Spirograph animation anyone? Some of you may remember the Spirograph, which was a geometric drawing toy that was kind of fun to play with. Fun fact, the toy was actually re-launched back in 2013. Under all the nifty geometric patters emerging form the plastic rulers and gears of the toy, was actually a solid foundation of maths.
These tutorials from the AboutOneMinute channel on Youtube are really great. Concise and interesting tutorials that roughly will take up around a minute of your time. The channel has been posting some motion graphics style tutorials with Maya and it’s motion graphics toolkit, MASH.
Maya Animation Layers are a great way to work nondestructively with animation. You can create and blend between multiple levels of animation within your scene. They are also a great way to organize keyframe animation, or to key something on top of an existing animation. The best part is that you are working nondestructively the whole time.
If you are a Maya user and have seen DEM Earth for C4D, or World Machine and wanted an easier way to create detailed terrains, you are not alone. Any type of terrain tool for Maya would be a welcome addition. For creating terrains, a simple displacement / height map workflow is a little more involved than it should be, but now a new script might be set to change all that.
Here, Autodesk’s Steven Roselle shows off some of Maya’s newer UV editing features, in case people have missed some of the good work that has been done in that area. Steven walks us through the symmetrize UV tool, which can make one side of a UV shell the same as the other, using brush based tools.
There are no shortage of tutorials that will show you how to create a wheel rig in Maya, so that the wheel can automatically rotate based on the distance an object is moved. Most of these tutorials however, will use simple circumference maths that gets plugged into a single axis channel. This means that if you are moving your car, or object in one direction, it works great. If the car needs to turn however, things break down.
When you create a new Python Node, a default script shows up in the editor, which reads the MASH network data into a class called “md”. Here, Ian Waters shows some practical examples for using Python to manipulate a MASH network, showing off the power of using the Node. Ian promises that there will be a more detailed breakdown of the options and Python features, coming soon.
Have you ever animated a character typing on a keyboard or piano? Getting the right keypresses down is not something that you want to do by hand. The number of keys on a keyboard, with the combination of up to ten fingers, leaves a lot of outcomes to keyframe manually. A keyboard rig or rigging tool would be a great way to easily handle that.
Ian Waters gives us a quick look at creating and animating a school of fish in Maya, using the Motion Graphics Toolkit Flight Node. Maya’s Motion Graphics Toolkit essentially gives you a bunch of nodes that you can connect and do with them what you like. That is all well and fine, but sometimes, it might take a bit of thought to create something particular. What if you wanted to create a school of fish that moved around a path?
The "Boiling Mesh" effect has been a popular puzzle to solve for 3D artists in Houdini, Cinema 4D, and now Maya using the motion graphics toolkit. Ever thought to create a boil effect in Maya with the Blend Deformer? Yeah, me neither. The “Boiling Mesh”, or “GeoBoil” effect has been making the way from application to application as a bit of a challenge to recreate.
Maya and Maya LT 2017 both have new workspace functionality that should turn out to be a great timesaver. Maya 2017 brought a lot of new features, but probably the most flexible are the new Workspaces. If you have used virtually any other application since the late 90’s, you are probably already familiar with how workspaces operate.
In this tutorial by Arvid Schneider, we’ll talk about alFlake and how to create general Car Paint shaders in Maya 2017 and the new integrated MtoA plugin.
One of the greatest features for the new Motion Graphics Toolkit in Maya, is the fact that you can nest MASH networks together. This make a few simple networks come together to create some really amazing things. What if you added elections to a nested MASH network? The result is obviously pretty great.
Maya’s Time Editor is a much more modern and flexible interpretation of the Trax Editor. Where the Trax editor needed character sets to work, the new Time Editor does not. So how easy is it to manipulate animation with the new Editor?
If you want to get up and running quickly making your first great-looking image with Arnold, fast, then this is the tutorial for you. Arvid Schneider takes you through creating a variety of materials with the aiStandard shader in Maya 2017. Pretty much every material can be created with the aiStandard Material in Arnold.
Straight ahead, pose to pose, and a combination of the two. Those are your choices. But are they really? Certainly we have all been under time constraints where one is clearly a much quicker way of working. That would be pose to pose animation. While straight ahead will give you a more natural feeling to the animation, pose to pose can be a bit noticeable.
In this tutorial we explore some simple techniques to deal with type tool in Maya with some shading and lighting tips. Enjoy.
With the release of Maya 2017 came some new workflow improvements in animation, which include a newly revamped Graph Editor and a new Time Editor. Here, animation product manager for Maya Warren Trezevant and technical marketing manager Daryl Obert walk through the Time Editor and the Graph Editor in Maya 2017. The Time Editor in Maya is set to replace the aging Trax, and from this short demonstration, it’s pretty amazing already.
xGan can easily handle creating hair, fur and other general instancing tasks. xGen is built for throughput. It can easily handle a huge amount of instances without even a hiccup. If you are curious as to how you can use xGen in the character pipeline, senior 3D artist Ahmad Merheb walks through the process for creating eyebrows and a beard. the toolset has some great artist friendly tools for grooming and styling hair and fur.
Maya MASH allows you to build some iteratively complex things easily. As an example of this, Ian Waters shows how they created the cube transition effect that is seen in the Maya intro video. The key to creating something like this, is to create MASH networks from other MASH networks. Nesting networks like this is a really powerful feature in MASH, letting you instantly increase the order of complexity.