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Tutoriaux - Créer un squelette - Maya 8.5, bump - Cycle de pas - Faire un rigging… - Reglage de rendu… - Ed's Portfolio. Dans la construction du squelette, pour que l'animation fonctionne, il faut faire très attention à la construction au niveau de l'hips. On crée d'abord le join Root à la base de la colone vertébrale, un peu en dessous du bassin même, ensuite en remontant, on crée le main pile dans le creu du bassin, puis l'hips, a peu près au même endroit. On valide en appuyant sur entrée. On recrée une nouvelle chaîne de bones à partir du spine 1(S1 sur le dessin) et on crée tous les autres bones normalement. On parente ensuite le S1 au Main pour relier les deux chaines de bones et on obtient ensuite la colone vertébrale. On parente ensuite l'hips vers le global control en maintenant P.Ensuite on parente chaque courbe au bone correspondant, avec l'aide des contraintes.

On fait pareil pour l'hipsway, le backcontrol et le chestcontrol. Voici les contrôleurs pour les yeux. Séléctionner ensuite le right_eye sur le contrôleur, puis le bone correspondant à l'oeil droit et appliquer une constrain => aim. Great article on face rigging for animation in autodesk maya. Character TD Ryan Griffin posts a great article on Face Rigging for Animation in Autodesk Maya as an in depth investigation into the art of face rigging for CG animation.

Ryan looks at the primary ways to create deformation in Maya with this first part, while trying to understand the system itself. With the second article, Ryan takes a closer look at bone driven systems for facial rigging. Read part one of Face Rigging for Animation in Autodesk Maya here , and the continuation that is part two here . Face rigging for animation in autodesk maya part 3. Griffin Animation, the home of character TD Ryan Griffin updates his multi-post article on Face Rigging for Animation in Autodesk Maya as an in depth investigation into the art of face rigging for CG animation. Part 3 talks a bit about blend shapes and muscle systems as a brief overview. Check out the new post on face rigging for animation in Autodesk Maya here. “I said I would talk about blend shapes and muscle systems in this next post and that is what I intend to do. I do not intend to provide a tutorial on these systems. Instead I want to provide a brief overview while pointing out some of the benefits and downsides to each system.

Robot Rigging in Maya. HHS Animation with a great in depth series of tutorials in 14 parts, covering how to build a rig for a robot character using Autodesk Maya, some really good stuff here! Rigging Basics – Robot Rig, Part 1 from HHS Animation on Vimeo. Rigging Basics – Robot Rig, Part 2 from HHS Animation on Vimeo. Rigging Basics – Robot Rig, Part 3 from HHS Animation on Vimeo. Rigging Basics – Robot Rig, Part 4 from HHS Animation on Vimeo. “Tutorial series in creating a basic joint setup for a robot. Watch the rest of the tutorials after the jump!

Rigging Basics – Robot Rig, Part 5 from HHS Animation on Vimeo. Rigging Basics – Robot Rig, Part 6 from HHS Animation on Vimeo. Rigging Basics – Robot Rig, Part 7 from HHS Animation on Vimeo. Rigging Basics – Robot Rig, Part 8 from HHS Animation on Vimeo. Rigging Basics – Robot Rig, Part 9 from HHS Animation on Vimeo.

Rigging Basics – Robot Rig, Part 10 from HHS Animation on Vimeo. Rigging Basics – Robot Rig, Part 11 from HHS Animation on Vimeo. Modeling And Rendering A Simple Robot In Maya Using V-Ray. Create a robot and rig tank tracks in Maya. 3D World is the best-selling international magazine for CG artists, covering the fields of animation, VFX, games, illustration and architecture. Our team of CG artists and professionals provide analysis of latest trends in the market, artistic and technical advice, impartial product reviews, and exclusive behind-the-scenes articles on the making of key projects in this fast-paced industry. 3D World’s unique Advisory Board, which includes ILM’s Tim Alexander, Pixar’s Andrew Gordon and Ubisoft’s Pascal Blanche are on hand every issue to help with CG advice and career support.

With over 10 years at the forefront of the CG industry, reporting on the latest movie VFX, with enviable studio access and in-depth video and step-by-step training, 3D World offers unrivalled inspiration and training every issue. Editorial Advertising. CGwhat Maya Tutorials. Digital-Tutors releases new Transforming Robot tutorials. 3D World is the best-selling international magazine for CG artists, covering the fields of animation, VFX, games, illustration and architecture. Our team of CG artists and professionals provide analysis of latest trends in the market, artistic and technical advice, impartial product reviews, and exclusive behind-the-scenes articles on the making of key projects in this fast-paced industry. 3D World’s unique Advisory Board, which includes ILM’s Tim Alexander, Pixar’s Andrew Gordon and Ubisoft’s Pascal Blanche are on hand every issue to help with CG advice and career support.

With over 10 years at the forefront of the CG industry, reporting on the latest movie VFX, with enviable studio access and in-depth video and step-by-step training, 3D World offers unrivalled inspiration and training every issue. Editorial Advertising. I'm dhkim :: Making of Autobot with 3D Studio Max 9, 3D Tutorial. Making an AutoBot with 3D studio Max 9 by Tamas Tothfalussy In this article I would like to show you what kind of methods I? 셶e used to create my picture ? 섲utobot?? I always liked transformers, and the movie gave me a huge inspiration to build one. The car form of it is one of my recent car models, a 1975 Chevrolet Corvette Stingray. Modeling: Becouse I wanted it to be able to move and transform, I had to create bones for it too. The modeling process looked like this: I modeled the robot? I always had to pay attention not to choose a section that is too far from robot part on the car in order to be able to create the transforming animation in the future.

Materials: The car paint is a 4 layer VrayBlend material. For the robot body I made 5 metal materials. Lighting: For the lighting I used a Vray Dome light using a VrayHDRI texture. Rendering: I used Adaptive QMC Image Sampler and Catmull-Rom AA filter. Postworks: Making Geometry Emit Light in Maya. Well, this is something I thought would be overly complicated and was, for a long time, a challenge to get geometry to emit light. Essentially I wanted to simulate things like fluorescent tube lights, neon/xenon/argon shaped lights; any light that actually had physical shape. The method I'm using is not, however, without limitations. Here's a sample of what I'm talking about: The setup for this is rather simple. Click the checkerboard to add a connection here. Go to the far right and select the mental ray tab here and scroll down to the light shader section and choose Mib_light_photometric (it's possible to use other mental ray light shader, I'm using the photometric to use an IES light profile to control the light shape).

This is a good starting point anyway. As far as rendering controls go you'll need to enable Final Gather and to get a smooth result I have my accuracy set at around 5000 and point interpolation set at 50. Now, the limitations. Anyway, there it is. Rendering | Neal's stuff. Import pymel.core as pm import subprocess, os def findRenderCam(): for cam in pm.ls(cameras=True): if cam.renderable.get(): return cam pm.PyNode("persp").renderable.set(True) return pm.PyNode("persp") def create_wireframe_RL(name="wireframe"): mat_name = "%s_mat" % name if not pm.objExists(mat_name): matNode = pm.shadingNode("lambert", n = mat_name, asShader = True) matNode.setColor([1,1,1]) matSGNode = pm.sets(renderable=True, noSurfaceShader=True, empty=True, name="%sSG" % mat_name ) matSGNode.miContourEnable.set(1) matSGNode.miContourColor.set([0,0,0]) matSGNode.miContourWidth.set(1.5) matNode.outColor >> matSGNode.surfaceShader if not pm.objExists(name): render_layer = pm.createRenderLayer(n = name) render_layer.setCurrent() render_layer.addMembers(pm.ls(geometry = True, cameras = True)) matSGNode.message >> render_layer.shadingGroupOverride def render_wireframe(name="wireframe"): pm.mel.miCreateDefaultNodes() renderGlobals = pm.PyNode("defaultRenderGlobals") renderGlobals.currentRenderer.set("mentalRay")

Maya Tutorials, Maya 3D Training, Home of the SimplyMaya Community. 22+ of the most fun rigs for maya. One of the great things about working in 3D is the community where people are always proud and willing to show off their skills and help contribute back with scripts, code, tips, tricks and completed rigs. There is no better way to hone your skills in 3D than to see how other people have created a model, rig, or render. Having said that, there is nothing more fun than to get a new rig to try out, if even only to see where the possibilities will take you in posing, animation, and the creation of the rig as well. In that spirit, I have compiled a list of some of the most fun rigs by sifting through Creativecrash (on of the largest respiratory and marketplaces for all things 3D) and a few other places where rigs are available for maya, for free, for practice, and for play.

Read more on the compilation and have some fun! The Ashrafi rig by Dawood Ashrafi has some nice face controls and the deformation are pretty solid. Features: [Animation courtesy of Joao Pires - thanks Joao!] Getting a tron glow in maya using mia_light_surface. Using mia_light_surface, Alex shows how to get the bright blue illumination of Tron The key here is the mia_light_surface utility and of course final gather. May sound complicated but trust me… its very very simple! Alex from Greensoda with a very interesting quick tutorial on creating the ever-poular (again) Tron like glows using mental ray and connecting a mia_light_surface node to a mia_material_x, which provides some surface shading information as well as a glow from a Final gather contribution… really cool!

Check out the comparison from an ordinary surface shader. Its important to always find great reference for your work in general, but in the areas of glows and lens fx this is even more imperative – a while back Atomic Fiction had a really great post on glows as seen by our minds eye, verses glows as seen by hard reference… the differences are miles apart. After posting the tutorial on Vimeo, someone asked what the difference between using this and a surface shader would be. Ricky 2.0 Superhero - Animation Academy 2011.