Tuesday, January 12, 2010

free maya tutorial&download software

free maya tutorial&download software


Creating Believable Eyes - Ch. 1
Photo Reference, Modeling, Initial Shaders
There is no question that eyes are one of the most critical elements of a character. While there are several way to approach the creation of the eyes, this lecture presents an intuitive and quick technique that ensures believability and realism.
Creating Believable Eyes - Ch. 2
Texturing the Iris
There is no question that eyes are one of the most critical elements of a character. While there are several way to approach the creation of the eyes, this lecture presents an intuitive and quick technique that ensures believability and realism.
Creating Believable Eyes - Ch. 3
Texturing the Eye Body and Cornea
There is no question that eyes are one of the most critical elements of a character. While there are several way to approach the creation of the eyes, this lecture presents an intuitive and quick technique that ensures believability and realism.
Creating Believable Eyes - Ch. 4
Shaders, Lighting and Rendering
There is no question that eyes are one of the most critical elements of a character. While there are several way to approach the creation of the eyes, this lecture presents an intuitive and quick technique that ensures believability and realism.
Intro to Subsurface Scattering
Translucency is a characteristic of many materials, both natural and man made. From leaves and murky water to wax, sandblasted glass or skin, many objects that may be opaque will still absorb light into the surface. Subsurface Scattering is a rendering technique that allows for the simulation of translucency in Mental Ray.
Skin Shading with Mental Ray
Chapter One: Working with the Fast-Skin Material
Rendering skin with the natural appearance of translucency, specularity and reflection is achievable thanks to the Mental Ray Fast-Skin material. This tutorial demonstrates how to build the necessary shading network and manage the many attributes available.
Skin Shading with Mental Ray
Chapter Two: Mapping Color, SSS Layers and Bump
Skin Shading with Mental Ray
Chapter Three: Layering Specularity and Reflections
Setting up orthographic images
Preparing orthos in photoshop and aligning in maya
While it is common for modelers to only have 3/4 perspective design drawings to work from, the ideal situation is to be provided with orthographic (front/side/top/back) reference to guide the modeling process.
ZBrush to Maya with Decimation Master
An overview of the new ZBrush to Maya/Max/XSI rendering pipeline with the new Decimation Master plug-in from Pixologic.
Combining Bump and Normal Maps
Apply your bump map to your shader as you normally would, then output the normal map's bump node to the bump map's bump node (MMB drag). The order does make a difference for some reason, so again... normal outputs to bump, bump outputs to material.
Transparency Shadows - Mental Ray
Here's a simple quick tip that is good to know. If you are mapping transparency and need accurate raytrace shadows, set the Shadow Attenuation on your material to 0. It used to behave this way by default, but I guess Autodesk decided to mess with us a little...
Adding Bump/Normal to mi_car_paint_phen
For my image 'Guardian', I wanted the bug to have an unusual look to it, so I settled on using the mi_car_paint_phen shader. Since the bug was made in Zbrush, it had a normal map that needed to get applied to the 'car' shader. The solution is to create a Mental Ray bumpCombiner node.
Gravity Vs. Uniform
All fields in Maya are unique. A thorough understanding of each field's behavior is a crucial first step towards an artist's ability to efficiently and effectively design a dynamic effect.
Transparency Shadows
Be aware that volume shadow occlusion only works with depth-map shadows. This creates problems if you have transparency mapped objects, as is the case with the wall.
Controlling Fog Density
Fog is a term often used to represent a variety of natural phenomenon within a 3D renderer. In nature, fog consists of water vapor yet in Maya you may use 'fog' to also represent dust, smoke, air, smog, plasma, nebulae or even magical glows and spells.
Spotlight Decay Regions
All lights in Maya (area light excluded) emanate light from a finite point in space. This is completely unnatural as all lights in nature have a measurable size. The effect that light size has in nature is found in the shadow and specular qualities present.
Rendering in Passes and Layers
An issue which is often overlooked or avoided by individuals new to 3D is the necessity of fine-tuning projects in conjunction with a compositing package. Yet the level of interactive flexibility available within just about any 2D application can save precious time...
Shader Glow Tips
It is important to remember that specularity is a reflection of a lightsource. Therefore, if a light is bright enough to create an optical effect, a specular highlight from that light should also create an optical effect. Maya allows for this via the use of Shader Glow...
Light Linking in Heavy Scenes
A crucial technique to succesfull lighting is the process of light linking. The process of simulating reflected light is very much achieved by exclusively associating lights with objects. Yet new lights are automatically linked to all surfaces in the scene...



Autodesk Maya 2009

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