia! Se
ingenuamente o confessava! Ouçamos as suas proprias palavras:
Sou pobre de fortuna, mas rico de amigos. Em dezembro
de 49, o conde de Thomar declarou-me guerra de morte, e
dois mezes depois era eu demittido de todos os meus cargos.
Alguns dias passados, procuraram-me os srs. Silva Ferrão e
Tavares d’Almeida dizendo-me que segundo estava
encarregado por alguns amigos de me pagar mensalmente o
equivalente dos meus vencimentos. Uma condição havia
n’esta generosa offerta a que eu me submetti com
reluctancia. Era que eu não indagaria os nomes de quem tão
nobremente contribuia. Desde então no primeiro de cada mez
e cebo oitenta e duas libras. (Disc. 26 de março de 51)
Esta simplicidade, esta ingenuidade, esta sinceridade, espantam-
nos. Orgulhava-se de ser pobre, de ter amigos: mas não é verdade
que só se pede para pão? e que, por grande que fosse o clientela
de Saldanha, nunca o pão importaria em tanto? Elle não o percebia:
por isso o confessava; e se a uma compra habil chamava amisade,
continuava a suppôr-se arbitro, quando era cada vez mais aquelle
tronco em que falara José Liberato. Satisfeito, simples, bom,
irresponsavel como uma creança, esfregando as mãos contente, ou
quebrando os joguetes, militares, politicos, nos seus despeitos
infantis, o marechal, entrado na velhice, ia, com a sua
espectaculosa espontaneidade, seduzir um grupo de homens ainda
não desilludidos.
A sua vida tinha sido já tão longa e cheia de aventuras e
descreditos, que eram raros os que não tinham tido occasião de o
vêr e avaliar por dentro.
Os antigos ordeiros, com Rodrigo á frente, estavam promptos a
seguil-o para confiscar a victoria, fazendo do vencedor a unica
cousa para que servia: um rotulo brilhante de bordaduras e crachás,
um pseudo-chefe de parada, á sombra do qual viveriam,
lisongeando-o e pagando-lhe. Mas teriam os ordeiros, por si sós,
força bastante para mover o paiz contra o tyranno que rematara a
sua obra amordaçando a imprensa? Seria mistér acceitar as offertas
dos velhos companheiros de Paris, a quem Saldanha voltara as
costas desde 35, contra quem combatera: esses setembristas em
cujo seio a influencia de José-Estevão creava um grupo novo, filho
da velha-guarda dos Passos, neto da quasi extincta geração dos
vintistas? Porque não? Saldanha confundia o seu despeito com o
interesse publico, da mesma maneira que confundia o seu orgulho
com a sua falta de meios.
Tendo-se recusado a acceitar a embaixada de Paris, com que em
49 Thomar pretendia evital-o, (como Rodrigo o evitara em 40,
mandando-o para Vienna) Saldanha, que n’um breve intervallo de
ocio se occupara em Cintra da creação das vaccas de leite
(Carnota, Mem.), depois de em Vienna se ter occupado da
existencia de Deus e da immortalidade da alma: Saldanha
desmascarou breve as suas baterias, pedindo á rainha a queda do
ministerio. Reconheceria elle agora o seu erro de 46? lembrar-se-hia
dos conselhos de Howard: be cautious? Veria o papel de janisaro
que desempenhara? Talvez. Arrependia-se, pois; e voltava-se contra
o partido de que fôra a espada. Não se tornava, porém, um chefe da
democracia como até 34, embora tivesse feito as pazes com os
seus inimigos da Maria-da-Fonte. Antas visitava-o; mas quando lhe
propoz o plano de uma sedição setembrista, o marechal,
affavelmente, rindo, senhor de si, respondeu que não. Tambem elle
tinha a sua revolução, uma boa, afortunada revolução a fazer: veria!
(Carnota, Mem.)
Que esperanças novas eram essas?
Conquistar um grupo de homens, mais pensadores do que
politicos, liberaes sem serem democratas, cartistas sem serem
cabralistas, homens como Ferrer, Soure, Pestana, no meio dos
quaes se destacava o talento já consagrado de Herculano, com um
pensamento de pura liberdade doutrinaria.
Herculano emigrára, e ouvimol-o chorar na solidão do exilio.
Emquanto, porém, a sua musa lyrica lhe inspirava poesias selladas
com um profundo cunho de sinceridade e belleza, o poeta, homem
vigoroso no temperamento intellectual, portuguez de lei, affirmativo
e duro, o inverso do artista Garrett: o poeta aprendia na mocidade,
como Mousinho já quasi na velhice, os dogmas e principios da
crença liberal. A critica de Kant mostrava-lhe no Individuo um rei, na
Consciencia um deus; ao mesmo tempo que os sabios, com a nova
direcção dos seus estudos, lhe mostravam na tradição e na historia
as raizes das sociedades deploravelmente abaladas pelo
jacobinismo. As contradicções que produziu esta dupla concepção,
individualista e social, nunca em Portugal se manifestaram tanto
como no espirito do homem eminente que, talvez unico, media o
valor das doutrinas.
As tendencias eruditas e litterarias do seu genio philosophico
fizeram-no metter mãos á obra do renascimento das lettras
portuguezas, assim que no Porto houve lugar para pôr de lado a
espingarda. Assistira, combatera em todo o cêrco; e, terminado elle,
entrou como bibliothecario da livraria municipal. N’um paiz
revolucionado, a politica é absorvente, e por isso Herculano, ao
mesmo tempo que iniciava os seus trabalhos historicos,
acompanhava a agitação dos partidos. Setembro, isto é, a
acclamação do jacobinismo que o philosopho suppunha para
sempre refutado e condemnado, provocou-lhe uma ira portugueza
que se vasou nos threnos biblicos da Voz-do-Propheta. Demittiu-se
em 37 para não jurar a constituição de 20; mas dois annos depois,
apaziguada a procella, retirado Passos, restaurada a ordem,
reconhece a constituição de 38 e abraça a fusão. Em 40 vae
deputado ás camaras, confiado em que o liberalismo tal como elle o
concebia ia afinal enraizar-se; mas breve se desenganou e sumiu-
se. Foi então que o rei D. Fernando o convidou para bibliothecario
da Ajuda, e d’ahi, afastado, vivendo com os documentos da historia,
entregue aos estudos com uma energia ardente, conquistava a
passo e passo o primeiro lugar entre os escriptores nacionaes do
nosso seculo, ao mesmo tempo que lá por fóra seguia, desorientada
e ferina, a procissão das revoltas e o desvario dos governos.
Em tal estado o veiu encontrar Saldanha, convidando-o a prestar
a authoridade do seu nome e do seu conselho á empreza em que ia
lançar-se.[33] Herculano, como todos os que lidam mais com idéas
do que com homens, era quasi infantilmente ingenuo. Intelligencia
fomalista, não era tampouco dotado da perspicacia que adivinha os
caracteres, deslindando as confusões da inconsciencia alheia, e
definindo com clareza as situações. A sua imaginação poetica viu no
marechal um penitente de antigos erros, a sua nobreza ingenita viu
uma dedicação nobre; e o seu patriotismo e a sua doutrina viram
tambem chegado o momento da paz, da ordem, da organisação
definitiva do liberalismo. Entregou-se todo, de corpo e alma, e abriu
as portas da sua casa da Ajuda ás reuniões dos conjurados. Alli se
pactuaram as reformas urgentes que o marechal realisaria assim
que tornasse vencedor: as eleições directas, a abolição da
hereditariedade nos pares, a dos vinculos gradualmente convertidos
em pequena propriedade emphytheotica. Herculano exigiu que tudo
se fizesse com gente nova, excluindo os velhos todos, «de outra
fórma seria o mesmo que d’antes»; exigindo para si que o não
fizessem ministro. Trabalharia, ajudaria com o seu conselho, mas
para governar «não tinha queda». Saldanha, provavelmente sincero,
applaudia, enthusiasmava-se, obedecia, promettia.