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  • 7/30/2019 Maya Notes

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    2003 Jennifer Steinkamp

    MAYA NOTES

    Status Line - Top Horizontal menu

    Select by hierarchy

    Select by Object Type - This is the main one to use

    Select by Component Type - Picks parts i.e. CVs, this should display an objects CVs.

    GOOD TRICK: Use Right mouse over anything in Maya to bring up mini menu, good way to pick CVs

    Some Keyboard Shortcuts and Buttons from the Status Bar

    hold down x while transforming = grid snap

    hold down c while transforming = curve snap

    hold down v while transforming = point snap

    snap to view planes

    live - first pick the object to be live, others objects will snap to the live object,this is the only way to draw a curve on surface. Use this to sketch particles on a live surface too.

    Lock Button makes the left mouse button like the middle mouse - or it locks the current selection.

    Tool Box Manipulators - Left Vertical menu

    pick

    lasso

    move

    rotate

    scale

    show manipulator - this shows interest on lights, camera, or revolve

    Use- and + on keyboard change the size of manipulator,or use Window->Settings/Preferences

    Select Manipulator

    Input a number for Global Scale

    GOOD TRICK: If you highlight a channel like translate Y in the channel box, you can move an object with mid-dle mouse. This is good for any floating point value.

    Some More Keyboard Shortcuts

    z = undo, the default number of undos is 10, you can raise this with:Window->Settings/Preferences->Preferences...

    Select Undo input Queue Size 50

    Shift + z = redo

    Rotate Manipulator

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    type q = pick

    type w = move

    type e = rotate

    type r = scale

    type t = show manipulator

    type y = last tool used

    1 with an active NURBS object = display wireframe smoothness, or Window->Attribute Editor->NURBS Surface Display->Curve Precision 32 with an active NURBS object = display wireframe smoothness, or Window->Attribute Editor->NURBS Surface Display->Curve Precision 7

    3 with an active NURBS object = display wireframe smoothness, or Window->Attribute Editor->NURBS Surface Display->Curve Precision 154 = display active window wireframe5 = display active window shaded with default lights

    6 = display active window shaded and textured with default lights7 = display active window shaded with first 8 scene lights

    Insert key switches a transform manipulator to pivot manipulator. On the Mac it is the Home key.

    Add Pick Nothing to Hotkeys:Select Window->Settings/Preferences->Hotkeys... Under Key, input an l. Press Query Key button, to make sure the n ke

    it is not in use. Find a category and a command, choose Assign.

    Add any command to the shelf:Select the Custom Tab, hold down the Shift, Ctrl, and Alt buttons as you select the tool you want on the shelf.

    For example: Hold down the Shift, Ctrl, and Alt buttons as you select the Display->NURBS Component->CVs.

    Moving Around the Windows:Alt + the left mouse button rotates the camera view or panel.

    Alt + the middle mouse button tracks any view or panel.Alt + the left and middle button dollys any view or panel.Include shift to make the moves gestural, i.e. constrained to horizontal or vertical.

    ***

    Lighting tipSelect a spotlight, In the camera view, select Panels->Look through selected Use the camera controls to aim the spot. i.e.+ left mouse button to rotate light. Use Panels->Perspective->Persp to put the view back.

    Numerical Input Line:If you are using a manipulator tool, such as rotate you can input all three xyz values in the absolute or Relative Numeric Inputline. It is located to the far right on the status line. Relative transformations are hidden under the sel arrow. If you type a perio

    instead of a number the object will not change. i.e. If an object is rotated 0, 45, 0, and you input . . 45, the object will be rotate

    0, 45, 45.

    Absolute or relative transformations button.Have you noticed when you move an object it moves exactly as input. This is an absolute transformation. For example: Rotatan object 90 degrees, then rotate it 10 degrees. The object will be rotated 10 degrees. An object rotated with a relative transf

    mation would have been rotated 100 degrees. Relative mode adds or multiplies the new transformation to the existing transfomation. The software defaults to absolute transformations. Occasionally, you will find a need for relative, especially when woring with exact measurements. Relative transformations are hidden located to the far right on the status line. It is hidden unde

    the sel arrow.

    Fix the Channel BoxWindow->Settings/Preferences->Preferences... Under Interface

    Select Open Attribute Editor In Separate Window

    Select Open Tool Settings In Separate Window

    Locate these tools in upper right side of screen:The one to the right will reset the channel box to normal. MN-2

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    MAYA MODELING WITH PRIMITIVESTutorial for modeling and rendering a table, a lamp and a floor.

    Table Top

    Select the modeling section of Maya, hit F3 button on the keyboard, or choose from upper left, status line.

    Hit the spacebar, this is a shortcut to display four views, or the Hot Box, if you hit it again it will display one view,the one the mouse was last over.

    Make sure the select by object type button is selected in the status line near the top. This lets you pickobjects, rather than points etc.

    Create->Polygon Primitives->Cube A cube will appear at the origin.

    Select the Move Tool button from the tool box on the left. If your cube is still active, a manipulator icon willappear, click and drag on the green arrow to move the cube up approximately 4 units in the Y axis.

    Select the Scale Tool button from the shelf line.If your cube is still active a manipulator icon will appear, use this to change the size of the cube oruse the channel box on the right side of the screen and input:Scale X 8Scale Y .5Scale Z 8

    Legs

    Choose Create->NURBS Primitives->Cylinder

    Select the Move Tool button from the shelf line,use this to move the cylinder or use the channel box on the right side of the screen and input:Translate X -3Translate Y 3Translate Z 3

    Set the pivot, Select the Move Tool button from the shelf line.Hit the insert key on the keyboard, this will switch over to change pivot mode. (On Mac use Home key.)

    Click and drag on the manipulator's green line to move the pivot up in the Y axis to the upper edge of the cylinder.

    Hit the insert key on the keyboard, this will switch back over to Move Tool mode,

    Select the Scale Tool button from the shelf line. Click and drag on the yellow box in the middle of themanipulator icon, this will scale down the entire cylinder in three axes.

    Click and drag on the green box on the manipulator icon to scale the cylinder in the Y axis. Notice it is scalingaround the pivot point you changed.

    Select Edit->Duplicate-> (Open the dialogue window.)Select translate 6 0 0 (6 units in the X axis, 0 in Y, and 0 in Z.)Click on InstanceClick on DuplicateClick on Close to close the window.

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    Instance copy and position one leg to make two. In this case we are using instance rather than copy, instance usesless interface memory. An instanced object will share color and shape with the original object. The instanced objectwill have its own position, scaling and rotation.

    Pick the Select Tool button from the shelf line.Hold down the shift key and click on the leg that is blue to activate it. (Picking it again would make it inactive.)Two legs should be active, the table top is inactive. (Blue = inactive, green = most recent selection, white = active.)

    Edit->Duplicate->Select translate 0 0 -6 (0 units in the X axis, 0 in Y, and -6 in Z.)Click on InstanceClick on Duplicate

    Click on Close to close the window.

    Look at the Table in Perspective.

    Alt + the left mouse button rotates the camera view or panel.Alt + the middle mouse button tracks any view or panel.

    Alt + the left and middle button dollys any view or panel.Include the shift key to make the moves gestural, i.e. constrained to horizontal or vertical.

    Get Interactive and Make a Lamp.

    Dolly and track the front view so there is enough space above the table for the lamp. (see section III above.)

    Create->NURBS Primitives->Sphere-> (Base of lamp.)Input Number of Sections 10Click on Create

    Select the Move Tool button from the shelf line.Click and drag on the manipulator's green arrow to move the sphere up in the Y axis, on top of the table.

    Select the Scale Tool button from the shelf line.Click and drag on the yellow box in the middle of the manipulator icon, this will scale down the entire sphere a littlein three axes. Click and drag on the green box to scale the y axis.

    Interactively Move Points Around on the Lamp.

    While the lamp base is active, type f, to frame the front view in on the lamp base.

    Pick the component type button in the status line near the top.

    The CVs will automatically appear. This lets you pick CVs, rather than objects etc.CV stands for control vertex, you can drag CVs to change the shape of the lamp.

    Select the Move Tool button from the shelf line. Click and drag a box over some of the CVs on the lampto pick them. Click and drag one of the manipulator's arrows or center to move the CVs.

    Try scaling and rotating CVs.

    Lamp Shade.

    Create->NURBS Primitives->Cone

    Pick the object type button in the status line near the top. This lets you pick objects, rather than CVs etc.

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    Select the Move Tool button from the shelf line.Click and drag on the manipulator's arrows or center to move the cone above the lamp base.

    Select the Scale Tool button from the shelf line.Click and drag on the yellow box in the middle of the manipulator icon, this willscale down the entire cone in three axes. Click and drag on the green box to scale the y axis.

    Insert a Floor.

    Create->Polygon Primitives->Plane

    Select the Scale Tool button from the shelf line.Interactively scale the floor larger.

    Delete Unwanted Objects.

    Click anywhere in a view where there are no objects . This will turn off all objects.

    Click and drag over the object you do not want.

    Choose Edit->Delete, or hit the delete or backspace key on the keyboard.

    Type z to undo, if you change your mind. (You can setup a lot of undos.)

    Type Shift z to redo, if you change your mind again.

    Add a Light or Two to the Scene.

    Select the rendering section of Maya, hit F5 button on the keyboard, or choose from upper left, status line.

    Click anywhere in a view where there are no objects . This will turn off all objects.

    While nothing is selected, type f, to zoom each view one at a time around everything in your scene. This will giveyou more room to position your lights.

    Create->Lights->Point Light

    Select the Move Tool button from the shelf line.Click and drag on the manipulator's arrows or center to move the light above the scene.

    Click in the background of the Perspective or camera view to activate that window.

    Hit 5 6 then 7 on the keyboard to switch to shaded, texture view with scene lights. 4 will put it back to wireframe.

    4 = display active window wireframe

    5 = display active window shaded with default lights6 = display active window shaded and textured with default lights7 = display active window shaded with first 8 scene lights

    ColorWindow->Rendering Editors->Multilister...

    Select Edit->Create... (from the multilister's menu)Select the Materials tab in the Create Render Node window. (Rather than Textures, Lights, etc.)Click on the Phong button three times, this creates three shader balls in the multilister.Click on the Lambert button three times.Click Close at the bottom.

    Select one or more objects from the scene.

    In the Multilister, select one of the Phong shader balls.Choose Edit->Assign from the Multilister menu.

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    Double click the Phong shader ball you just assigned. (You should be in the Phong1 tab of the attribute editor.)Click on the grey box next to Color, this brings up the Color Chooser.Click Accept when you are done choosing a color. (Very Important.)

    Rename the phong shader, make sure you are in the first tab.

    Assign a shader to everything in your scene.

    Add Shadows to Your Lights.

    Window->Rendering Editors->Multilister...

    Double click the pointLightShape node..Click on the arrow next to Shadows, this opens the shadow options.

    Under Depth Map Shadow Attributes:Check off Use Depth Map Shadows.Lighten the Shadow Color to dark grey.A depth map is a very fast way to calculate shadows for a render, they are not always precise.

    Store a Copy of Your Model.

    File->Save Scene AsType a descriptive name like tablelamp.Click the Save button.

    A file will be stored in your scenes directory. A scene file contains:Objects, Color information, Transformations, Animation, Backgrounds, Hierarchy, Lights, Windows, Dynamics, etc.

    Read a Stored Model Back On.File->Open SceneDouble click the file you want to retrieve.

    Render into a test window.

    Window->Rendering Editors->Render Globals...

    Under the Common Tab:Under the Resolution arrow:choose 320x240

    Under the Image File Output arrow:Choose Image Format Tif

    Under Maya Software tabUnder the Anti-aliasing Quality arrow:Select Edge Anti Aliasing: Low Quality

    Click Close to close the window.

    Click on the background of the perspective camera view to make it active.

    Click on the render in new window button, located at the top of the screen.

    Render to a File.

    Go to the Render Module

    Select Render->Batch Render. You may do other things with the software while the system is rendering.

    A method for looking at an image while it is rendering: Render->Show Batch Render...

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    Introduction to Modeling

    Creating Curves or FrameworkCurves are spline line segments controlled by CVs. Curves are the framework of shapes. CVs (or control vertices) arethe points which control and make up the line curve. These lines are called NURBS (non-uniform rational b-splines).

    NURBS are special because they form smooth curves between CVs.

    Select the Modeling section of Maya, hit F3 button on the keyboard, or choose from upper left, status line.

    Create->CV Curve Tool->

    Click on Curve Degree 3 Cubic for rounded curves, use 1 Linear for straight curves.

    Click on Close

    Click the mouse to input CVs in any view to create a curve. 4 points need to be input for Cubic.

    Hit Enter button on the keyboard when you are finished.

    Edit Curves->Open/Close Curves (This will close an active curve.)

    Combining straight and rounded curvesSelect the Modeling section of Maya, hit F3 button on the keyboard, or choose from upper left, status line.

    To draw the example below:Create->CV Curve Tool->

    Click on Curve Degree 3 Cubic to draw the the rounded curveHit the Return button on the keyboard to finish the curve.

    Create->CV Curve Tool->

    Click on Curve Degree 1 Linear to draw the straight curve

    Hit the Return button on the keyboard to finish the curve.

    Select both curves.

    Use Edit Curves->Attach Curves-> Curve to join the two curves.

    Choose Attach Method Connect

    Uncheck Keep Originals

    Click Attach

    Hit Enter when you are finished.

    Use Edit->Delete by Type->History to delete the construction history.

    Grid Snap Option

    This option snaps CVs and object pivot points to nearest grid location while inputting or transforming. This is usefulwhen precision is required.

    The Grid Snap button from the Status Line. Keyboard shortcut: Hold down x while transforming an object or CV.

    Point Snap, Lock CVs to existing CVs.This option snaps CVs and object pivot points to existing CVs or edit points.

    Select the object to snap to.

    Use Display->NURBS Components->CVs, this will make the CVs visible on active objects.

    The Point Snap button from the Status Line.Keyboard shortcut: Hold down v while transforming an object or CV

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    Curve SnapCurve Snap allows you to move a objects, pivots or points along a curve.

    The curve Snap button from the Status Line. Keyboard shortcut: hold down c while transforming an object or CV.

    Add CVs to Existing SurfaceThis function allows you to input a row of CVs in-between existing isoparms on 3D surfaces.

    In object type mode, select the NURBS surface you would like to add a row of CVs to.

    Move the mouse over the object, hold down the right mouse button to bring up the object menu, select Isoparm

    Click and drag on one of the existing isoparms with the left mouse button to copy it and move it over the surface of theobject. (You can use the Shift Key to add more isoparms.)

    Select Edit NURBS->Insert Isoparms

    DetachThis function allows you to cut a surface along an isoparam.It also will break a curve at an edit point.

    In object type mode, select the NURBS surface you would like to detach.

    Move the mouse over the object, hold down the right mouse button to bring up the object menu,

    select isoparm

    Click on one of the isoparms with the left mouse button to select it. Hold down shift to select more than one.

    Select Edit NURBS->Detach Surfaces

    InvisibleThis function allows you to make an active object invisible. This will alleviate the data-base load because there will be

    fewer items to draw, this makes your screen update faster.

    Pick all objects to turn invisible.

    Display->Hide->Hide Selection (The object(s) will disappear.)

    ***To turn your object visible:

    Display->Show->All

    Adjust the Tension of a CV.Hardness effects the tension or change in tightness of a curve.

    Pick the component type button in the status line near the top.

    The CVs will automatically appear. This lets you pick CVs, rather than objects etc.Pick 1 CV

    Select EditCurves->CV Hardness

    This Creates sharp corners at the active CVs. There are some limitations.

    Give a Curve a Planer Surface.Curves are framework, which means they have no surface. Use Planar to surface flat curves. (The curves will secretly

    trim out regions on a primitive plane to create the surface.)

    Draw some closed curves, place one inside of the other.Use Curves->CV Curve Tool->

    Use Edit Curves->Open/Close Curves (Close the active curves.)

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    Select all of the curves, choose Surfaces->Planar.

    RevolveRevolve will lathe a cross-section around the X,Y, or Z axes, a certain number of degrees.

    Input a profile curve in the front view up against the axis. (Later you may use any view.)

    Pick the curve.

    Surfaces->Revolve->Select Axis Preset Y

    Select End Sweep Angle 360 (Number of degrees curve will sweep around.)

    Select Segments 6 (Number of times the curve will be placed during the sweep.)Click on Revolve

    Revolve Examples

    360 degree Open Curve 270 degree rotation Closed curve

    Rotation

    Extruded Surfaces with a Curve PathThis tool will sweep a curve along a path.

    Draw a curve to be used as a cross-section.

    Draw a path.

    Orient the cross-section centered and perpendicular to the path, use translate and rotate.

    Select the cross-section and then the path

    Select Surfaces->Extrude->Choose Style Tube

    Choose Result Position At Path

    Choose Pivot Closest End Point

    Choose Orientation Profile Normal

    Choose Curve Range Complete

    Choose Output Geometry NURBS

    Click Extrude

    Try out the various options, compare the differences.

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    Extruded Surfaces with One Profile Curve, Using DistanceDraw a curve in the any view, for now use the front view.

    Select the curve.

    Select Surfaces->Extrude->

    Choose Style Distance

    Input your Extrude Length

    Choose Direction Specify

    Choose the Z Axis

    Click Extrude

    Duplicate Existing CurvesThis function lets you make an exact duplicate of an isoparm from a surface.

    In object type mode, select the NURBS surface you would like to duplicate a curve from.

    Move the mouse over the object, hold down the right mouse button to bring up the object menu,select isoparm Click on one of the isoparms to select it.

    Use Edit Curves->Duplicate Surface Curves to make a new curve from the active isoparm.

    Connect Cross-sections with Loft

    In the front view draw two or more curve cross-sections. (This will work in any view.)

    Place the cross-sections in different positions along the z axis. (This works with any axis.)

    Hold down the Shift key and select all the curves or isoparms in order.

    Use Surfaces->Loft (This will connect the cross-sections.)

    Attribute EditorThe attribute editor allows you to name, transform, adjust color, change subdivisions, or see information about

    objects, CVs, lights, or the camera.

    Pick an object.

    Window->Attribute Editor... (The hotkey is Contol a.)

    Some of the options:

    Name: Change the name of an object by clicking on the box next to the name box. Type a new name.

    Transform Attributes:

    translate: Enter x,y,z positions.rotate: Enter x,y,z rotations.scale: Enter x,y,z scales.

    Under Pivots:

    Rotate Pivot: Look at x,y,z rotate pivot positions.Local Axes: Look at x,y,z scale pivot positions.

    Scale Pivot: Look at x,y,z scale pivot positions.

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    Polygon Mesh versus NURBS Surface

    Poly MeshEach point is connected by a straight line. Manypoints are needed to make a smooth curve.

    No need to bother with rows of CVs.

    NURBS SurfacePoints are connected by curved splines. A fewpoints can define a smooth curve.

    Easy to create smooth curved surfaces.

    Can adjust the subdivisions to make the surfacemore round.

    Can be converted into a polygon mesh.

    Poly Mesh

    A polygon mesh object is made of polygons. The illustration above indicates the 4 polygons that make up the cube. Apolygon is a closed planer surface. The smoothness of an object depends on the number of polygons defined.

    A list of data points for the polygon mesh above may appear as follows: List of vertices and their number.

    1) -1, 1, 02) -1, 0, 03) 0, 0, 04) 0, 1, 05) 0, 0, 16) 0, 1, 17) -1, 0, 08) -1, 1, 0

    List of polygons and the vertices that construct them.

    1) 1, 2, 3, 42) 1, 2, 7, 83) 8, 7, 5, 64) 5, 6, 4, 3

    NURBS Surface

    A NURBS surface is made of parametric cubic curves. In other words, edges are connected to form a continuous gridlike surface.

    A list of data points for a patch may appear as follows: List of vertices and their edge number.

    1) -1, 0 0 1-1, 1, 0 1

    2) 0, 0, -1 20, 1, -1 2

    3) 1, 0, 0 31, 1, 0 3

    4) 2, 0, -1 42, 1, -1 4

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    Composting with Maya and After Effects 3D2D Blob Tutorial

    Start Maya.Hit the spacebar, this is a shortcut to display four views, if you hit it again it will display one view, the view the

    mouse was last over.

    Make sure the select by object type button is selected in the status line near the top. This lets you pickobjects, rather than points etc.

    Make a blob.

    Create->NURBS Primitives->Sphere-> (Bring up the dialogue window.)Input Sections 12

    Input Spans 12

    Click on Create

    Click on Close to close the window.

    Select the Scale Tool button from the shelf line.

    Click and drag on the yellow box in the middle of the manipulator icon, this will scale down the entire sphere a littlein three axes.

    Interactively Move Points Around on the blob.

    While the blob is active, type f, to dolly the front view.

    Pick the component type button in the status line near the top.The CVs will automatically appear. This lets you pick CVs, rather than objects etc.

    CV stands for control vertex, you can drag CVs to change the shape of the blob.

    Select the Move Tool button from the shelf line. Click and drag a box over some of the CVs on the lamp

    to pick them. Click and drag one of the manipulator's arrows or center to move the CVs.

    Look at the blob in Perspective.Alt + the left mouse button rotates the camera view or panel.

    Alt + the middle mouse button tracks any view or panel.Alt + the left and middle button dollies any view or panel.Include the shift key to make the moves gestural, i.e. constrained to horizontal or vertical.

    Add a Light or Two to the Scene.

    Select the rendering section of Maya.

    Make sure the select by object type button is selected in the status line near the top.

    Choose Create->Lights->Point Light

    Select the Move Tool button from the shelf line.

    Click and drag on the manipulator's arrows or center to move the light above the scene.

    Click in the background of the Perspective or camera view to activate that window.

    Hit 5 6 then 7 on the keyboard to switch to shaded, texture view with scene lights. 4 will put it back to wireframe.

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    ColorChoose Window->Rendering Editors->Multilister...

    Select Edit->Create...

    Select the materials tab in the Create Render Node window. (Rather than Textures, Lights, etc.)Click on the Phong button once, this creates a shader ball in the multilister.

    Select the blob sphere.

    In the Multilister, select the Phong shader.Choose Edit->Assign from the Multilister menu to assign the shader to the selected object.

    Double click the Phong shader ball you just assigned.Click on the gray box next to Color, this brings up the Color Chooser.

    Click OK when you are done choosing a color. (Very Important.)

    Store a Copy of Your Model.

    Choose File->Save Scene As

    Type a descriptive name like blob.Click the Save button.

    *********************************************************************************************************

    Deformers:Go to the Animation Module, Click on the down arrow next to Modeling.

    Select your blob.

    Choose Deform->Create Nonlinear->Sine

    In the Channel box on the right, click the word sine1 to reveal the options.

    Input Amplitude .1

    Input Wavelength .5

    Notice the sphere became a bit lumpy.

    *********************************************************************************************************

    Keyframe Animate the Deformer:

    Set up your options for animation:Use Window->Settings/Preferences->Preferences...

    Choose the Settings tab.

    Select Time NTSC (30 fps) (We record to video, 29.97 frames per second is the frame rate.)Choose Timeline

    Input Playback Start/End 1

    Input Animation Start/End 1

    Set Keyframe 1:

    Set the maximum playback on the time slider to 30, it is the pink box way over to the right on the time slider.

    Pick the sphere.

    Move the time line over to frame 1 at the bottom of the screen.

    Highlight Offset in the Channel Box, it should appear black. Use the right mouse key over the black area, choose

    Key Selected.

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    Set Keyframe 30:

    Move the time line over to frame 30.

    Change the value for offset to .5 in the channel box

    Highlight Offset in the Channel Box, it should appear black. Use the right mouse key over the black area, chooseKey Selected.

    *********************************************************************************************************

    Preview the Animation:

    Pick the persp view.

    Hit the play arrow on the time slider.

    Stop the playback by clicking the mouse on the red square over the play arrow.

    *********************************************************************************************************

    Render in Maya:

    Open Window->Rendering Editors->Render Globals...

    Under the arrow Image File Output:

    Choose Frame/Animation Ext: Name.#.extChoose Image Format: Tif

    Input a start and end frame value 1 and 30

    Input Frame Padding 4 (This keeps the files listed in order alphabetically and numerically.)Check Alpha channel (mask) you need this for After Effects

    Under the arrow Resolution in the globals editor:

    choose 360x240 (Half video resolution, use 720X480 for full Digital Video)

    Under the Maya Software tab:

    Under the arrow Anti-aliasing Quality:

    Select Edge Anti Aliasing: Low Quality, this renders fast and is good enough for tests, use medium for finals.

    Save your scene file.

    In the Render Module:

    Choose Render->Batch Render to start your animation from inside Maya.

    *********************************************************************************************************

    In After Effects:Choose Composition->New Composition

    Change the resolution to: width 360 x 240, pixel D-1 NTSC (rectangular).Set the Frame Rate to 29.97 fps frames per second

    Choose a 1:00 second duration.

    Choose File->Import->Footage File

    Check off Targa Sequence.Select the first file

    Click Open

    Choose Alpha option: Treat as straight unmasked.

    Drag the image file icon from the Project Window into the Comp Window.

    Animate a Fade in

    Set the current time to 00:15 frames, drag the timeline over to the right.

    Choose the image in the Time Layout Window, click the triangle to the left to open, and click the triangle next toGeometrics to expand.

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    Click the time-vary stop watch next to Opacity to set a keyframe.

    Change the current time to 00:00.

    Click on the underlined 100% under Opacity. Change the value to 0%. This will automatically set a keyframe.

    Play through the animation to view the fade in.

    Try keyframing other attributes such as scale, Position and Rotation. You can also keyframe any of the effects.

    Make a Quicktime Movie

    Choose Composition->Make Movie

    Save a name

    The Render Queue Window will appearHold down the arrow across from Render Settings,

    choose Best Settings.

    choose Time Span: Length of Composition

    Hold down the arrow across from Output Module

    Choose Format: Quicktime Movie

    Click Format Options,choose the compression that suits your

    needs. Cinepack for playback on the screen, DV-NTSC for firewire video, etc.Click Render

    Double click the Quicktime movie outside of After Effects to view it.

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    Reflection, Color, Transparency and Bump Maps

    Color MapsColor mapping is like gift wrapping. Color maps apply an image to the surface of an object.

    Window->Rendering Editors->Multilister...Select Edit->Create...Select the Materials tab in the Create Render Node window. (Rather than Textures, Lights, etc.)Click on the Lambert button, this creates a shader ball in the multilister.Click Close at the bottom.

    Select one or more objects from the scene.

    In the Multilister, select the Lambert shader ball.Choose Edit->Assign from the Multilister menu.Double click the Lambert shader ball you just assigned.(You should be in the Lambert1 tab of the attribute editor.)Click the Map Button next to Color, this brings up the Create Render Node Window again.

    Under the Textures tab:Click the File iconTo the right of to Image Name click the folder iconChoose an image from sourceimages directory or move over to your images directory.

    Reflected Color Maps.A reflected color map makes an object appear shiny by reflecting a picture on to its surface. Any picture whether it ispainted or rendered can be used as a reflection map. The software takes this image and wraps it around an imagi-

    nary sphere, (by default), distortion takes place around the poles of the sphere.

    Raytrace will not calculate objects reflecting in each other if the object is using a reflection map. This can save a lot

    of rendering time, if you are raytracing!

    The reflection depends on the position of the object and the FOV (angle of view, or zoom). Round objects catchmore reflection than flat objects, especially in computer graphics. Contrast is important to achieve a shiny surface,

    the darker the surface color the more reflective it will appear. The amount of reflectivity is variable, it is determined

    by how high the reflectivity is in combination with the specular highlight value. (The specular value also determineshow bright the highlight will appear.)

    Window->Rendering Editors->Multilister...

    Double click the shader ball.Click the Map Button next to Reflected ColorUnder the Textures tab, open Environment Textures.Click Env ChromeChange colors and widths of the chrome procedure.This procedure is an environment with a grid floor and a sky with rectangle light fixtures.

    Bump MapsBump mapping is similar to color mapping in approach. It differs in that it uses black and white data from a colorimage, these luminance values used to define bumps on an object surface. Bright areas of the picture will appear

    to raise while dark areas will sink in. The object surface is not actually distorted, it only appears so.

    Window->Rendering Editors->Multilister...

    Double click the shader ball.Click the Map Button next to Bump Mapping.Under the Textures tab:Click the File IconTo the right of to Image Name click the folder icon.Choose an image. White areas bump out, black stays the same.

    Open Color BalanceUse Alpha Gain to adjust the height of the bump.

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    Transparency MapsTransparency mapping uses black and white data from a color image. Luminance values are used to define trans-parency on the object surface. Bright areas of the picture are transparent while dark areas are opaque.

    Double click the shader ball.Click the Map Button next to Transparency.

    Under the Textures tab:Click Checker

    Delete a ShaderWindow->Rendering Editors->Multilister...In the Multilister, select the Lambert shader ball.Choose Edit->Delete Highlighted in the multilister.

    Delete a TextureWindow->Rendering Editors->Multilister...Double click a shader ball.With the right mouse button, click on the attribute next to the item mapped, such as Color.Choose Break Connection

    Generate a Map with Render.Create a model, render it to a picture file and use it as a map.

    Under the Persp Window's menus: Select View->Camera Settings->Resolution Gate.

    Under the Persp Window's menus: Select View->Camera Attribute Editor...

    Under Film Back: Input Overscan 1.3 instead of 2, the green resolution gate will become larger.

    Open Window->Rendering Editors->Render Globals...Under Resolution: Input 256x256

    Under the arrow Anti-aliasing Quality in the globals editor:Select Edge Anti Aliasing: Highest Quality

    Use Render->Batch Render

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    What are 24 bit, 32 bit and 16 million colors?

    Red 8 bits per pixel = 256 shades of red

    Green 8 bits per pixel = 256 shades of green

    Blue 8 bits per pixel = 256 shades of blueAlpha 8 bits per pixel = 256 shades of transparency for compositing

    8 bits per channel x 3 channels RGB = 24 bit total per pixel.8 bits per channel x 4 channels RGBA = 32 bit total per pixel.

    256 x 256 x 256 = 16,777,216 colors available per pixel

    Compositing

    background foreground transparency Alpha composit

    map holds out the flower

    U V Mapping Example

    Shape with the 256 x 256 color mapShape created from skinned cross-sections.

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    Pencil Trim Tutorial

    In the Model Module:Create->NURBS Primitives->Cylinder->

    Select Axis Z

    Input Number of Sections 18

    Input Height 12

    Click on Create

    Pick the component type button in the status line near the top.

    Hold down the Shift key and pick every third CV around the circular part of the cylinder, from the front view..

    Select the Rotate Tool button from the shelf line. Interactively rotate the active CVs counter clockwise until they are

    close to the neighboring CV.

    Before (N = neighboring CV.) After

    Click the background of any view to select nothing.

    Hold down the Shift key and pick every third CV on the other side of the neighbor CV.

    Select the Rotate Tool and interactively rotate the active CVs clockwise until they are close to the neighboring CV.

    Pencil TipSelect Create NURBS Primitives->Cone->

    Select Axis Z

    Input Radius 1.2

    Input Height 4Input Number of Sections 6

    Click on Create

    Select the Move Tool buttonClick and drag on the manipulator's blue arrow to move the cone down the Z axis so it intersects the pencil body closer to thetip.

    Use detach to cut a pencil tip, this will save a lot of memory compared to using trim:

    In object type mode, select the cone.

    Move the mouse over the cone, hold down the right mouse button to bring up the object menu,

    select isoparmClick and drag on one of the vertical isoparms to select it and move it to where you want the tip.

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    Select Edit NURBS->Detach Surfaces

    Intersect the Pencil Body and the ConePick both the pencil body and the cone.

    Use Edit NURBS->Intersect Surfaces

    curves on surface are created on both surfaces.

    Use Edit NURBS->Trim Tool

    Click the pencil bodyClick the region you wish to keep, a yellow marker will appear. Trim will hide the rest.

    Hit Enter

    Repeat this for the cone.

    Don't forget to delete the history, Edit->Delete by Type->History. History really slows down the interface with trimmed

    objects. You can untrim an object without history.

    Create some curves and use Surfaces->Revolve to create the eraser.

    Another Method to Trim: Project:Perhaps the best analogy for the projection trim would be the cookie cutter and cookie dough. The cutter is projected into

    the dough (object) in order to produce the desired form.

    Place a sphere in the scene. Scale it up a bit.

    Draw a closed curve in the front window that will be our cookie cutter shape. This curve should overlap the the sphere.

    Pick the sphere and the curve from the front window, this will designate the front view as the axis to project along.

    Use Edit NURBS->Project Curve

    A couple of curves on surface were created on the sphere.

    Use Edit NURBS->Trim Tool

    Click the sphereClick the region you wish to keep. Trim will hide the rest.

    Hit Enter

    Things to try: Try this with more than one projecting curve. Compare open curves versus closed. Project down different

    axes by picking different views before projecting. Try moving the projecting curve after trimming. The trim hole will update orchange as you move the curve around.

    *** Warning: Trims history uses a lot of calculation, use Edit->Delete by Type->History to clear this up. Otherwise, Maya

    will grind to a halt eventually.

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    Advanced Modeling

    Setting the Clipping Plane.You may have noticed your objects mysteriously disappearing. The computer uses clipping planes to save memory.There is a cubic area where models exist, outside of that region they disappear.

    In one of the modeling windows choose View->Camera Attribute Editor...

    Under Camera Attributes:

    Adjust Far Clip Plane to a number higher than 1000.

    Adding CVs to the End of a Curve.In the Modeling Module:

    Pick the curve you would like to add points to. This adds to the end of the curve.Use the Edit Curves->Add PointsTool.

    Hit Enter when you are finished.

    If you want to add points to the beginning of a curve you will need to use Edit Curves->Reverse Curve Direction.

    Adding Edit Points and CVs to the Middle of a Curve.In the Modeling Module, using the object type button:

    Hold the mouse over the curve, use the right mouse key to bring up the curve menu:Choose Curve Point

    Drag the curve point along the curve until it is in the desired position.

    Use Edit Curves->Insert Knot to add an edit point an edit point at the curve point location, a CV will be added nearby.

    Curve Points can be used to detach curves as well.

    Absolute Vs. Relative Transformations.Have you noticed when you transform an object it moves exactly as input. This is an absolute transformation. For exam-ple: Rotate an object 90 degrees, then rotate it 10 degrees. The object will be rotated 10 degrees. An object rotated with

    a relative transformation would have been rotated 100 degrees. Relative mode adds or multiplies the new transforma-tion to the existing transformation. The software defaults to absolute transformations. Occasionally, you will find a need

    for relative, especially when you are working with exact measurements.

    Switch the sel button to Numeric Input: Relative on the status line by clicking on the arrow next to sel, way over on

    the right side of the screen. When you enter a value in the box for a transformation, such as scale, rotate, or move, theobject or component will transform using a relative transformation.

    Rebuild SurfacesThis function can clean up unnecessary points or isoparams, it is also very useful for texture mapping. Rebuild Surfaces

    can help fit map across your surface more evenly.

    Use Edit NURBS->Rebuild Surfaces-> The defaults work pretty well:Rebuild Type Uniform

    Parameter Range 0 to 1Number of Spans U 4, Try adjusting this value.Number of Spans V 4, Try adjusting this value.Degree U 3 Cubic, Try 1 Linear if you want a faceted object.Degree V 3 Cubic, Try 1 Linear if you want a faceted object.

    Output Geometry NURBS, Try Poly if you want to convert NURBS to Poly.Click Rebuild

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    BirailDraw two curves to be used as paths (or tracks).

    Draw one generation curve that will move along the paths. Use point snap or curve snap to line up the generation

    curves to the paths.

    Pick the generation curve first, and use the shift key to the two paths, all three curves should be selected.

    Select Surfaces->Birail->Birail 1 Tool

    Two paths and a round generation curve.

    The result.

    Birail will let you to use more than one generation curve so that the shape of the surface can vary across the paths.Birail can also create a new surface between existing surfaces by picking isoparms.

    Two paths and three generation curves.

    Tessellation Criteria or Subdivisions for NURBS SurfacesTessellation Criteria is the method for breaking a surface into a series of triangles for rendering. Triangles are usedbecause they are always planar or flat, no matter what. Since it is planar, the color of the triangular surface is easy to

    calculate.

    If an object is very large on the screen you may need to add more subdivisions or tessellation in order to get rid of the

    jagged quality of that shape. On the other hand, if that shape is small on the screen you may want to decrease thesubdivisions in order to save memory and rendering time. For example, if a shape has 2 subdivisions between CVs,

    and you increase that number to 4, you have just doubled the amount of information for that object, and consequentlythe rendering time.

    Before After

    Pick an object.

    Select Window->Attribute Editor...

    Under Tessellation:

    Check Display Render Tessellation

    Under Advanced Tesselation

    Check Enable Advanced Tesselation

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    Under Primary Tesselation Attributes

    Select Mode U and V Per Span # of Isoparms

    Slide the value for U and V until the object looks rounded enough. If the object is straight edged slide the U and or

    V value down to 1.

    Under Tessellation:

    Unheck Display Render Tessellation (If this is left on, it will slow down the display.)

    Under Render Stats:Uncheck Double Sided

    If the object is a floor or too small to cast shadows uncheck Casts Shadows.

    Check to see if your object is inside out:

    In the Perspective view menu check Shading->Smooth Shade All.

    if you object appears inside out check opposite under Render Stats or go to the Modeler and use Edit NURBS-

    >Reverse Surfaces.

    Attribute Spread Sheet for Render and Tessellation:Use this window to change attributes on multiple objects, for example, change all the objects in you scene to single

    sided at once.Choose Window->General Editors->Attribute Spread Sheet

    Choose the Render Tab

    Click in the field under Double Sided where it reads offClick in the Double Sided Box to highlight the entire column

    Type a 1 for on, equals off.

    Displacement Maps with the Sculpt Surface Tool

    Go to the Modeling Section

    Add a shape with a lot of extra geometry (CVs or vertices).

    Choose Edit->NURBS->Sculpt Surface Tool->

    Choose the Map tab

    Click the Browse... button

    Choose an image

    Look at your geometry, the image distorted it.

    Go back to the first Sculpt tab, notice your shape was distorted by the max displacement and push or pull.

    Try painting a distortion with one of the brushes, you may need to change the radius of the brush.

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    The Potato Chip Trick, a method for surfacing a 3D curve.This trick works in most cases, even when planar surface wont, because it does not matter if the surface is flat or not.

    This requires one closed curve, such as below.

    Hold the mouse over the curve, use the right mouse key to bring up the curve mini menu:

    Choose Curve Point

    Drag the curve point along the curve until it is in the desired position.Hold down Shift and add a second point across from the first.

    Use Edit Curves->Detach Curves, break the curve in 2 locations on the active edit points. See below:

    Select both curves.Use Surfaces->Loft

    The finished result.

    ***Note: This trick also works well by cutting the curve in four places and using boundary patch.

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    FilletsThe fillet function will construct a smooth transition surface between any two NURBS surfaces.

    Build two intersecting surfaces. Make them single sided in the attribute editor and make sure they are not inside out.

    Pick both surfaces.

    Edit NURBS->Surface Fillet->Circular Fillet

    Two Surfaces with a fillet in-between. The arrows indicate the surface normals.

    Fillet with TrimIn this case the two original surfaces intersect each other differently than the previous example.

    See the illustration below on the right.

    Pick the cylinder and then use the shift key to pick the plane second.

    Edit NURBS->Surface Fillet->Circular Fillet->

    Check Create Curve On Surface (Curves on surface to be used to trim the two original surfaces.)

    Input Radius .5 (Decide how big the fillet should be.)Check Reverse Secondary Surface Normal (This will reverse the plane and the resulting fillet.)

    Click on Fillet

    Trim the base and cylinder.

    Use Edit NURBS->Trim Tool

    Click the one of the surfaces

    Click the region you wish to keep, a yellow marker will appear. Trim will hide the rest.Hit Enter

    Example: Sink Drain

    Example: cap on an object.

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    2003 Jennifer SteinkampL-25

    Spot Light

    This light creates a cone of light, notice thering of light on the ground.

    Point LightThis light is like a light bulb, it points

    in all directions.

    Directional Light

    This light has no attenuation, it simular to our

    sun. Everything in the scene is illuminatedequally. Leave the intensity of this light at 1

    unit. Narrow shadows.

    Ambient Light

    This light works well as a fill light. It helps

    illuminate dark shadow areas that can tendto make an object flat. No highlights. Avoid

    using this light as the key light, it tends tobe very low contrast. The default settings

    are VERY bad, set the color to a dark gray.

    Lighting

    Area Light

    This light can be scaled to change the

    shape of the light. Notice the long rectan-

    gular highlights. If raytracedthis light canproduce soft shadows, although itcan take

    a long time to render.

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    Raytracing Tutorial, Wine Glass

    Revolve a wine glass shape, place it on a plane.

    Window->Rendering Editors->Render Globals...

    Under Maya Software tab:Under Raytracing Quality

    Check RaytracingInput Reflections 1

    Input Refractions 10Input Shadows 2

    Do some test renders with raytracing before you make the glass transparent

    to get the shadows where you want them.

    Find a photograph of a glass you like for reference.

    Window->Rendering Editors->Multilister...Select Edit->Create...Select the Materials tab in the Create Render Node window.Click on the Phong button to create a shader ball in the multilister.

    Select one or more objects from the scene.

    Double click the Phong shader ball.Click on the grey box next to Color, select black, Click Accept.Click on the box next to Transparency, input .9 as the value, Click Accept.

    Under Specular Shading:Input Cosine Power 100Click on the box next to Specular Color, select white, Click Accept.Input Reflectivity .2

    Under Raytrace Options:Check RefractionsInput Refractive Index 1.3Input Refraction Limit 10Input Reflection Limit 1

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    Background Images and Procedure MappingYou can apply background images, gradations or procedures to an image background.

    Color BackgroundIn the Perspective view select View->Camera Settings->Resolution Gate.

    In the Perspective view use View->Camera Attribute Editor

    Under Film Back: Input Overscan 1.25, this lets you see more of the image boundary in the window.

    Under EnvironmentChange the black Background Color to another color.

    Gradated BackgroundsIn the Perspective view use View->Camera Attribute Editor

    Under Environment

    Click the Create button next to Image Plane.

    Under Placement:Click the Fit to Resolution Gate button.

    Choose Type TextureClick the Map Button button across from Texture.

    Click Ramp.

    File BackgroundIn the Perspective view use View->Camera Attribute Editor

    Under Environment

    Click the Create button next to Image Plane.

    Under Placement:Click the Fit to Resolution Gate button.

    Choose Type Image FileClick the Folder Icon and select an image.

    Delete the Background Map

    Use Component mode.

    Highlight the ? button to select image planes.

    Select the image plane in the Perspective window.

    Select Edit->Delete

    3-D Compositing -- Match Camera to an imageIn the Perspective view use View->Camera Attribute Editor

    Under Environment

    Click the Create button next to Image Plane.

    Under Placement:Click the Fit to Resolution Gate button.

    Choose Type Image File

    Click the Folder Icon and select an image.B-27

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    In the Perspective view use View->Select Camera

    In the Channel box on the right, input: (This will straighten your camera.)Translate X 0

    Translate Y 1

    Translate Z 12Rotate X,Y,Z 0, 0, 0

    Create a plane to match the ground.

    Use Window->Rendering Editors->Multilister...

    Select Edit->Create...Click on the Use Background button.

    Select the plane and assign the Use Background shader to the plane.

    Add a directional light to simulate the sun:

    Use Create->Lights->Directional Light

    Use the multilister to match the color of the light to your image and turn on shadows.

    Rotate the light to match the angle of the sun in your image.

    Pretty Good Reflections:

    Place a giant NURBS sphere in your scene, larger than everything.

    Select Window->Attribute Editor...

    Under Render Stats:

    Uncheck Double Sided

    Check Opposite

    Use Window->Rendering Editors->Multilister...Select Edit->Create...Click on the Lambert button.Assign the Lambert shader to your sphere.

    Turn the shader's color to black

    Click the Map Button button across from IncandescenceChoose the same image you used in the background.

    Switch to the place2Dtexture tabInput Repeat UV to 2 1Select Mirror

    Window->Rendering Editors->Render Globals...

    Under Raytracing QualityCheck RaytracingInput Reflections 1Input Refractions 6Input Shadows 2

    B-28The balls are 3D, they reflect in the water, and cast shadows. The backgroundimage is a photograph of a Richard Neutra house

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    Animating a Single Node or Default Camera

    Set up your options for animation:Use Window->Settings/Preferences->Preferences...

    Choose the Settings section.Select Time NTSC (30 fps) (We record to video, 30 frames per second is the frame rate.)

    Choose the Timeline section.Set the Playback Start/End between 1 and 300.

    Set the Animation Start/End between 1 and 300.Select Playback Speed Real-time, this will keep it locked more or less to 30 frames per second.

    Click Save

    Choose Display->Show->Cameras to turn on the camera icons

    In the Perspective view use View->Select camera (or pick the camera icon.)

    Decide how to fly through the scene. Sketch keyframe positions. Consider what frame number each keyframe will occur at.

    Pick the background of a view to deactivate all objects.

    Pick the camera icon or persp. (If this does not work make sure you have the object type button selected.)

    Move the timeline over to frame 1 at the bottom of the screen.

    Position the camera using the Move Tool or use Alt + mouse button 1 2 or 3 for your first camera position.

    Highlight Translate X, Y,Z, Rotate X, Y, Z in the Channel Box, they should be black.Use the right mouse key over the black area, choose Key Selected.

    Move the time line over to frame 60 at the bottom of the screen. (60 = 2 seconds at 30 frames per second)

    Move the camera into position for the second keyframe.

    (Highlight Translate X, Y,Z, Rotate X, Y, Z in the Channel Box, they should be black; this might already be done.)

    Use the right mouse key over the black area, choose Key Selected.

    Repeat for all key frames.

    Preview the Animation:

    Click the perspective window.

    Hit the play arrow on the time slider.

    Stop the playback by clicking the mouse on the red square over the play arrow.

    Use Play Blast to Playback an Animation.Click in the perspective view or any view you would like to preview.

    In the Perspective window: Select View->Camera Settings->Resolution Gate.

    In the Perspective window: Use View->Camera Attribute Editor... to bring up the attributes for Persp Camera.

    Under Film Back:Input Overscan 1.3 instead of 2, the green resolution gate will become larger.

    Hold the right mouse key over the timeline, bring up the timeline mini menu, select Playblast

    Wait for it to finish

    Click down the windowHit the play button.

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    How to Delete All Animation Channels.You may need to remove animation curves that do not work out.

    Selectthe camera with the bad animation.

    Select Edit->Delete By Type->Channels

    (This will delete animation from all active objects.)

    How to Delete Key frames.You may need to delete key frames that do not work out.

    Select the camera with the bad key frames.

    Window->Animation Editors->Graph Editor...Use View->Frame All

    Time is horizontal while value in vertical.

    Click and drag a box over the unwanted key framesHit the delete key.

    How to Use the Timeline to Delete Key frames.Selectthe camera with the bad key frames.

    Hold down the Shift key while dragging a red box over the keyframe(s) you would like to delete.

    Position the cursor over the red area, use the right mouse button to bring up the time line menu,

    Choose Cut

    Animating a Two Node Camera

    In the Modeling Module: Select Create Cameras->Camera and Aim (Create a new camera for the animation.)

    Bring up Window->Outliner...

    Click on the + to the left of camera1_group

    Notice: The components that make up this camera are different that the default camera (persp), which has no extra nodes.

    This camera can animate by moving the camera eye separate from the view. You can achieve some dynamic animations withthis particular camera.

    Change the perspective view over to the new camera:Use Panels->Perspective->Camera1 in the upper right menu of the Perspective window.

    Set up your options for animation:

    Use Window->Settings/Preferences->Preferences...

    Choose the Settings tab.Select Time NTSC (30 fps) (We record to video, 30 frames per second is the frame rate.)

    Choose the Timeline tab.

    Select Playback Speed Real-time, this will keep it locked more or less to 30 frames per second.

    Click Save

    Pick the background of a view to deactivate all objects.

    Selectthe camera eye by picking the component called camera1 in the outliner. It is under the main camera node.

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    Move the time line over to frame 1 at the bottom of the screen.

    Position the camera eye using the Move Tool for your first camera position.

    Highlight Translate X, Translate Y, Translate Z, in the Channel Box, they should be black.Use the right mouse key over the black area, choose Key Selected.

    Move the time line over to frame 60 at the bottom of the screen. (60 = 2 seconds at 30 frames per second)

    Move the camera into position for the second keyframe.

    (Highlight Translate X, Y, Z, in the Channel Box, they should be black; this might already be done.)

    Use the right mouse key over the black area, choose Key Selected.

    Repeat for all key frames.

    Use this technique to animate the camera view as well.

    Selectthe camera view by picking the component called camera1_view in the outliner. It is under the main camera

    node.

    Fix a bug:Choose Edit->Group

    Name the new node view

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    Animate a Bouncing Ball, Changing Velocity between Key frames.Animating an object is similar to animating the camera, move the time slider, move the object, select the channels and set ke

    frames.

    Set Keyframe 1:

    Set the maximum playback on the time slider to 30.

    Place a sphere above the origin (x 0, y 7, z 0), use the front view.

    Pick the sphere.

    Move the time line over to frame 1 at the bottom of the screen.

    Hold down the Ctrl key while highlighting Translate Y, Scale Y, in the Channel Box, they should appear black. Use the

    right mouse key over the black area, choose Key Selected.

    Set Keyframe 15:Move the time line over to frame 15.

    Move the sphere down to the ground.

    Select the Scale Tool button from the shelf line.Click and drag on the yellow box in the middle of the manipulator icon, scale up the entire sphere in three axes a little big-ger. Click and drag on the green box to scale down the y axis smaller. This will give the sphere a volumetric squish when itimpacts the ground.

    (Hold down the Ctrl key while highlighting Translate Y, Scale Y in the Channel Box, they should appear black; this might

    already be done.) Use the right mouse key over the black area, choose Key Selected.

    Set Keyframe 30:Move the time line over to frame 1. (Yes frame 1)Use the middle mouse key to slide the time slider over to frame 30, notice when you use the middle key the

    animation does not move, this will let us set frame 30 the same as frame 1.

    (Hold down the Ctrl key while highlighting Translate Y, Scale Y in the Channel Box, they should appear black; this might

    already be done.) Use the right mouse key over the black area, choose Key Selected.

    Preview the animation:Pick the front view.

    Hit the play arrow on the time slider.

    Stop the playback by clicking the mouse on the red square over the play arrow.

    You should notice a few problems with your animation. The ball squishes before it hits the ground. The motion is constant, it

    does not feel like a ball bouncing with the pull of gravity, we shall fix that.

    Fix the ball from squishing before it hits the ground, set keyframe 14:We will set it up so the ball does not squish between frames 1 and 14, right before it hits the ground.

    Move the time line over to frame 1. (Yes frame 1)

    Use the middle mouse key to slide the time slider over to frame 14.

    Highlight Scale Y, in the Channel Box. (Do not highlight Translate Y this time!) Use the right mouse key over the black area

    choose Key Selected. Preview the animation again.

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    Add the Feeling of Gravity and Edit the Graph Editor.Pick the sphere.

    Window->Animation Editors->Graph Editor...

    Time is horizontal and value is vertical.

    Use View->Frame All

    Click and drag a box to highlight all the curves. They should appear white with yellow key frames.

    Select Tangents->Flat to change the shape of the curves, notice the tangent handles are horizontal. This will give you an

    ease in, ease out feeling. (The curves were set to spline tangency by default.) Playback the animation to see the results.

    Fix the move in Y curve:Highlight Translate Y over on the left of the Graph Editor, this will pick the sphere moving in Y channel only.

    Click and drag a box over keyframe 15 in the middle of the curve.

    Click the Break Tangents button. This lets you move each tangent separate from each other.

    Click and drag a box over the left tangent for keyframe 15, (pick the keyframe first to see the tangent),use the middle mouse button to move the tangent until it looks like the diagram above.

    Do the same for the right tangent.

    Playback the animation, the ball should have a feeling of gravity, it speeds up as it falls.

    Fix the scale curves:Highlight Scale Y over on the left of the Graph Editor

    Use View->Frame All

    Click and drag a box over keyframe 30

    Select the Move Tool button from the shelf line above. (Not in the graph editor)

    Click the Time snap button on the Graph Editor.

    Hold down the shift key while dragging keyframe 30 horizontally to keyframe 20.

    This will make appear to snap back into shape quicker, less like a water balloon, more like a rubber ball.

    Type an expression to create volumetric squashing for the ball:In the Channel Box:

    Highlight Scale X, Hold down the right mouse button over ScaleX and select Expressions...

    Input the following under Expression:

    sx = 1/sy ; sz = 1/syClick Create

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    Grouping Objects in a Hierarchy

    Hypergraph WindowThe Hypergraph window is a visual representation of everything in your scene; and how they are grouped or par-ented and connected via history. Individual objects are represented by grey boxes called nodes.

    Select Window->Hypergraph...

    Use the Alt key to dolly or track the window.

    Group Objects Together (Two Levels)

    Pick the objects you wish to be in one group.

    Edit->Group will group together the selected objects forming a new node above them,

    the new nodes pivot center is at 0,0,0..

    Before Grouping After Grouping

    Animate Objects in a Hierarchy: Klennex Box Truck Tutorial

    Make the Wheels:

    In the Modeling Module:

    Select Create->Polygon Primitives->Cylinder-> (NURBS do not have caps.)

    Select Axis Z

    Click Create

    Scale it down in Z a bit to make it look more like a tire.

    Move the tire +3 units in the Z axis.

    Use Edit->Duplicate->

    Translate a copy -6 units in the Z axis

    Make another copy and scale it down for the axil.

    Pick all 3 parts, use Edit->Group to group them together

    Make a copy of the group, translate the copy 6 units down the X axis.

    Make the body and the windshield:Use a primitive polygon cube for the body, scale it and position it above the wheels.

    Use a primitive polygon cube for the windshield, scale, rotate and position it above the truck.

    Using the Select by Hierarchy button pick all the parts of the truck, use Edit->Group to group them together.

    (Make sure the Root option, not template over on the right is selected as well.)

    Use the move tool with the insert key to move the pivot to the center of the front wheel.

    (We will be poppin'' some wheelies later.)

    Open the Window->Hypergraph... to look at the grouping so far.Double click on the truckgroup to change the name to group_to_rotate_back. H-342003 Jennifer Steinkamp

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    Tricky part: Edit->Group the truck one more time. This will add an extra pivot point for animation later.

    The pivot should be at the rear wheel. If your pivot is not located at the rear wheel,use the move tool with the insert key to adjust the pivot.

    Name this group truck in the Hypergraph.

    Use the Hypergraph to pick the truck group, (the top of the hierarchy) move the truck up 1 unit in the Y axis, so the bot-

    tom of it's wheels are hitting the ground.

    Move the truck back -15 units in the X axis. We are ready for frame 1.

    One more thing put a cone in the road, the truck will run over. Scale it 50%, and line it up under a tire.

    Set Keyframe 1:

    Set the maximum playback on the time slider to 60, this is the box way over to the right on the time slider.

    Use the Hypergraph to Pick the truck.

    Move the timeline over to frame 1 at the bottom of the screen.

    Highlight Translate X in the Channel Box, the channel should appear black.

    Use the right mouse key over the black area, choose Key Selected.

    Set Keyframe 60:

    Move the timeline over to frame 60.

    Move the truck to +15 units in the X axis.

    Use the right mouse key over the black area in the channel box (Translate X), choose Key Selected.

    Pop the first wheelie:Move the time slider to the right until the truck just hits the cone in the road.

    Use the Hypergraph to Pick the truck.

    Highlight Rotate Z in the Channel Box, the channel should appear black.Use the right mouse key over the black area, choose Key Selected.

    Move the time slider over a little more until the truck's front wheel is centered over the cone.

    Rotate the truck in the Z axis to pop the wheelie. (It should rotate around the pivot near the back wheel.

    Use the right mouse key over the black area (rotate Z) in the channel box, choose Key Selected.

    Move the time slider over a little more until the truck's front wheel clears the cone.

    Rotate the truck back to 0 in the Z axis.

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    Pop the second wheelie:

    Move the time slider over until the truck just hits the cone in the road with the back wheel.

    Use the Hypergraph to Pick the group below which you named group_to_rotate_back.

    Highlight Rotate Z in the Channel Box, the channel should appear black.Use the right mouse key over the black area, choose Key Selected.

    Move the time slider over a little more until the truck's back wheel is centered over the cone.

    Rotate the truck in the Z axis to pop the wheelie. It should be rotating around the pivot near the front wheel.

    Use the right mouse key over the black area (rotate Z) in the channel box, choose Key Selected.

    Move the time slider over a little more until the truck's back wheel clears the cone.

    Rotate the truck back to 0 in the Z axis.

    Use the right mouse key over the black area (rotate Z) in the channel box, choose Key Selected.

    Use Expressions to animate the wheel groups turning:

    Use the Hypergraph to Pick the backwheels group.

    Highlight Rotate Z in the channel Box, use the right mouse over the black area, select Expressions...Type: rz = truck.tx / (2 * 3.145) * -360 in the lower section of the expression editor

    Hit Edit or create

    Do the same for the front wheels.

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    Polygon Modeling - Coffee Cup TutorialIn this tutorial we will make a coffee cup out of polygons. (by Shane Acker)

    In the Modeling Menu Set select Create->Polygon Primitives->Cylinder-> Set the Axis to Y

    Set the radius to 2Set the height to 4

    Set the Subdivisions around Axis to 10 Set the Subdivisions along height to 3

    Set the Subdivisions on Caps to 0

    Go to select by component type make sure the faces button is pushed in; this will allow you to select faces.Select the top face by clicking on the little square in the middle of the face.

    Select Edit Polygons->Extrude Face

    Click the red box at the end of the red arrow of the extrude manipulator to change to scale mode. Pick the box at thecenter of the manipulator and scale down the face a little.

    Select Edit Polygons->Extrude Face (again)

    Click the blue arrow and pull the polygon face down into the cup close to the bottom.

    Go to the front view and press the button to show vertices (or press F9). Drag a window around the second row

    of vertices and drag them up to just below the top edge. Drag a window around the third row of vertices and drag themdown to just above the bottom edge.

    P-37

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    Go back to the perspective view and rotate the model until you are looking at the left most face.

    Select Edit Polygons->Split Polygon Tool

    Click on the left edge and drag down until the point snaps to the midpoint of the segment then release. Now click onthe right edge and drag down until the point snaps to the midpoint of the segment then release. Hit enter.

    Turn on faces again by pressing (F11).

    Select Polygons->Tool Options and uncheck Keep Faces Together.Pick the two new faces and select Edit Polygons->Extrude Face.

    Scale them down by using the center scale box icon.

    Deselect the bottom polygon (while holding shift) and select Edit Polygons->Extrude Face (or hold down thespace bar and select Recent Commands->Extrude Face). Pull the polygon out a little in the Z direction and click the

    blue circle to activate rotation and rotate the polygon forward and down a little

    Extrude again and pull the polygon forward and rotate it forward a little. Extrude once more and rotate the face sothat it is parallel with the grid, you may have to scale it a little so that it stays in proportion.

    Extrude faces one more time and tilt the new face in towards the side of the cup. When you get it where you want ithit the delete key to remove the face at the end. We need to delete this face in order to stitch the cup handle back

    onto the cup body.

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    Select the face on the coffee cup where the handle will join the side of the cup and Extrude it out towards the han-dle. With the last face you just extruded still selected hit the delete key. Now we are ready to stitch the handle

    Go to wire frame rendering mode (F4) and change to select by object type.

    Select Edit Polygons->Merge Edge Tool->

    Under Merge Mode click FirstNow you will see thick blue segments on areas where you can merge edges. Click on a segment of the cup handleand an edge on the cup body that you want to stitch to and press y. These edges will now merge together. Repeat

    the process for the rest of the edges remembering to pick the edges of the handle first.

    Now the rough body of the cup is complete. Move the points of the handle to get a more desirable shape. Pick your

    object and select Polygons->Smooth twice to smooth your polygon shape.

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    UCLA Video Recording Final Cut Pro

    Maya Render Globals:

    Open Window->Rendering Editors->Render Globals... Under the Common tab:

    Under Image File Output section:

    Choose Frame/Animation Ext: Name.#.extInput a start and end frame value

    Input Frame Padding 4 (This keeps the files listed in order alphabetically and numerically.)

    Choose Image Format: TIFFMake sure to choose the right camera, especially if you added a new camera.

    Uncheck Alpha channel (mask) (Unless needed.)

    Under the Resolution arrow:

    Choose Width720 and Height 480

    Check off Lock Device Aspect Ratio DV has tall thin pixels, the computer has square.

    Input Pixel Aspect ratio .9

    Under the Maya Software tab:

    Under the arrow Anti-aliasing Quality:Select Edge Anti Aliasing: Low Quality, this renders a lot faster and is good enough for tests,

    use medium - highest for finals.

    Click Close to close the Globals window.

    Save your scene file, quit Maya unless you start the render with Batch Render, although this is slow.

    ********************************************************************************

    Render outside of Maya FASTER:

    (Skip this section if you prefer to start the render using SLOW render inside Maya.)

    Set up all your render globals above, quit Maya

    Use a batch file, much easier, there should be one in the drop folder. RUN.batPut a copy on your desktop.

    Right mouse key choose edit to edit the batch:

    E:\Maya5.0\bin\Render -n 2 -s 1 -e 200 -proj f:\maya\%USERNAME%\projects\default\yourfile.mb

    -n 2 uses 2 peocessors, don't change-s 1 = start frame 1

    -e 200 = change to your end frameyourfile = change to your scene file name

    Save the file.

    Double click the batch file to run

    ****************************************************************************

    Use Fcheck to view the animation. (A stand-alone Maya utility found under the PC's Start menu.)

    *****************************************************************************

    Convert the tiff sequence to a quicktime movie in After Effects:

    Choose Composition->New Composition

    Leave the resolution on full, width 720 x 480, pixel D-1 NTSC (rectangular).Set the Frame Rate to 29.97 fps frames per second

    Choose a duration, ie. 150 frames = 5:00 seconds

    00:00:00:00 hours:minutes:seconds:framesChoose File->Import->Footage File

    Check off Tiff Sequence.Select one of the rendered images.

    Click OpenIf it asks choose Alpha option: Treat as straight unmasked.

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    Drag the image file icon from the Project Window into the Comp Window.

    Make a Quicktime Movie

    Choose Composition->Make Movie

    Save a name such as: mymovieDV.mov Put it on the F drive to transport to a Mac.

    The Render Queue Window will appear

    Hold down the arrow across from Render Settings,choose Best Settings.

    choose Time Span: Length of CompositionHold down the arrow across from Output Module

    choose Format: Quicktime Movie

    Click Format Options, choose DV-NTSC

    Click Render

    Double click the Quicktime movie outside of After Effects to view it.

    Repeat this process for each tiff sequence.********************************************************************************************************

    Transfer DV Compressed files over from the PC to the Mac:

    Find out you PC's name:

    On the PC: hit Ctrl, Alt and Delete keys all together, you should see your computer's name.

    On a Mac:

    Choose Go->Connect to Server

    Pick the DMA area.Search for the PC machine name where your files are stored.

    Enter your username and password.

    Double click the F drive icon on the desktop, find your folder with the quicktime movie.

    Drag your DV compressed quicktime files in to a new folder on the Mac.

    ******************************************************************************

    Use Final Cut to transfer and edit animation

    Open Final Cut Pro on the Mac:

    Use File->Close Project to close any Projects in the Project Window

    Choose File->New Project

    Choose File Save Project As... Save the project in a new folder on onr of the drives.

    Choose Edit->Preferences

    Select the General tabInput Still / Freeze Duration 00:00:00:01 (1 frame per image)

    Select the Scratch Disks tabClick the top Set... Button

    Select the Folder you set up on the Hard Drive

    If the Timeline or Sequence Windows do not appear, double click on theSequence icon in the Browser Window.

    Choose File->Import File... Find your quicktime files.

    Drag the quicktime icon from the Project Window on to V1 of the Sequence Window

    ****************************************************************************

    Cross Dissolve Between Two MoviesPlace two movies next to each other on the Time Line window.

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    Use the magnifying tool to zoom in on the time line.

    Use the arrow tool to click and drag the end of the first movie, shorten it by 10 frames, notice a number read out nextto the cursor. This is letting you know how many frames you are cropping. Stop when you reach -00:00:10. This will

    create the first half of a 20 frame cross dissovle, a little under one second.

    Do the same thing for the second movie, except, you will shorten the movie by 10 frames from the beginning of themovie.

    Move the two movies next to each other.

    Move the time slider in the time line window to the mid point where the two movies meet.

    In the Browser Window, choose the Effects Tab.Open the Video Transitions->Dissolve folder

    Click and drag the Cross Dissolve Effect on top of the overlapping scenes

    Double click the cross dissolve icon in the time line window to bring up a viewer window.

    Notice the dissolve might not be 20 frames. Change it to 00:00;20.

    Notice there is a red section above the dissolve, you will need to select Sequence->Render All. This will render and

    DV compress any effects or nonDV movies you bring in.

    ******************************************************************************

    Import Audio from a Music CD

    Place a CD in the CDROM drive.Click the Browser Window, Choose File->Import Audio CD File...

    Go up to the desktop and double click the audio CD, choose a trackClick Convert...

    Click Options

    Choose rate: 44.1 kHz

    Choose size: 16 bit

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    Choose Use: stereo

    Under Audio Selection adjust the square sliders to select a start and end point on the track. You dont want to waitfor it to convert an entire song unless that is what you want.

    Click play to preview your selection

    Click OK to exit Options.

    Name your track and make sure it saves into your folder on the spare disk.

    ******************************************************************************************************************

    Record onto MiniDV tape:

    Choose File->Edit to Tape

    Load your tape into the DV Deck, Cue up the tape to your record position

    If your tape is new, hit the Record Button on the deck to record 10 seconds of black if there is no timecode on thetape.

    Rewind a little

    Click the Play button on the Edit to Tape Window in Final Cut

    Quickly click the Mark In button >| in the Edit To Tape Window

    Click the Stop button on the Edit to Tape Window

    Drag Sequence 1 from the Sequence Window onto the Edit To Tape Window, Assemble

    After the recording is finished check your tape to make sure it recorded as expected.

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    UCLA - Animated or Video Texture MapsUsing After Effects to Convert Quicktime to Tiffs

    Transfer VHS, SVHS, High8 or 3/4 video to DV

    At the transfer station select "FROM VIDEO" on the From Box and "TO DV" on the To Box for both audio (grey but-

    tons) and video (black buttons). This may have changed.

    Place source material (SVHS or VHS) in the SVHS player and configure the player to ---

    Line 1 for SVHS or V/C358 for standard VHS.

    Place blank DV tape in the DV-CAM recorder.

    Press play on the source video deck and record on the DV. Stop when finished.

    Eject DV and video.

    ****************************************************************************

    Video Grab from DV with Final Cut

    Open Final Cut Pro on the Mac:

    Use File->Close Project to close any Projects in the Project Window

    Choose File->New Project

    Choose File Save Project As... Save the project in a new folder on the Spare Hard Drive in a new folder.

    Choose Edit->Preferences

    Select the Scratch Disks tabClick Set... Button

    Select the Folder you set up on a Hard Disk

    VHS does not have time code or deck control. (If you are capturing from miniDV, you can set in and out points on

    the tape and grab very specific sequences.)

    Choose File->Log and Capture...

    On the deck, play your tape, find the video you want, rewind a little before.

    Hit Play on the deck.

    In the Log and Capture window, hit the Now button.

    Hit esc on the keyboad when you are finished.

    Choose the clip window, choose File Save Clip As, save this clip to your folder on the spare drive.

    Choose File->Import File to bring the file into the browser window.

    Close the Log and Capture window.

    Drag the clip into the Time Line Sequence window, use the arrow tool to shorten the clip if needed. Click anddrag on the beginning or end of the clip.

    If you need to edit the clip go to the Final Cut editing directions.

    At this point you have 2 choices, you can get the quicktime movies you just captured out of the capture scratchdirectory and proceed to the next section; or you can trim your movie down in FinalCut, and then export to a quick-

    time movie.

    Choose File-Export Quicktime...

    Name the fileChoose Format: Quicktime Movie

    Click Options...VG-4

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    Choose Settings: Compressor DV-NTSC

    Choose quality Best

    Uncheck sound, if you dont need it.

    Click Save

    ****************************************************************************

    Moving your files from a Mac to an NT

    Find out you PCs name:

    On the PC: hit Ctrl, Alt and Delete keys all together, you should see your computers name.

    On a Mac:Choose Go->Connect to ServerPick the DMA area.

    Search for the PC machine name where your files are stored.Enter your username and password.

    Double click the F drive icon on the desktop, find your folder with the quicktime movie.

    Drag your final cut file to the PCs F drive.

    ******************************************************************************

    Convert Quicktime to TIFF

    In After Effects:

    Choose Composition->New CompositionLeave the resolution on full, width 720 x 486, pixel DV-NTSC.

    Set the Frame Rate to 29.97 fps frames per second

    Choose a ??:00:00 duration.

    Choose File->Import->Footage File to bring in quicktime movie

    Drag the quicktime file icon from the Project Window into the Comp Window.

    Make a Tiff Sequence

    Choose Composition->Make Movie

    Save a name

    The Render Queue Window will appearHold down the arrow across from Render Settings, choose Best Settings.

    Choose Output ModuleChoose Format: TIFF sequence

    Input Starting # 1

    Click OK

    Choose Output to:Change the file name to: name.[####].tif NO SPACES

    Click Render

    Double click the Quicktime movie outside of After Effects to view it.

    ******************************************************************************

    Applying the animation to a MAYA texture

    Set up your Maya options for animation:Use Window->Settings/Preferences->Preferences...

    Choose the Settings section.Select Time NTSC (30 fps) (We record to video, 30 frames per second is the frame rate.)

    Choose the Timeline section.

    Set Playback Start/End between 1 and whatever.

    Set Animation Start/End between 1 and whatever.Click Save

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    462003 Jennifer Steinkamp

    Window->Rendering Editors->Multilister...

    Make or select a shader

    Click the Map Button next to Color, or whatever you want to map.Under the 2D Textures tab:

    Click File

    To the right of the Image Name click the folder icon.Choose an image from sourceimages directory or move over to where your images are.

    Set the Files of Type option to Best Guess. This will allow you to see your files. If you do not see your file,blindly type the name of your first file, ie. clip.1

    Check the Use frame Extension checkbox.

    Type 1 in the Frame Extension field.

    Set a key at frame:Move your timeline over to frame 1

    Use the right mouse key over the word Frame Extension, the mini menu will appear, select Set Key

    Move your timeline over to your end frame.

    Type ?? your end frame value in the Frame Extension field.Use the right mouse key over the word Frame Extension, select Set Key

    ******************************************************************************

    Looping:To loop the animation you must first isolate the texture map selection by selecting Select->Highlight Mode in the

    Multilister window to toggle off the highlight mode. This lets you see animation parameters in the channel box

    and graph editor. Make sure to put highlight mode back on when you are fin