3D Modeling & Animation with Maya

Learn to use the uv editor in maya to apply projections, adjust uv maps, and render improved textures, while enabling auto save and exploring the movie editor for quick fixes.

Learn to use the UV editor to apply textures, create a custom UV layout for front-facing polygons, and move, rotate, and scale UVs to place eye textures correctly.

Experiment with Stinkfly animation in Maya, showing how changing frame rates from 24 to 90 shifts keyframes in graph editor, and finalize by parenting the bone system to the body.

Begin modeling the back legs in maya by extruding and moving polygons, scaling points, adjusting edge loops, and mirroring the completed leg for the front leg.

Select the eye uv shells and apply a custom projection, then adjust the back eyes with cuts, scale and move to fix texture placement, learning basic uv editing in Maya.

Add toe joints in a simple Maya rig, name them index, middle, and ring toe, use x-ray shading for visibility, and parent them under the foot to test alignment.

Export the frog model in Maya using export selection and sbx export, adjust smoothing groups and smooth mesh, embed media, and name asset; delete history before exporting to avoid errors.

Model the head and ears in Maya using subdivided shaping. Extrude the mouth, adjust the cheeks and neck, then split the mesh for symmetry and future reattachment.

Mirror the left-side joints to the right on the YZ plane in Maya, then add ear and jaw joints, name and parent them, and prepare for skinning.

Master the Maya skinning workflow by selecting a rig, applying skin binds, viewing joints with x-ray shading, and animating with keyframes to a beat, including weight painting.

Create an AI eye-control rig with a main controller and left/right eye controllers, constrain with an aim constraint, unbind skin, and freeze transforms for precise movement.

Master blend shapes in Maya to open the mouth by duplicating and adjusting the mesh. Use the modeling toolkit and shape editor to create and refine shapes with a slider.

Learn to adjust Maya animation by moving keyframes in the graph editor, aligning start frames, and using middle mouse drag to slide keys for smooth choreography and quicker value edits.

Learn how to render image sequences in Maya using the camera sequencer and my hardware render, then import them into a compositor like After Effects to assemble a movie.

Render multiple camera passes in Maya, manage image sequences like mouth cam, right shot, and full body, then import into After Effects to cut and assemble a final composite.

Block out the Shrek leg by starting with a poly cube, adding subdivisions, and precisely placing points while extruding and shading in x-ray view to achieve a realistic result.

Model the hand in Maya by extruding five fingers, using the multicar tool for subdivision, and maintaining quad topology while smoothing with insert loops, bevels, and perspective view.

Model Shrek's ears by extruding a polygon in the orthographic side view, then scale, move, and refine with soft selection and perspective checks to achieve correct base and lobes.

Add eye and nose detail in Maya by inserting edge loops, extruding polys, and using symmetry and orthographic views to refine facial geometry.

Use the crease tool in Maya to create sharp edges on the clothes, shoes, and other details, then adjust the face toward a Shrek-like look for textures.

Refine Shrek’s face in Maya with final modeling tweaks: adjust vertices with soft selection and symmetry, add detail via edge loops, and extrude lips for efficient texturing and game-ready performance.

Rotate and place teeth, adjust the lip, and add nostrils to Shrek while fixing duplicated geometry and ensuring clothing fits; practice precise point moves and symmetry in Maya before texturing.

Apply cylindrical texture projection to the shirt's bottom, tweak UV scale to reduce distortion, and split into front and back shells to minimize seams.

Select and adjust UVs to fix texture stretching, moving parts to minimize distortion. Extend the jacket to cover seams and prepare sleeves for the arm-to-body attachment.

Texturing Shrek's boots in Maya by cutting UV shells, splitting the boot in half, testing planar projections, adjusting axes, and refining to reduce stretching.

Texture teeth and tongue in Maya using cylindrical projection and symmetry to reduce stretching. Assign shark skin material to teeth and explore per-tooth texture maps to avoid gray, stretched textures.