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The Maya guide for animators, How to Cheat in Maya 2012 presents everything you need to know about character animation in Maya. Fully updated for the latest revision of Maya, this book provides you with complete, step-by-step walkthroughs of essential animation techniques to increase your efficiency
Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The boulevard, Langford Lane kidlington, OXford, OX5 1GB, UK 2012 ELSEVIER INC. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electron cluding ph ying, recordin nformation storage and retrieval syste without permission in writing from the publisher Details on how to seek perm ission, further information about the Publishers permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our websitewww.elsevier.com/permissions This book and the individual contributions contained in it are protected under copyright by the Publisher other than as may be noted herein) Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessar Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility To the fullest extent of the law neither the pub isher nor the authors contributors or editors assume any liability for any injury and/ or damage to persons or property as a matter of products liability negligence or otherwise, or from any use or operation of any methods, products,instructions,or ideas contained in the material herein Library of Congress Cataloging-in-Publication Data Luhta, eric How to cheat in Maya 2012: tools and techniques for character animation /Eric Luhta, Kenny roy p cm Includes index. SBN978-0-240-81698-2 1. Computer animation--Computer programs. 2. Maya( Computer file) I Roy, Kenny. ll. Title R8977L8442012 20110184 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library For intormation on all Focal Press publications visitourwebsiteatwww.elsevierdirect.com 1112131454321 Printed in the united states of america g together to gi oraries in developing countries www.clscvicr.comwww.bookaid.orgIwww.sabrc.org ELSEVIER BOOKAID International Sabre foundatio Contents How to Cheat and why Acknowledgments use this book Animation Principles Fiqure 8 Motion Copying curves Squash and stretch Editable motion trails Anticipation IK and FK Staging 8 K/FK Switchir 102 Straight Ahead/ Pose to Pose Character Sets 106 Overlapping Action/ Follow-through.... 16 Multiple pivot points 108 Slow In /Slow Out Reblock 12 Secondary Action...........22 Interlude: Office etiquette Timing....... 26 Constraints 118 Exaggeration ······"···· 28 Solid Drawing 30 rentin 120 32 Parent constraints 122 Interlude. What s workflow? Constraining a Prop 124 34 Constraint Weights.......... 126 Splines 36 Animating with Constraints 128 How Splines Work. 38 Interlude: Doing personal Work ∴..134 ng 42 6 Gimbal lock 136 Tangent types Tangent handles 50 What Is gimbal Lock? Spline technique Rotation modes 142 pline ret Setting rotation ord 144 Zeroing out poses 146 Interlude: Which Field is right for Me? Euler filter 148 3 rap 64 Interlude: Keeping Perspective...... 150 Graph Editor Windup Cameras and Layout 152 Visual tools 68 Working with keys 72 Framing and Lenses.... 154 Value operators.... 74 Camera Sequencer .158 Buffer curves 76 UberCam 164 Animating cameras Interlude: Filming Video Reference....78 4 Techniques 80 Interlude: Finding inspiration 172 82 Timeline Techniques∴ 84 Contents Blocking 174 Lip Sync 4-Tongue Blinks ..260 Thumbnails and reference.. 176 Blink and brows Setting Up the Scene ..178 Eye Darts Key poses 1 Final touch Key poses 2 Rough Timing Interlude: Repetitive stress injury.... 270 Camera animation 188 Tween Machine..…….…….190 Breakdown Poses Animation Layers 272 Adding the Shuriken 1912 Refining The liming 200 How Animation layers work .274 Copied Pairs .....204 Animation Layer basics ...276 Creating variations.......... 280 Interlude: Making a short Film Creating variations 2 282 Layers for Texture .284 C ycles 208 Interlude: your Demo Ree/ 286 Cycle Basics 210 e leng 214 Walk cycle Animator Interviews 218 Flying Cycle 222 Index Q02 Interlude: Style 228 10 Polishing 230 Moving holds ......234 Texture 236 Finishing Touches ...240 nterlude: Getting Feedback .244 Facial animation 246 Planning and Prep 248 Core poses 250 Lip Sync 1-Jaw 252 Lip Sync 2-Mouth Corners 254 Lip Sync 3-Mouth Shapes 256 How to Cheat and Why The truth about cheating When we hear the word cheating we usually think of something negative deception trickery or chicanery. However in this book, cheating is a good thing. If you've watched someone who's a master of something work at it, it can seem unreal, almost like they're.cheating! But really they just have experience and in-depth knowledge of how to achieve something They know the most efficient way to do a task and make their tools work for them That's the goal of this book: to give you in-depth knowledge of animating with Maya so you can skip over the trial-and-error, constant web searches, and pouring through internet forums. Computer animation has its technical side, and just about all animators have struggled with it from time to time. There's nothing more frustrating than knowing what you want to do, but not being able to figure out how to do it. Our hope is that this book alleviates the often rocky start of learning to animate with a computer, and becomes your go-to guide as you grow as an artist of motion The Philosophy Throughout our teaching experiences, one of the methods we found to be extremely effective in quickly transferring knowledge to someone else was isolation of a concept. While learning one thing at a time seems pretty obvious, we haven't met many animators who didn 't learn by juggling a bunch of technical concepts in their student projects. While it's definitely possible to learn in trial-by-fire, it can make for some discouraging times. With this book we hope to avoid that approach, and give you a firm grasp on the technical concepts of animation. You can quickly absorb the techniques and then easily apply them to your own work, without trying to figure it out in the middle of a project. You will understand how to employ mayas tools faster and get down to concentrating on making your animation look amazing rather than why that prop keeps popping out of the character's hand As luck would have it, the How to cheat series is perfect for this style of learning Every page spread is geared toward a specific concept, which allows you to go through the book cover-to-cover, or skip around to the things you want to know about the choice is yours How to Cheat and wi Scene files and examples Just about all of the topics have an accompanying scene file. most of the topics enable you to follow along, employing the given technique in a prepared animation Once you understand the technique and have practiced using it in an animation, it will be very easy to transfer it over to whatever you re working on. For chapters that are one long project, scenes are included in a progressive order, so you can jump anywhere and learn what you want to learn without having to start at the beginning Having the scene files for an animation book should prove extremely useful, as you can take a look under the hood and examine the curves and see the movement for yourself. As great as books can be, you really have to see an animation in motion in the end Throughout the book, we use a character rig named the goon", constructed by Industrial Light Et Magic Technical Artist, Sean Burgoon. It's a very fast, stable rig, and has just the right number of advanced features without getting too complicated The scene files are included for Maya 2012. If you're using an older version of Maya, just have ignore Version "checked in the File Open options What you need to know While this book starts at the beginning as far as animating is concerned, it does assume a basic know ledge of getting around maya. You should be able to navigate the viewports (orbit, pan, dolly in 3D space), understand the interface, and be comfortable using the move, rotate and scale tools This information is covered in countless places n the web and in other materials, and we'd rather keep the book focused than rehash what's easily found elsewhere Going further Visitthebookswebsiteatwww.howtocheatinmaya.com.Thereyoucanfindallthe scene files for using the book, as well as previous material from the 2010 edition that couldn' t be included here due to space. Happy animating! Eric luhta &t Kenny roy Acknowledgments s Eric Luhta This book is dedicated to my beautiful wife lesley, for her support, unending patience and boundless love-/ love you Mom and Dad for always supporting and en couraging me. Sean Burgoon for so generously letting his Goon rig be a cornerstone of this book, and for sharing his knowledge in his interview o Kenny roy for hitting the ground running and being such a great collaborator on this book Kyle Mohr for many of the character poses and artwork found on the cover and throughout the book Justin Barrett for creating the fantastic Tween Machine too/. chris williams and PJLeffeIman for their interviews and insight· Bobby beck· Adam and sarah●A∥ the animators who have taught me so much, mentored me and been a tremendous inspiration Pete Nash, Bret Parker, Doug Dooley, Carlos Baena, Shawn Kelly, Amber Martorelli, Juan Carlos Navarro, Chris Williams, Ron Pucherelli o Dylan Brown for his incredible leadership, mentoring, vision, and artistry The Animation team at Pixar Canada; will never feel deserving of working with such amazing and inspiring people Claus Pedersen, Jon Mead, Guillaume Belanger, Daniel Floyd, Kyle Mohr, Enrique Oliva Piferrer, Joel Beaudet, Michiel de kroker, Stewart German-long live the Kenny Re I dedicate my portion of this book to my wife, who has always supported me and taken great leaps of faith with me through my animation career. It's been an interesting journey but you've always been there. Thank you, Tamaryn. Mom and dad, you are the model of support, thanks for everything o Dan and Matt, it was really he/pful to grow up with two ingenious, creative, awesome brothers Eric Luhta, thanks for making me a part of this and being the easiest guy in the world to work with Focal Press, for being very supportive of your authors and believing in this book o Jenn Emberly, for putting up with my antics as an intern and teaching me so much Hae/ Kobayashi, for giving me a chance and being a mentor through the years. Bobby beck, for creating a home for me at AnimationMentor. You are leading the charge for all animators, keep it up. Cathleen Hylton for being such a great person and a joy to work with o And to all themembersatwww.kennyroy.comyouchallengeandinspiremeRockOn! How to use this book Weve designed this book so that you can use it in the way that best serves your needs in learning to animate with maya. You can start at the beginning and read it straight through if you like, as the chapters are ordered progressively. The first few talk about fundamental concepts: the principles of animation, workflow, and how animators think about the tools available in maya. Then we start practicing some techniques in the context of animations already started for you, finally moving on to guiding you through doing projects in blocking, cycles, polishing, lip sync, and much more If you've been animating for awhile, but need some new tips or approaches to problems you've been having, you can simply go to any topic that interests you, and pick it up right there. Even the chapter-long projects include a series of progressive files so you dont need to start from the beginning. We've also completely updated the book for maya 2012, and cover all the exciting new animation tools and how to use them Throughout the book we use the abbreviation of f01 to mean frame 1,or whatever frame number we re talking about Frame numbers are also included on every screenshot where they re relevant to make things as clear as possible. In the upper right corner of each cheat you'll see a globe icon whenever there are accompanying files which is almost always. Underneath it the file names are listed for easy reference and you can download all the scene files, rigs and materi from the previous edition from the book's website The projects are separated by chapter, and some of the projects also have Quicktime movies of the chapter's final result. Also included is the goon rig in several versions(regular, ninja, and demon). For additional info and updates, be sure to check out the website www.howtocheatinmaya.com

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