Inside Maya 5
by Adams, Mark; Miller, Erick; Sims, MaxRent Book
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Summary
Table of Contents
| Maya and the Production Pipeline | |
| Using Maya Well | |
| What Maya Can Do | |
| Maya's Development | |
| Your Development | |
| Summary | |
| Project Overview | |
| Beginnings | |
| Plan B | |
| The Killer B Plan | |
| Summary | |
| Digital Studio Pipeline | |
| Preproduction | |
| Production Setup | |
| Production Flow | |
| Summary | |
| Technical Considerations | |
| Getting Cozy | |
| Commands | |
| The User Interface | |
| Viewing | |
| Managing Files | |
| Summary | |
| Mel | |
| What Is MEL? What Can MEL Do and How Is It Used? Maya's Embedded Language: Some Specific Essentials | |
| The MEL Command Line and Script | |
| Editor | |
| Summary | |
| Modeling | |
| Formats | |
| What's Not Available | |
| Format: The Big Choices | |
| Polygons | |
| NURBS | |
| Subdivision Surfaces | |
| Surfacing Decisions | |
| Other Modeling Possibilities | |
| Summary | |
| Methods | |
| Set Your Sights | |
| Plan Your Journey | |
| Handle the Details | |
| Handle the Ups and Downs | |
| Summary | |
| Sets | |
| Roughing It In | |
| Building Blocks | |
| Building Buildings | |
| Pass It On | |
| Summary | |
| Props | |
| Basic Prop Guidelines | |
| Simple Prop Models | |
| The Car: A Complex Prop Model | |
| Summary | |
| Characters | |
| Functional and Aesthetic Criteria | |
| Additional Criteria | |
| Creating Spot and The Jerk | |
| Summary | |
| Technical Direction | |
| Layout | |
| What Is Layout? Visual Clarity | |
| Summary | |
| Node-Based Architecture | |
| Transformations: Parent/Child Relationships | |
| Objects, Shapes, and Components | |
| Maya Node-Based Basics | |
| Node Types | |
| Non-DAG Nodes | |
| Viewing the Maya Scene Graph and Node History | |
| Connecting Attributes Between Nodes | |
| Summary | |
| Making Advanced Connections | |
| Understanding Node Connections | |
| Some Practical Uses for Constraints | |
| Quick Review: Overlapping Action | |
| Using History to Your Advantage: Modifying Geometry After It Is | |
| Smooth-Skinned | |
| Summary | |
| Particles and Dynamics | |
| Emission | |
| Rendering | |
| Summary | |
| Animation | |
| Character Animation in Maya | |
| Maya Animation | |
| First Steps: Planning Your Animation | |
| The Principles of Animation | |
| The Pose | |
| Final Plan | |
| Setting the Poses | |
| Last Tips for Motion | |
| Summary | |
| Character Setup Pipeline for Animation | |
| Five Golden Rules of Character Setup | |
| The Character Setup Pipeline | |
| Summary | |
| Rigging Characters for Animation | |
| Setting Up a Character for Animation | |
| Creating Clean Joint Hierarchies for Animation | |
| Rigging a Simple Quadruped Character: The Dog | |
| Creating Advanced Bipedal Character Controls | |
| Advanced Stretchy IK Legs and Classic Reverse Foot | |
| Advanced IK Arms and Clavicular Triangle | |
| Hooking Up the Head Skeletal Hierarchy | |
| The Hair of the Jerk | |
| Summary | |
| Shading | |
| Seeing the World in Shaders | |
| Achieving a Look | |
| Considerations before Shading | |
| Shading Process and Tools | |
| Creating Texture Maps | |
| Projection Mapping | |
| Summary | |
| Lighting | |
| The World in Lights | |
| Defining GI, Radiosity, FG, IBL, and HDRI | |
| Color Scripts | |
| Summary | |
| Rendering | |
| Rendering Efficiently with Maya's Standard Renderer | |
| Command-Line Rendering | |
| Rendering with Mental Ray | |
| Multipass Rendering | |
| Render Farms | |
| Preparing for Final Output | |
| Summary | |
| Appendix | |
| Intermediate and Advanced MEL | |
| What Is a Script Node? Advanced MEL | |
| Intro to the API: Writing a Deformer | |
| Summary | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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