This unique Maya course includes over 9 hours of video and 60 pages of written step-by-step printable instruction PDFs, one for each of the 35 videos, a bonus my students have always valued.
"Making Sense of Maya" is designed to do just that. This uniquely organized Maya course is designed to be done in the order listed, building skills in an intuitive and comfortable progression through the Autodesk Maya program.
More than an introduction, "Making Sense of Maya" not only teaches skills to the beginner, it also demonstrates workflows with several projects throughout the course, culminating in a final project that combines assets from previous projects into a fully animated, custom scene.
This course will give you a solid foundation in Maya and the understanding needed to approach and create your own projects leading you down the path to either a fulfilling hobby or on your way to a new career!
This lecture covers the following interface items:
This lecture covers the following additional interface items:
This lecture covers the following additional interface items:
Options within a viewport:
This lecture covers various ways to use the Extrude tool.
This lecture starts a project to model a cardboard box. It demonstrates a workflow using the Extrude tool and various other tools and settings in Maya with a real world project.
This lecture covers various aspects of edge loops and demonstrates different ways they can be used including:
This lecture covers the following aspects of rendering and materials, or shaders.
This lecture continues modeling the cardboard box. It demonstrates a continuation of the workflow adding edge loops to create smooth corners, how to use edge loops to add detail and refine the model to give it a realistic look.
This lecture covers the following snap, and merge, functions. It shows various ways to use them with different selections, i.e. object mode, edge, vertex, in a workflow.
This lecture is the first part of a new project making the word "Hi" creating the scene for an animation of the bouncing dot. It's workflow incorporates snap, and merge, functions and use of orthographic viewports for precision modeling.
This lecture introduces the 5 main materials used in Maya, Phong, Phong E, Blinn, and Anisotropic, and adjusting their parameters.
Changing between one assigned material and another in the Attribute Editor while relatively keeping the settings of the original material.
This lecture demonstrates a continuation of the workflow inserting edge loops, smooth preview, assigning and adjusting materials, using single frame renders to fine tune materials, all in preparation for animating.
This lecture covers the following aspects of Key Frame Animation and making a Maya Playblast, an animation video of a selected Maya viewport.
This lecture continues to demonstrate the workflow to animate the bouncing dot of the "i", into frame, onto the "H", and landing on the "i" using key frames and making adjustments to animation curves in the Graph Editor.
Also included in this lecture is Setting up a Resolution Gate, used as a reference while animating to see what the final framing will be.
This lecture demonstrates how to make a batch render, rendering each frame of the animation in sequence, using the mental ray renderer to later be turned into a video using an editing program.
This lecture imports the animation images rendered in Maya into Adobe Premiere Pro CS6 (CC) demonstrating the process to stream the images together and output them as a video in the format of your choice.
You may use any editing program you wish that will take sequenced images and output them as a video file.
This lecture shows how to make a custom CV curve with the CV Curve Tool. It then demonstrates how to use the spline/CV curve, to revolve a NURBS surface and how to make adjustments to the surface using the spline.
A polygon plane is then added to the scene as the table top for the glass to sit on.
This lecture demonstrates assigning a mental ray glass material to the NURBS surface, creating a spot light with shadows and adjusting settings, to produce a realistic image of a glass sitting on a table.
This lecture starts a new project by modeling a person out of sphere. Two new tools are used to make various parts of the model, soft selection to make the chest piece and Boolean operation to make the feet.
In this lecture the workflow modeling the sphere person is continued. Elements such as feet and legs are duplicated and positioned in preparation for rigging.
In this lecture the modeling workflow of the sphere person is completed including positioning the arms for rigging with IK handles.
In this lecture bones are created rigging the sphere person. IK handles are made for the arms and legs for animating. Forward kinematics vs. inverse kinematics is discussed and demonstrated using the bones of the rig and the IK handles.
In this lecture an organized naming system is applied to name the bones and IK handles. The workflow uses the Outliner to demonstrate the organizational structure.
In this lecture various aspects of the Split Polygon Tool are demonstrated along with different ways to use Fill Hole. Split Polygon is one of the most important tools used in modeling.
In this lecture the car project is started. This workflow uses many different modeling tools including extrude, bevel, Boolean, and interactive split tool. The use and importance of quads (four sided polygons) when modeling is discussed and demonstrated.
This lecture discusses and demonstrates uses for the Cut Faces tool in conjunction with mirroring geometry and how to choose the correct Mirror Geometry settings to get the desired results.
This lecture demonstrates uses and organization for parenting objects in the workflow to finish modeling the car.
This lecture demonstrates how to model with NURBS primitives to make a flying saucer. A mental ray metal material is applied and customized. Lights are added to the scene, positioned and adjusted, to produce an effective mental ray rendered image of the flying saucer.
This lecture explains and demonstrates how to create custom UVs for an object in the UV Editor. A template is made from the new UVs to be used to make a custom color material in the a 2D drawing program then applied to the object.
This project uses Paint Effects within Maya as the 2D drawing program. You may use Photoshop or another paint program of your choice to make custom materials using templates made in Maya to be applied to objects within Maya.
This lecture demonstrates using Paint Effects, a 2D paint program within Maya. Paint Effects has a large selection of brushes and other effects that can be used to create different 3D recognizable items in addition to traditional paint capabilities. Some of the brushes demonstrated in this lecture are:
Paint Effects can also make 3D objects within a Maya viewport . These tools will be covered in the next Maya course in the CGa-z Maya Program.
This lecture continues demonstrating Paint Effects going deeper into it's capabilities by showing how various brushes can interact with each other on a canvas.
In this lecture the UV template made in Building Project, Part A is brought into Paint Effects and used as a reference when creating a custom painted Color Material to apply to the building.
The following Paint Effects brushes were used and altered:
This lecture opens a new scene and shows the workflow to import assets from previous projects and combine them to create an animated scene.
Bump Mapping is introduced and it's settings explored to use in the ground material of the scene.
A new camera is created for rendering of the final animation.
This lecture continues the workflow to animate the flying saucer and adjust lighting. An animation path is made for the flying saucer and adjustments are made to the flight.
This lecture continues the workflow refining the path for the flight of the flying saucer. A motion path is made and attached to the car and settings are adjusted to make it spin out in amazement as a flying saucer takes off in front of it.
The project is completed by making a Playblast to view the animation for a final check before making a batch render.
I started my career in VFX as a Professional Puppeteer and 3D Artist working for John Dykstra, Carlo Rambaldi, Jim Henson Productions, and various other VFX and CGI companies.
Through my many years as a Professional Puppeteer, with a strong traditional sculpting and 3D Art background, I've gained invaluable knowledge, expertise, and perspective that I've applied to my 15 years in CGI.
The last 4-5 years I have been running my own very successful educational programs teaching Autodesk Maya, other CGI programs and their integration, to students of all ages, from ages 9 through adults in the Los Angeles area.
My own education includes a BA in Puppetry in Television and Graduate studies in a wide range in CGI and Anthropology.