- Copyright
- Dear Reader,
- Acknowledgments
- About the Authors
- Introduction
- 1. Working in Maya
- 2. Maya Cameras
- 3. NURBS Modeling in Maya
- 3.1. Image Planes
- 3.2. Understanding NURBS
- 3.3. Modeling NURBS Surfaces
- 3.3.1. Lofting Surfaces
- 3.3.2. Intersecting Surfaces
- 3.3.3. Trim Surfaces
- 3.3.4. Working with Trim Edges
- 3.3.5. Extruding Surfaces: Distance Extrude
- 3.3.6. Extruding Surfaces: Profile Extrude
- 3.3.7. Fillet Surfaces
- 3.3.8. Creating Rail Surfaces
- 3.3.9. Lofting across Multiple Curves
- 3.3.10. Live Surfaces
- 3.3.11. Project Curves on the Surface
- 3.3.12. Revolve
- 3.3.13. Using the Bend Deformer
- 3.4. Creating Realism
- 3.5. NURBS Tessellation
- 3.6. The Bottom Line
- 4. Polygon and Subdivision Surface Modeling
- 4.1. Understanding Polygon Geometry
- 4.2. Working with Smooth Mesh Polygons
- 4.3. Modeling with Deformers
- 4.4. Combining Meshes
- 4.5. Using Bevel Plus and Bevel Edges
- 4.6. Polygon Modeling with Paint Effects
- 4.7. Converting NURBS Objects to Polygons
- 4.8. Boolean Operations
- 4.9. Sculpting Polygons Using Artisan
- 4.10. Advanced Polygon Modeling: The Head
- 4.11. Creating a Character
- 4.12. Using Subdivision Surfaces
- 4.13. The Bottom Line
- 5. Animation
- 6. Animating with Deformers
- 7. Rigging and Muscle Systems
- 8. Paint Effects and Toon Shading
- 9. mental ray Lights
- 10. mental ray Shaders
- 11. Texture Mapping
- 11.1. UV Texture Layout
- 11.1.1. What Are UV Texture Coordinates?
- 11.1.2. Creating UV Texture Coordinates
- 11.1.3. Mapping the Scalp
- 11.1.4. Creating UV Shells
- 11.1.5. Flipped and Overlapping UVs
- 11.1.6. Smooth UV Tool
- 11.1.7. UV Smudge and UV Lattice Tools
- 11.1.8. Automatic Mapping
- 11.1.9. UV Mapping the Face
- 11.1.10. Sewing UV Shells
- 11.1.11. Unfolding UVs
- 11.1.12. Arranging UV Shells
- 11.1.13. UV Snapshot
- 11.1.14. Additional UV Mapping Considerations
- 11.1.15. Transferring UVs
- 11.1.16. Multiple UV Sets
- 11.1.17. UV Mapping Alternatives
- 11.2. Bump and Normal Mapping
- 11.3. Displacement Mapping
- 11.4. PSD Networks
- 11.5. Subsurface Scattering
- 11.6. Texture Mapping NURBS Surfaces
- 11.7. The Bottom Line
- 11.1. UV Texture Layout
- 12. Rendering for Compositing
- 12.1. Render Layers
- 12.2. Render Passes
- 12.3. Batch Rendering
- 12.4. mental ray Quality Settings
- 12.5. The Bottom Line
- 13. Introducing nParticles
- 14. Advanced nDynamic Effects
- 15. Fur, Hair, and Clothing
- 15.1. Add Fur to Characters
- 15.1.1. Prepare Polygons for Maya Fur
- 15.1.2. Create a Fur Description
- 15.1.3. Edit the Fur Description: Baldness
- 15.1.4. Edit the Fur Description: Direction
- 15.1.5. Edit the Fur Description: Length
- 15.1.6. Test Render Fur
- 15.1.7. Apply a Color Map
- 15.1.8. Map Offsets and Multipliers
- 15.1.9. Additional Fur Attributes
- 15.2. Add Dynamic Motion to Fur
- 15.3. Render Fur Using mental ray
- 15.4. Dynamic Curves
- 15.5. Add Hair to a Character
- 15.6. Style Hair
- 15.7. Hair Constraints
- 15.8. Render Hair
- 15.9. Create Clothing for Characters
- 15.10. Paint nCloth Properties
- 15.11. The Bottom Line
- 15.1. Add Fur to Characters
- 16. Maya Fluids
- 17. MEL and Python
- A. The Bottom Line
- A.1. Chapter 1: Working in Maya
- A.2. Chapter 2: MAYA CAMERAS
- A.3. Chapter 3: NURBS MODELING IN MAYA
- A.4. Chapter 4: Polygon and Subdivision Surface Modeling
- A.5. Chapter 5: Animation
- A.6. Chapter 6: Animating with Deformers
- A.7. Chapter 7: Rigging and Muscle Systems
- A.8. Chapter 8: Paint Effects and Toon Shading
- A.9. Chapter 9: mental ray Lights
- A.10. Chapter 10: mental ray Shaders
- A.11. Chapter 11: Texture Mapping
- A.12. Chapter 12: Rendering for Compositing
- A.13. Chapter 13: Introducing nParticles
- A.14. Chapter 14: Advanced nDynamic Effects
- A.15. Chapter 15: Fur, Hair, and Clothing
- A.16. Chapter 16: Maya Fluids
- A.17. Chapter 17: MEL and Python
- B. About the Companion DVD
Eric has worked at some of the best design studios in Los Angeles, including Prologue Films, Imaginary Forces, Yu and Company, BLT and Associates, and The Syndicate. Projects include feature film title animations for The Invasion, Enchanted, Sympathy for Lady Vengeance, and Dragon Wars. He has also contributed to numerous commercials, television shows, and design projects.
Other books by Eric Keller include Maya Visual Effects: The Innovator's Guide (Sybex, 2007) and Introducing ZBrush (Sybex, 2008). He was a contributing author to Mastering Maya 7 (Sybex, 2006). He has authored the video series Essential ZBrush 3.1 for Lynda.com as well as numerous tutorials and articles for industry magazines. Many of his tutorials are available online at www.highend3d.com and www.molecularmovies.org.
Eric Allen wrote Chapter 7, "Rigging and Muscle Systems." He has worked in the 3D industry for a decade. He was a modeling lead and expression artist on several widely used 3D figures, some of which have been downloaded over 200,000 times. He also worked for Tandem Motion Picture Studios as a modeler and character setup artist. He wrote Body Language: Advanced 3D Character Rigging (Sybex, 2008) and has written for HDRI3D magazine. Eric was a guest presenter at 3December. He graduated from BYU, where he worked on a short film titled Lemmings, which received multiple awards including a Student Emmy and a Bronze Student Academy Award. Lemmings was screened at the Cannes Film Festival. He is currently employed as a medical animator/visualizer at Interact Medical.
Anthony Honn created the vehicle model used in the example scenes throughout this book. Anthony originally trained in industrial design and architecture. After having graduated from the Art Center College of Design, a series of fateful events resulted in a career within the film and design industries. His clients have included multiple recording artists such as Janet Jackson as well as lifestyle brands such as Nike. Arguably, the industrial designer still lurks beneath, with his continued passion for robotics, automobiles, and furniture. For more of Anthony's work visit www.anthonyhonn.com.
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