Maya神话巨龙姿势绑定控制动画大师级视频教程 MACKLEYSTUDIOS AUTODESK MAYA MYTHI... - 3D设计 - 多小时爱学网

alin 发表于 2017-3-15 11:29:45

本视频教程是关于Maya神话巨龙姿势绑定控制动画大师级视频教程，时长：4小时，大小：3 GB，MP4高清视频格式，附工程源文件，教程使用软件：Maya，共13个章节，语言：英语。

角色动画设计师非常受欢迎。动画设计师的需求量不断上升，且会不断上涨。本教程帮助大家提升制作角色动画的技能。

讲师Chris Tedin首先为我们展示一系列的角色动画，然后教我们在Autodesk Maya中制作恐龙的动画。

我们从基础知识开始学起，制作简单的几何体对象。学习翅膀的结构，动画，设置关键帧，分解制作姿势动画。然后制作身体，尾巴，头和脚的动画。然后我们会学习制作角色着陆的动画效果，在这个操作过程中，我们会看到很多细节的制作。

Autodesk Maya是美国Autodesk公司出品的世界顶级的三维动画软件，应用对象是专业的影视广告，角色动画，电影特技等。Maya功能完善，工作灵活，易学易用，制作效率极高，渲染真实感极强，是电影级别的高端制作软件。Maya声名显赫，是制作者梦寐以求的制作工具，掌握了Maya，会极大的提高制作效率和品质，调节出仿真的角色动画，渲染出电影一般的真实效果，向世界顶级动画师迈进。Maya 集成了Alias、Wavefront 最先进的动画及数字效果技术。它不仅包括一般三维和视觉效果制作的功能，而且还与最先进的建模、数字化布料模拟、毛发渲染、运动匹配技术相结合。Maya 可在Windows NT与 SGI IRIX 操作系统上运行。在目前市场上用来进行数字和三维制作的工具中，Maya 是首选解决方案。

Maya参与制作的电影有：法国国宝级艺术家Jean Giraud，他原创的影片有《第五元素》、《异形》、《星战》等，并参与制作了《沙丘魔堡》、《深渊》等经典科幻电影；导演Glenn Chaika，著名动画片导演，曾在迪斯尼担任《小美人鱼》的动画师，并执导《拇指仙童历险记》、《花木兰II》等影片；模型监制Wayne Kennedy是曾参与过《隐形人》、《星球大战》、《龙卷风》、《黑衣人》、《木乃伊》的模型师；动画监制Bob Koch和Kelvin Lee是担任《玩具总动员》、《精灵鼠小弟》等影片的资深动画师；特效指导Manny Wong曾担任《后天》的特效总监，并参与制作了《狂莽之灾I》、《星河战舰》、《巨蟒》、《魔女游戏》等影片。

MACKLEYSTUDIOS AUTODESK MAYA MYTHICAL CREATURE ANIMATION
Creature Animators are in demand. This course teaches you how to develop your own creature animations.
Chris Tedin presents the first in a series of creature animation and walks you through how to animate a dragon rig in Autodesk Maya.
I’m excited to present to you guys the first in a series of creature animation, specifically, Mythical Creature Animation. The demand for creature animators is growing and will continue to rise. As motion capture tends to take over a lot of the biped stop-animation, creature animation and animal animation is going to remain steady.
So we’re going to look at the dragon, and look at it with a combination of quadruped animation and winged characters. So we’ll start with the basic structure of the wing and how it operates. We’ll do some real basic studies by making ourselves a simple geometric object and look at the structure of the wing, animate, set key-frames, and set pose-to-pose animation. We’ll look at references, like large birds – a crane as an example – we’ll slow down the flight to make the size even larger and make it seem like a larger character. We’ll continue to look at those references and go back to the creature and use that to guide us in the discovery of the dragon’s animation.
From there, we’ll start with pose-to-pose, looking not at the timing, but the entire character’s poses, not just the wings, but the body, the tail, the head, and the feet. We’ll do overlapping animation. We’ll go over how the animation flows through the character, looking at the interpolation curves: getting all the character’s motion smooth where it needs to be smooth and getting it more dynamic where it needs to be dynamic. We’ll also look at arc-motion and different tools inside of Maya to guide arc-motion. With this, we’ll do an entire flight cycle that can be repeated and used inside of game animation, etc.
We’ll move from there on to a landing of a character, taking what we learned from the flight cycle and taking it onto a landing character, which is a lot more complex. Every pose is going to be different and there is no cycle that we can apply to every approach. We’re going to go over how the character lands – the physicality of the character. Not just the weight of the character but the way the muscle mass is pushing against the air and how the air reacts and responds and how this massive character can slow itself down to a landing… and the way all the other parts – the head and the tail and the feet – and how they all react to the ground plane so we can get that physicality and response to the ground-plane properly. For this process, we’ll be looking at all the details. Every little part. First, layering the animation once we do pose-to-pose, then getting the timing correct, then getting that ground-contact well-considered and well-thought-out and solving some simple problems like gimbal-locking. Always going back to that curve editor, making sure that the curves are smooth and tight where they need to be.
The timing is important to: is the character flapping at the right time, and what’s the thought-process of this dragon as he’s landing on the ground? What’s his next move? What’s he trying to accomplish? There’s this emotional impact of him trying to scare the audience. We’ll set the camera in a way that is most responsive to this dragon’s presence and get the right emotional reaction out of it.
I hope you like it. I had a lot of fun doing this series. I hope you have a lot of fun and enjoy the process. The rig is available for free, by the way. I give credit to the guy who rigged the character, so enjoy playing with this rig and enjoy dragon animation.