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45+ Incredible Maya Tutorials Around

45+ Incredible Maya Tutorials Around
Autodesk Maya, or simply Maya, is a high-end 3D computer graphics and 3D modeling software package originally developed by Alias Systems Corporation, but now owned by Autodesk as part of the Media and Entertainment division. Maya is a powerful, 3-D modeling, texturing, and rendering application, with all of the tools needed to do nearly every type of animation imaginable, from simulations of real-world physics to character animation with a wide spectrum of emotive expressions. In this article below, we’ll take a look at Various Maya Tutorials for your source of inspiration which help you to deal with high-end 3D computer graphics. However, they all have something in common: they all give you clean idea about latest techniques. For those, who don’t know what is Maya? and what it can do? You may be interested in the following related articles as well. Feel free to join us and you are always welcome to share your thoughts that our readers may find helpful. Incredible Maya Tutorials Around 01.

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Tutorial: how to model (and render) a realistic spiral cable in Blender (and Yafaray)/1 At work (I’m a Mechanical Design Engineer) I had to render a model of a video intercom to get a realistic shot. I already had all the parts as CAD models, so that I had just to export them in STL format and import each file in Blender. All but the cable. Complex Material Tutorial By Joe “EarthQuake” Wilson How do I make X material type in Toolbag? I decided to throw together an asset to help explain how the Marmoset Toolbag material system works and display the type of art content I create to mimic various real world material properties. Download the camera asset to follow along and view in full 3D glory inside of Toolbag, here: DOWNLOAD CAMERA ASSET Unzip the asset to your Toolbag directory: X:\Program Files(x86)\MarmosetToolbag ..

Everyday 3D This Christmas, at Tool we wanted to create a small interactive experience to share with our friends and clients. Since lately I did experiment with compositing WebGL objets on a video [1, 2] I thought this is a cool technique that we can use. The idea was simple enough: we would shoot a Christmas tree in a nicely decorated room and composite-in a gift box that the user can interact with while watching the video. All this is rendered with WebGL – the video runs in the background and the 3d interactive content on top, both layers are matched in perspective and movement. To achieve this effect I had to use quite a lot of different pieces of software.

3D models, Tutorials, Gallery, Art works, Animation For the colour maps to save some time I used some high detail photos from To add to these maps I painted lots of spot maps and colour maps that I could quickly apply to each texture. above is the texture for his right lower arm veins were painted in deepaint chest photo from and final chest texture

Magazine 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

Forensic facial reconstruction guidelines for eye placement Recent studies have determined that when doing facial reconstructions from the skull, we should be placing the eyes in the orbit 4mm more forward (anteriorly) than we have been, in line with the back of the iris like this: Not to the front of the cornea, like this: This comes from separate research papers authored by both by Dr. Stephan in 2008, and Dr. making_gamecop Street Cop Workflow by Mashru Mishu Author: Mashru Mishu Author Website: Software: Autodesk Maya and Mudbox 1. Creating the base mesh. The first thing to consider is how the character looks and how the concept translates into a game character. Before I jump into modeling a game character I need to consider my polycount budget, mesh topology, any rigging issues and my texture limits. Once I have a rough idea of the technical specification and limits I start creating the main body of the character.

mini cooper Mini Cooper Saturday 17th May 2003 Related Pages Making of the Standing Beauty Making of the Standing Beautyby Asan Umerov, Ukraine Zbrush and Refinements Definitive operational development of model and extraction displacement maps, I did in Zbrush.

Tips and tricks for organic modelling Over the last 20 years, 3D modelling has come a long way. I say 20 years because for a lot of people their awareness of 3D modelling was first sparked when they saw animated 3D creatures in films such as Jurassic Park. Modelling 3D creatures and characters is now a recognised career and spans many different sectors, including games, film, broadcast TV, web, print, advertising, marketing, medical and so on. As with most things these days, there are many ways to get any given job done, and just knowing one tool isn’t always enough. Organic 3D modelling can use subdivision surfaces, voxels, DynaMesh, retopology tools, normal maps and a whole list of other features and tools. Understanding where to use each one and for what task can be confusing until you understand what they can do for you, so read on for my collection of tips and tricks.

Beautiful, Yet Friendly Part 1: Stop Hitting the Bottleneck Beautiful, Yet Friendly Part 1: Stop Hitting the BottleneckBeautiful, Yet Friendly Part 2: Maximizing Efficiency by Guillaume Provost A couple of years ago I was driving home to Quebec when I stopped near the Ontario border to gas up. I got out of my car to stretch and noticed two other travelers engaged in a complicated mish-mash of hand waving and broken English. I approached, thinking I could help the poor fellows by acting as a translator between both parties, when I realized that not only were they both French Canadians but neither of them knew it.

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