Download How to Cheat in Maya 2012: Tools and Techniques for by Eric Luhta PDF

By Eric Luhta

The Maya advisor for animators, How to Cheat in Maya 2012 offers every little thing you want to learn about personality animation in Maya. absolutely up to date for the newest revision of Maya, this booklet offers you entire, step by step walkthroughs of crucial animation concepts to extend your potency and pace. this is often an animator's workflow in e-book shape, written by means of expert animators-not a software program e-book with a couple of animation guidelines thrown in.

In addition to all of the gold-mine insurance and interviews with professional animators from the former variation, How to Cheat in Maya 2012 additionally contains a new in-depth bankruptcy at the ideas of animation, up-to-date details on digicam settings and animation utilizing Maya's new digital camera Sequencer software, the bits and bobs of the new Editable movement Trails software, new thoughts for operating with characters in multi-shot animation exams and brief motion pictures, a brand new cycles bankruptcy overlaying activities like flying and walks, time-saving scripts, and complex tips with the hot Graph Editor. The confirmed "How to Cheat" sequence will get you in control speedy, and in a fashion that is fun.

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Extra info for How to Cheat in Maya 2012: Tools and Techniques for Character Animation

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How would you “color” the secondary action in this scene? When she hears the husband enter the room, would she excitedly speed up her action? Maybe she got some baby clothes out of a box and that’s why she’s ironing. She’d then pause and look at the clothes as she describes her day to her husband. Suddenly, through secondary action, animators have access to an enormous amount of subtlety in a scene. I like to call Secondary Action the “Window to Subtext”. We are going to do a simple trick with Animation Layers to practice using secondary action to show subtlety in a scene.

Once you learn to control the animation using only keys, it will be much easier to understand what the handles are doing to the spacing. Curves can get very dense and more difficult to make changes to Scaling time can be less accurate if you need to snap keys to frames More control usually translates into needing more keys 12 Remember that using handles is just another way to approach animating, not something you need to do or should never do (depending on who you talk to). Some animators never use tangents and only set keys, others use broken weighted handles all the time, but many use both methods when necessary.

Overshoot 4 Spline tangents will make a smooth transition between keys and don’t flatten out. They’re great for keys that are transitional (going the same direction each side of the key), but with extremes (keys at which the curve changes direction) they can overshoot, which is difficult to control. ma. In the front view we have a very basic animation of a ball going in an arc. 3 Select the ball control (Show > Nurbs Curves in the viewport menu if you don’t see it) and open the Graph Editor. Select all the curves and click the spline tangents button.

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