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The first video in chapter one will introduce you to the basics of the Maya Cloth module. You will learn how to setup a simple panel, create a simple garment and begin using the cloth solver to drap the cloth onto a collision object. Get up-to-speed on what Maya Cloth is all about!
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This is the first video in a three parts series following the creation of the Goblin’s garment. In this video, Kiaran guides you through the creation and placement of the curves that will eventually become the panels. From these panels, you will see how to create a garment and stitch everything together. Finally, we wrap-up the lesson by draping the garment onto the Goblin. |
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This is the second video in a three parts series following the creation of the Goblin’s garment. This video demonstrates how to take a flat simulation garment and add a few extra touches. We will give the garment thickness, add some trim around the openings and prepare it for being rendered. |
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This is the third video in a three parts series following the creation of the Goblin’s garment. At this point, we are finally ready to begin simulating the Goblin’s garment. We will discuss solver adjustments, cloth constraints, adding dynamic fields and using the cache. |
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This video demonstrates the basics of the Maya Hair system. Learn exactly what a hair system is comprised of, how to create hair, and what nodes contribute to the creation of beleivable hair. |
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The second video in this chapter is dedicated to the creation and styling of a complete hairstyle. This lecture demonstrates how to create an array of hair follicles on a head surface, how to use hair constraints and dynamics to style the hair and finally how to set that style to be the starting position for the hair system. |
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The final video in this chapter focuses on the rendering techniques used to create the final hairstyle. See how passive follicles were used to add depth to the hair, and how the lighting and shading was setup to create believable renderings with mental ray. |
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This video examines the Maya Fur module. Topics include: how to add fur to a surface, fur’s reliance on UV space, what nodes are associated with a fur system and how to add dynamic motion to fur. This video acts as an introduction for those who have never used Maya Fur. |
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After watching the first lecture in this chapter we are now ready to start using Maya Fur in a production scenario. This video covers the creation of the Goblin’s Mohawk hairstyle. In the process, we will cover the creation of fur patches, tweaking fur attributes, applying fur attribute maps and attaching fur with a wrap deformer. |
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The third and final video in this chapter concentrates on finishing the Goblin’s hairstyle. In this video, we pick-up where the last video left-off with a completed Mohawk on the Goblin character. From here, this video demonstrates the use of mental ray in lighting and shading the fur. Learn how to add and tweak soft shadows with mental ray’s fur shading features. |
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This video demonstrates the techniques used to add fur, hair and cloth to the Minx character. In the process, you will see how we split the Minx’s mesh to create fur patches, how the garment was constructed, and how everything was organized into a single scene file. |
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n this video, Oleg guides you through the creation of Bobo’s mocap facial rig. Learn how Bobo’s facial muscles were created and attached to the motion capture data. In the process, Oleg utilizes several custom MEL scripts to help automate the repetive tasks as he brings this character to life. |
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This video demonstrates a typical shot scenario for the Minx charater. Watch as we take a simple animation of the Minx jumping, transfer it from the low to the high-res file, simulate the cloth and fur, before finally preparing the file to be rendered. In the process, we will utilize the jcAnimCS.mel script for copying the animation. |
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This video demonstrates an often neglected technique used to bake animated meshes. ’Baking’ is the term used to describe the process of caching the positions of a meshes vertex such that all other input deformation may be removed. Kiaran then goes on to describe the technique of shot sculpting by providing a prototype MEL solution. Finally, the user is guided through the MEL script and given insight into how such a solution is created.
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The second part of this video focuses on the cgTkShotSculpt MEL script with coverage of its inner workings and explanations of the major procedures. |
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