A discussion of the various lessons that will be covered as we progress through The Abduction.
Here we have a look at some concept art and the storyboards for the animation.
Our first critical step is to establish our project for proper file handling throughout the project.
This video covers some of the workflow enhancements we'll be discussing in upcoming videos.
The Hotbox provides quick access to Maya's menu system. Learn how to use and control it here!
Marking Menus are Maya's way of giving you quick access to many hidden commands and fucntions.
By learning to change your layout, you can reshape Maya's interface to benefit the task at hand!
Viewport bookmarks are a way for you to keep track of important camera positions as you work.
By using Selection Handles, you are given a fast way to select objects in your scene!
Here we introduce you to the primary concepts of NURBS and what will be covered.
This video introduces you to NURBS curves, which are the basis for every NURBS surface you make.
A lecture covering the concepts of NURBS surfaces, how they are created and used in Maya.
Parameterization is a critical factor on how your surfaces are handled, and we discuss it here.
Rebuilding allows you to change the components of your surface independently of the shape.
This video covers the use of the Two Point Arc tool for creating NURBS arcs.
Lofting provides a way to create a surface by connecting a row of NURBS curves.
By revolving, you can create a lathed surface from a single profile curve.
The Birail tool allows you to create a surface wtih 2 rail curves and at least one profile curve.
This video covers NURBS planar surfaces and how they are internally handled in Maya.
As you model with NURBS, you will find that many times you need to cut a curve or surface.
Attaching two curves or surfaces together allows you to create a single solid surface.
The Sculpt Surfaces Tool is a part of the Artisan brush-based editing system within Maya.
In this video we construct the initial curve network that will be used to create the ship.
Using our curve network from the previous video, we begin by creating our first surface.
We can now modify our initial surface to create the first section of our outer ring.
After adding a few more pieces, we then duplicate the section around to form the ring.
The center of the alien spaceship is modeled in this video using a series of curves.
The center portion of the craft will be topped with a central dome for a canopy.
This video shows how to create the rim around the lower portion of the space ship.
With our components in place, we now wrap up the main body of the spaceship.
The panels that form the iris door of the space craft are modeled out in this video.
Here we model out the body of the alien creature, including the stalk and the eye.
Using a NURBS cone, we can quickly create a simple tentacle for our alien to wave around!
In this video we model out the ground plane and the fence for our backyard scene.
Next, we model the frame work and necessary parts for the swing set for our backyard scene.
Here we construct the pieces that will form our sandbox, including the supports and the sand surface.
For effect, we now create a simple plastic toy sand bucket to place into our sandbox.
You can't have a bucket without a shovel, and here we model it out to be stuck into the sand later!
In this video we introduce some upcoming concepts and set up our work light for shading our scene.
For starters, we shade up the ground plane of the yard and create a simple shader for the fence.
Next, we create a shader for the swing set using a ramp to control stripes along the poles.
We now need to shade up the sandbox to give the illusion of it being filled with sand.
In this video we shade up the toys that are placed within the sandbox of our backyard scene.
We win introduce some of the new concepts that will be coming up within the next few videos.
The Interactive Photorealistic Renderer allows you to see near real time renders of your work.
Here we introduce you to how Maya uses transparency in its shaders, which is unique in some respects.
A shader's specular color allows you to control the color of the shiny highlight on the surface.
Ambient color provides a way for you to brighten up a surface independent of lighting.
Bump maps give you a way to simulate a tactile surface across the shader, such as intentations.
Ramps can be used in a variety of ways within a shader. Here we use one to create a toon shader.
incandescence allows you to make a shaded surface appear to be emitting light.
The Surface Luminance node measures how much light strikes a surface, for use in shader calculations.
The Sampler Info node can read a variety of different data regarding each pixel of a rendered surface.
Surface shaders have no basic lighting model, and can be used to create a variety of effects.
Here we overview the process we'll be using to shade up our Planet Earth for the animation.
We need a backdrop of stars behind our Earth, and here we show how to create one.
The first step in shading our Earth is to add the base color and and specularity maps.
Next, we'll apply a bump map to give the impression of real mountains and valleys on the planet.
Adding a bit of self illumination can make surfaces appear more vibrant and colorful.
Here we set up a system so that the dark side of the planet shows lights from Earth's cities.
Above the surface of the planet, we now add a layer of clouds and weather effects.
Our last step is to add an atmospheric glow to wrap up the effect for our planet.
This video introduces many of the concepts that will be covered as we shade the ship.
Switch utility nodes allow us to control textures on a per-surface basis. We teach you how!
In this video we begin the process of shading up the outer ring of the space craft.
In order to help with texture placement, we rebuild a small portion of the alien ship.
Our next step is to now apply the texture necessary for the outer ring of the space craft.
With the outer ring completed, we can now move on and texture the inner surface.
We can make the ship appear to be more metallic by adjusting the specularity of the shader.
For some variety, we create a separate shader that looks like black metal for highlight areas.
Glow is a quintessential sci-fi effect, and here we create a shader to add it to our ship.
Next, we shade up the command consoles within the ship's interior and show how to animate them.
The canopy dome needs to look like glass, and we show you the parameters necessary to do that.
For our purposes, the shading of the Alien will be kept very simple. In this video, we apply color.
Here we introduce many of the upcoming concepts as we rig up our Abduction scene.
The door will need a unique rig to allow for the iris to open and close. We set it all up here.
Next, we create a simple expression that allows the outer ring of the ship to spin around.
This video is merely an announcement that we will be rigging up the tractor beam later.
Here we introduce the process we'll be using throught the next few rigging videos.
This whiteboard-based lecture covers how we are going to be creating the rig for the Alien.
In this video we introduce you to the concept of working with joints in Maya for rigging characters.
Now that we understand how joints work, we can construct a simple skeleton to drive our Alien.
It's time to show you how to bind your geometry to your joints. This is done through Skinning.
We now know everything we need in order to attach our Alien's geometry to to his skeleton.
This lecture shows how Flexors can be used to smooth deformation in a rigid bind scenario.
We can now apply some simple Flexors to smooth out our Alien as his skeleton moves around.
Lattices allow for area-based control over deformation. Here we show how they are set up.
Now that we understand how lattices work, we can apply them to our Alien's head to make expressions.
Using our new lattice, we create some very simple "facial" expressions for him to use later.
Cluster deformers allow you to apply a transform object to selection of vertices on your surface.
Using a Cluster deformer, we now set up a simple blinking system for our Alien's eyeball.
Using Maya's painting system, we can intuitively change how each vertex is affected by a cluster.
Changing the deformation order can be crucial in getting the deformation you need from your character.
Aim constraints provide you with a way to force an object to orient toward a target object.
Here we set up our basic control system for controlling our Alien's motion and aniamtion.
Here we take a look at how we're going to be rigging up the Alien's tentacles for animation.
In this video we create the skeleton for our tentacles, as well as get the geometry skinned to it.
This lesson overview the IK spline solver and how it is used to affect a joint chain with a curve.
With all of the concepts we need being covered, we now create the rig for driving our tentacle.
Rather than create and re-rig several tentacles, we show how to simply duplicate the first one.
Now we simply need to parent everything together and we have a functional character!
This video introduces the upcoming lessons over rigging up the Alien's tractor beam.
Here we discuss the plan for how we're going to be creating the rig for the tractor beam.
Our first step is to create the object that will serve as the beam's outer limit.
With the limits in place, we simply need to create the surface that will connect in between them.
Here we set up the rig control system for animating our Alien tractor beam.
This video introduces the upcoming concepts for the Layout and Animatics section.
In this video we prepare out scenes for the layout process, cleaning up any unnecessary articles.
To speed up our viewports, we model out simpler versions of our objects for animation.
In this video we establish basic animatics for our first shot where the Alien descends onto Earth.
Now we move on and create the animatics for the second shot in our aniamted sequence.
Here we rough in the animation for the third and final shot in which the Alien flies away with the ball.
This video demonstrates how to combine all of our animatic videos into a single file for review.
This brief discussion outlines some of the upcoming concepts as we discuss constraints in Maya.
Point constraints allow you to cause one object to match the position of a second object in the scene.
With Orient constraints, you can force an object to match the rotation of another obejct.
Parent constraints are similar to parenting, with the added benefit of weighting and animatability.
This video shows how you can animate the weights of two constraints for various effects!
Here we demonstrate how to go about blending between constraint and animation data.
In this demonstration we show how to animate an object through several different constraints.
Here we introduce the upcoming topics as we move into animating our Abduction scene.
Our first order of business is to set up the star-filled background for our shot based on the camera.
We begin animation for our first scene by animating how the ship approaches the planet.
Once the ship is moving, we then add some basic animation to our Alien pilot as he flies.
Once everything is animated, it's time for us to take a look at what we have done.
For shot two, we start by animating the ship as it moves into and above our scene.
Next, we animate our tractor beam and how it extends from the ship and expands to take the ball.
Now we animate how the ball is picked up by the ship's tractor beam and lifted upward.
With Shot 2 out of the way, we simply need to piece everything together to get a look at what we've done.
In this video we look at squashing the Alien against the glass of his ship's canopy.
Now we animate the ship as it flies irratically away from the planet, stuffed with its captured ball!
We now take a look at the work for Shot 3 and review our progress, looking for errors or changes.
This video introduces the upcoming concepts as we look at using Paint Effects and the 3D Paint Tool.
Here we discuss some of the basic things you need to know about Maya's Paint Effects system.
Paint Effects allows you to paint upon a virtual 2D canvas for texture creation. Learn how here!
You can also create three-dimensional brush strokes for things such as plants, grass, fire, and more!
In this video we show how 3D brush strokes can be animated to create a wide variety of different effects.
By converting Paint Effects strokes to polygons, you can use Paint Effects results with various render effects.
This lesson introduces the 3D Paint Tool and how it can be used to interactively paint texture on your models.
In this exercise, we sculpt out a monster skull as a way to show how to sculpt with Maya's brush tools.
With our model completed, we now show how you can paint some colors upon it to add some more detail.
Color is not all you can paint. In this video we show how to paint bump on your object as well!
We now add some 3D Paint Effects grass into the backyard scene of our aniamtion for more realism.
Here we introduce the topics that will be covered as we light our scenes for the final render.
Through Light Linking, you can control which objects are affected by particular lights; an important skill for lighting.
It's time for us to warm up our lighting skills by establishing the lighting for our first shot of the animation!
Before we light Shot 2, we take a look at a plan for how the lighting will be handled from start to finish.
With our plannign out of the way, we now move forward with lighting the backyard scene of the animation.
Some of our glows require adjustment after lighting, and in this video we show how this is done.
Not all lights are static in the scene. In this video we show how to go about animating lights for effect.
Here we set up the effects lights that add more to the feel of the shot than actually performing illumination.
Using the lighting from our first shot as a basis, we now go about lighting the third and final shot.
Here we introduce the upcoming discussions of the rendering section for The Abduction project.
In this video we take a look at how the rendering engine tessellates NURBS sufaces and how they are controlled.
In this video we prepare Shot 1 for rendering, so that all we need to do is fire up a batch render.
This video shows the preparation for the first part of Shot 2, in which the ship descends from the sky.
We now prepare the second part of Shot 2, in which we see the door of the ship open up.
Here we prepare the third portion of Shot 2 for final render, and are ready to move onto Shot 3.
After preparing Shot 3, our scene is finally ready for its batch rendering!
In this video we discuss the process of rendering out all of the shots of our aniamtion! Project II is finished!