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Autodesk Maya Tutorials - Autodesk Maya modeling & Mental Ray rendering tutorials, tips & tricks,
sites, resources, plug-ins, models, meshes, cartoon and photo realistic textureing
& UV mapping, animation, Paint Effects - hair, compositing, education,
lessons & special effects training.
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Non-Linear Animation in Production |
Essentially, non-linear animation is a method of placing and manipulating
animation from separate sources. The "non-linear" in NLA comes
from the film/video editing world. Packages such as Avid MediaComposer
and Adobe Premiere are examples of Non-Linear Editors; they allow easy
ways to edit, blend and reposition clips of footage together on a timeline.
Substitute footage with animation, and you have NLA: a way to edit, blend
and reposition clips of animation (a walk cycle, run, or other behaviors)
from separate sources. |
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Object Pickup |
Easy Object Pickup animation, How to have characters easily grab objects
and keep them in their hand. |
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Paint Effects - Hair |
So why Paint Effects? Pfx is a very effective tool suited for creating
hair, it gives you ultimate control on exactly how you shape your hair,
with no texture painting/alpha maps and requires less time to setup than
other methods. Changing the looks of your hair can be done on the fly
with instant feed back. It is very faster to render, takes very little
memory. The render that appears on the above image will take no more than
30 seconds on a 1Ghz machine. |
Paint Effects - Hair |
In this tutorial I'll discuss two methods used in "Emeila"
for making long hair for the characters. The first is based on guide curves
that determine the basic shape and flow of the haircut. Paint Effects
hair is then interpolated between the guide curves. It sounds complicated,
but really it's pretty simple. I'll walk you through the basics here. |
Paint Effects - Hair Dynamics |
"In this tutorial I create the hair from pulling splines off a
nurbs surface and use the history on the surface to control the shape
of the hair. I create my hair this way because I've found it to be the
best way to style the hair and have the most control over it (constraints
and simulations are so tedious for basic styling). If i have enough time
at some point and enough people are interested, I'll cover rest curves
and constraints and the true 'dynamics' of hair but, not in this tutorial.
Once the style has been created, simulations can be run for whatever animation
purposes." ---- Mike Fudge |
Particle Collisions |
Interparticle Collisions in Maya by Jared Martin. Ok, this tutoral on
'interparticle collisions' (particles from the same emitter colliding)
and particle - particle collisions (particles from different emitters
colliding) is fairly simple. Anyone who is comfortable with using emitters
and the Dynamic Relationships Editor will be able to follow it easily
(I hope). There are no scipts, plugins or expressions used, so don't worry. |
Particle Emission when Objects Collide |
By Alex Alvarez. A commonly needed effect is the emission of particles
at the exact location of object collision. For example, as a sword scrapes
along a wall we may need sparks; As a boulder rolls down a mountainside
we may need smaller instanced rocks and pebbles to appear; As a character
walks along a dirt road we would expect dust to appear at his feet. |
Particle Shading Script |
Björn Henriksson and I have written a small but neat MEL script
that hooks your particle system up with a camera automatically, resulting
in a z-depth/focus depth/height/age/etc shader, that can be used to render
images meant to serve as an aid during compositing. This way you can e.g.
render out hardware particles' depth channel with motion blur. The script
has been tested on Maya version 5.0 and 6.5 and is available for download |
Particle Speed |
Using Particle Speed, by Alex Alvarez. There are situations where a
phenomenon's velocity or speed is related to it's behavior or appearance.
Perhaps the incandecence increases as a particle moves faster... or the
color changes from blue to red. Perhaps some dust is resting on an object,
but once it gets blown away it also begins to dissipate and fade. These
effects can be achieved by understanding how to reference particle speed,
which is not a default particle attribute. |
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