Maya Studio Projects - Dynamics Free Download

Maya Studio Projects - Dynamics

Art Gallery | Maya Studio Projects - Dynamics Free Download
.mov | project files | 1.4Gb

In the world of animation, the ability to create realistic water, wind, and fire effects is key. Autodesk Maya software includes powerful dynamics tools that have been used to design breathtaking effects for movies, games, commercials, and short films. This professional guide teaches you the primary techniques you need to make the most of Maya's toolkit, so you'll soon be creating water that ripples, gusting winds and gentle breezes, and flickering fires the way Hollywood pros do.

About the Author

Todd Palamar began his career creating traditional special effects for low-budget horror movies and quickly gravitated to computer animation. After working on numerous straight-to-video movies, he switched gears and entered the video game industry. Todd has extensive freelance experience, including dozens of military and game-style simulations, corporate commercials, and theme park rides. In addition, he has written several Maya books.

Overview

The one-of-a-kind book is completely project-based. Learn the intricacies of Maya's Dynamics tools and continue to build your skills with projects that increase in complexity. A DVD is included with additional video training.

• Maya is the industry-leading 3D animation and effects software; Maya dynamics tools create water and other fluids, wind, fire, fur, particles, and more
• Build professional skills in Maya Dynamics with this project-based guide
• Put your skills to work by completing a series of projects on water, wind, and fire effects
• A DVD included with the book provides additional video training

Maya Studio Projects: Dynamics is one of a new series of books designer to teach animators and designers fresh skills through project-based instruction.

What You’ll Find on the DVD

You will find all the files for completing the tutorials and understanding concepts in this book in the Chapter Files directory on the DVD. You can access the incrementally saved Maya scene files, all of the figures shown in the book, and the incrementally created movies of each project.

Each chapter directory is divided into subdirectories so you can easily find the files. Figures from the book are located in the Figures directory, QuickTime movies in the Movies directory, and so on. Note that the content for each chapter varies, so some chapters will have more materials than others.

All of the Maya scene files are called out in the text of the book. Use these to confirm your settings or test new ideas. The figures are useful to scrutinize detail that doesn’t show up in print. Some can also be used for reference, to match color and shapes.

We discourage you from working with Maya project files directly from the DVD. Maya scenes link to external files such as texture maps and dynamic caches, so it’s better to copy the files to your local drive, including any empty folders, to ensure that the example scenes function properly. Remember that you must set the project directory in Maya in order for the external files to be read properly.

Source: http://www.amazon.co.uk/Maya-Studio-Projects-Todd-Palamar/dp/0470487763

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Digital Tutors - Object Tracking in MatchMover 2011 and NUKE 6.1

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Digital-Tutors – Object Tracking in MatchMover 2011 and NUKE 6.1 

1 hrs. 47 min. | 11/30/2010 | MatchMover 2011 and NUKE 6.1 | Author: Chris Glick

3D Artworks , Other Tutorial , Tutorial Maya

Gnomon Workshop - Environment Modeling for Games

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Gnomon Workshop - Environment Modeling for Games | *.mov | 1h:44m

- 2.29 Gb -

In this demonstration, Nate explains and shows the process by which a piece of concept art is interpreted and used to model out a game environment in Maya. In the process, Nate will explain various modeling tools, techniques, and workflows, as well as numerous theories and methods used to create game art. A timelapse video of the entire modeling session is included so that the viewer can see and understand all the techniques being used. Nate will also cover common errors and mistakes to avoid so that the scene will run efficiently in real time and light correctly.

Topics covered
- Interpreting concept art and using it properly
- Maya scene setup for modeling environments
- Using Maya image planes
- Scene blockout modeling and planning
- Using the Maya grid for precision
- Translation and poly modeling tools
- Using curves, curve history techniques, and creating curves from edges
- Proxy modeling techniques
- Selection tools and tricks
- Variety of theories and workflows explained to understand different pipelines
- Modular building and geometry reuse to build a scene efficiently
- How to clean up modeling properly so that it will texture and light well
- Color sets, bake sets, ambient occlusion, and how to stress test your environment
- How to model high poly geometry to be used later for texturing and ZBrush
- Creating normal maps from high poly objects
- Mental Ray lighting basics

List:
1. Concept Art
2. Scene Blockout
3. Translation Tools
4. Modeling Tools
5. Modeling with Curves
6. Proxy Modeling
7. Selection Tools
8. Modeling from Concept, Part 1
9. Modeling from Concept, Part 2
10. Modeling from Concept, Part 3
11. Modeling from Concept, Part 4
12. Modeling Cleanup
13. High Poly Detail
14. Conclusion

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Dover Studios - Maya Surface Materials Premium Download

 

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Dover Studios - Maya Surface Materials

eLearning | 557.58 MB

This DVD provides an introduction to surface materials in Maya for animators, visual effects artists, and game developers. Visual effects artists, Andrew Hazelden & Russell Hazelden, share countless tips and techniques that will help you create realistic surface materials.

Maya:
Surface Materials begins with an overview of the many render nodes available in the Hypershade. Essential topics include: exploring common material attributes, shading models, specular highlights, bump mapping,texture mapping, 3D projections, IPR rendering and raytracing.

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Digital Tutors - 'Infiltrator' Production Pipeline Volume 7 : Compositing

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Digital Tutors - 'Infiltrator' Production Pipeline 

Volume 7: Compositing
English | VP6F 782x646 | MP3 96 kbps | 2.62 GB
Genre: eLearning

In this series of lessons we'll learn how to use Composite to re-assemble our Maya render passes and integrate them with our background plates. Using composite to assemble our final render gives us an incredible amount of creative control over the final look of our shot. We'll begin this project by importing our render passes from Maya. From there we will do some basic compositing. We'll then begin troubleshooting our shot and using a variety of tools and techniques to integrate our elements. We'll also learn how to fix issues in our background plate using masks, keyers and other tools. During this shot, we will be animating various elements to tell the director's story. Finally, we'll finish the shot by using warping and filtering tools to create an ending for our infiltrator shot.

Lesson Outline (36 lessons)

1. Introduction and Project Overview
2. Importing our images into Composite
3. Using a Display Pass Through to see the correct gamma
4. Adding our shadows and ambient occlusion using CC_basics
5. Compositing our colors layers and gamma shifting
6. Lightwraping our foreground using a macro preset
7. Darkening our background with our AO and shadows
8. Formatting our Depth pass to work with a blur node
9. Adding Depth of Field blur using the modulation tab
10. Fixing blown out pixels and using alpha tools to fix edge issues
11. Adding motion blur using our 2d motion vector pass
12. Using Streams to effect multiple layers with a single tool
13. Fixing the background blur tool and input images for clean edges
14. Adjusting the wall AO and shadow for more realistic results
15. Beginning to fix the wall with a diamond keyer
16. Compositing the cut-out wall over black and blurring the edge
17. Using a Color Curves for spill suppression of the green hue
18. Fixing small areas of our wall by modifying our key
19. Animating the blending of the spider for a darker start
20. Using our RGBA Matte to color correct parts of the spider
21. Blurring and graining the spider subtly for increased realism
22. Preview rendering and using Intermediate Results for speed
23. Fixing a wall issue with an animated garbage matte
24. Finishing the garbage mask animation for our wall
25. Color correcting our foreground to match the wall better
26. Adding chromatic aberration to our composite
27. Creating a lens flare using the Lens Blur tool and animation
28. Adding other filters to finish our lens flare effect
29. Color correcting and Vignetteing our composition
30. Showing the spider break the camera - Lens Distort
31. Color correcting our spider to show it gathering energy
32. Pinching our composition to begin transitioning out
33. Using a Lens Blur to blow-out and blur our image
34. Using Flares to add light streaks to our composition
35. Using Haloes to create an appealing lighting effect
36. Rendering our final shot

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Digital Tutors - 'Infiltrator' Production Pipeline Volume 6 :

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Digital Tutors – ‘Infiltrator’ Production Pipeline Volume 6: Rendering | +Project files | .flv | 939mb

Lesson Outline (20 lessons)

In this volume of the Infiltrator Production Pileline, we will go through the process of setting up materials, lights and render passes in preparation for final compositing.

3D Artworks , Slideshow , Tutorial Maya

Digital Tutors - 'Infiltrator' Production Pipeline Volume 5 : Animation

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Digital Tutors – ‘Infiltrator’ Production Pipeline Volume 5: Animation + Project files
English | FLV | 782×646 | VP6 1024Kbps | AAC 96Kbps | 1.8GB

In this course we will take the rigged Infiltrator and bring it to life with animation. We’ll animate the Infiltrator with a production focus, using storyboards and an animatic to assist us in making sure our animation adheres to specific instructions.

3D Artworks , Tutorial Maya

Digital Tutors - 'Infiltrator' Production Pipeline Volume 4 : Match Moving

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Digital Tutors - 'Infiltrator' Production Pipeline 

 Volume 4: Match Moving
English | VP6F 782x646 | MP3 96 kbps | 1.27 GB
Genre: eLearning
In this series of lessons we'll learn how to use MatchMover to track some real-life footage and create a 3D scene that matches the real camera's movement. Match moving is an essential step for integrating 3D into real footage.


We'll begin this project by examining the footage and seeing what processes have been already done. From there, we will enter camera data from the shoot and manually track the shot. Once we have a solid camera solve using manual tracking, we will use the automatic tracker to create many 3D points for us. Then we'll finish the match move by manually tracking key areas and creating a coordinate system. Once we move to Maya, we'll create some stand-in geometry and render a preview of the match move. This series of lessons will show how to use MatchMover's powerful manual tracking features to solve a difficult shot and finish prepping the file before handing it off to the next person in the pipeline. This will allow us to animate on top of geometry that is very close to the real world for increased realism and ease of use. All footage that needs 3D integration will need to be match moved, so this is a very important part of the production pipeline.

Lesson Outline (19 lessons)

1. Introduction and Project Overview
2. Examining the shot and how we pre-processed the footage
3. Bringing our shot into MatchMover and caching our frames
4. Entering the camera data from our shooting notes
5. Creating our first round of manual tracks
6. Adding multiple manual tracks to define the brick wall
7. Finishing our seven tracks that span the entire shot
8. Manually tracking deep depth features for parallax
9. Solving the camera and checking the quality of the solve
10. Fixing our 2D tracks to remove problem areas of our solve
11. Using Automatic tracking and cleaning to quickly add 3D points
12. Quickly creating multiple manual tracks to define the hole
13. Creating multiple manual tracks to define the inside of the hole
14. Creating a Coordinate system to define the axes
15. Using Maya® Composite to create a low-res preview sequence
16. Creating geometry using our tracking markers in Maya
17. Previewing the geometry using textures
18. Finishing the modeling of our stand-in geometry
19. Creating a nice preview render with the Use Background shader

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