Organization maya 3d workspace

Organization maya 3d workspace

Tools and items are accessible from pull down menus located at the top of the user interface. In Maya, menus are grouped into menu sets. These menu sets are accessible from the Main Menu bar.
The Main Menu bar appears at the top of the Maya interface directly below the Maya title bar and displays the chosen menu set. Each menu set corresponds to a module within Maya: Animation, Polygons, Surfaces, Rendering, and Dynamics. Modules are a method for grouping related features and tools.
View navigation is accomplished with keyboard and mouse button combinations. In order to look at your models from all sides, pan around the screen, and get a closer look at an area you will hold down the ALT key on the keyboard while pressing a mouse button and moving the mouse. These are called Tumble, In Maya, like many other 3D applications, the three dimensions are labeled as the X, Y, and Z axes. The origin is located at X, Y, Z position of 0, 0, 0. The grid also lies along the X, Z plane. We refer to this as a plane because you might visualize an imaginary, flat, two-dimensional square laying along this 3D position.
Maya labels the X, Y, and Z axes with a color scheme: red for X, green for Y, and blue for Z. Many tools that you use in Maya use this color scheme to indicate that you are accessing a particular item that relates to X, Y, and Z in some way.
The panel has its own menu bar at the top left corner of the panel. These menus allow you to access tools and functions related to that specific panel.
The grid is displayed with two heavy lines intersecting at the center of the Maya scene. This central location is called the origin. The origin is the center of Maya's 3D world, and with all object's directional values measured from this location.

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remove maya transform nodes within a skeletal hierarchy

remove maya  transform nodes within a skeletal hierarchy

Now that you've got an idea what you're looking at, you'll probably want to learn how to get around. Navigation in Maya is "alt-centric," which simply means that almost all viewport movement is centered around the alt key. It is also essential that your mouse has a middle mouse button or scroll wheel.

Left click in the main viewport to make sure it's active, and we'll run through the three most common navigational commands:

Alt + Left Mouse Button: Holding this combination will allow you to "tumble" or rotate the camera around a central pivot.

Alt + Right Mouse Button: "Dolly" or move the camera in and out. This can also be accomplished with your mouse's scroll wheel, however the dolly command is more precise.

Alt + Middle Mouse Button: Allows you to track the camera, shifting the viewport horizontally or vertically while maintaining a constant angle of view.
You may also access an extended set of camera tools with the following path:
View -> Camera Tools
Play around with some of the camera tools and get a feel for what they do. Most of the time you'll be using alt-navigation, but occasionally your advanced camera movements will come in handy—particularly when composing images.

Cancel any tool at any time by pressing q.
By default, Maya's viewport displays a perspective view of the scene. The perspective panel uses a camera that closely approximates human vision, and allows you to freely navigate your 3D scene and view your models from any angle.

However, the perspective camera is only one of many panels available to Maya users. With your mouse pointer positioned in the viewport, press and release the spacebar.

Your screen should switch to the configuration pictured above. What you see here is Maya's four-panel layout, which typically contains the perspective camera and three orthographic views: top, front, and side.

Maya's panel layout is fully customizable using the menu set outlined in red—with these tools you can toggle between 4-panel, 3-panel, and 2-panel (either top/bottom or left/right) configurations.

Finally, to maximize any one of the four layout panels, simply move your mouse into the viewport you'd like to enlarge and strike the spacebar. Try toggling from your four panel layout into each of the orthographic cameras to get the hang of this process—you'll be using it a lot.

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how to use the graph editor in Maya

how to use the graph editor in Maya

Autodesk Maya, also known as simply Maya, is three-dimensional graphics software developed by Alias Systems Corporation and currently owned by Autodesk Inc. With Maya, you can create three-dimensional models and animations and render UV mapping effects such as texture. Maya gives you a lot of flexibility to play around with your object texture. Choose the texture that best serves the needs of your 3-D object.

to replace a surface's solid color with a texture. Normally, a texture refers to applying a 2D image around a 3D surface, rather like wallpapering a curvy surface. Because a 2D image can be stretched, wrapped, and projected onto a surface in many different ways, you must take control of how the image is applied.

Mapping Coordinates
Mapping coordinates, also known as UV coordinates, tell the 3D renderer how to place the 2D map across the geometry, which varies depending on whether the model is created from NURBS or polygons. For NURBS, parametric mapping is inherent to the surface and this is typically what's used. Because NURBS are already parametric surfaces, mapping can automatically flow smoothly across the surface. You can also adjust NURBS mapping, to move and rotate how the map is positioned on the object.

For polygon surfaces, mapping is normally applied by projecting 2D maps across the 3D surface in one of several ways: planar, cylindrical, spherical, and a special method called automatic mapping. As you might expect, when you apply a 2D texture to a 3D object with a planar map projection, you'll see a smearing effect in areas of the object that's perpendicular to the direction of the map projection. The cylindrical and spherical projections would seem to solve this problem, but both mapping types have their drawbacks—singularities. These are points at the poles of the sphere or cylinder where the mapping is pinched into a point (see Figure 8.15). Generally, you must apply the best mapping method for the surface and the areas seen during the animation. That is, if the ugly part is in an area that won't be visible to the camera during the animation, the problem is solved. In tough cases, a combination of automatic mapping, multiple mapping coordinates, and lots of photoediting work can usually fix the problem.
Maya's Interactive Texture Placement
To make adjusting mapping on a surface less confusing, Maya offers interactive texture placement. This feature lets you see the maps move on the surface in real time as you move, rotate, and scale the manipulator for the mapping. To make this work, you need to have Hardware Texturing turned on for at least one of the 3D panels. To do that, select the panel (RMB-click over the panel) and then click Hotbox | Shading | Hardware Texturing (hotkey: 6). By default, materials with a texture applied to the Color attribute have the color texture map set to appear in the hardware-textured panels.

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maya Paint Skin Weight Tool And Techniques

maya Paint Skin Weight Tool And Techniques

At work we're moving from a MotionBuilder pipeline to Maya, which I'm responsible for creating. One of the tasks on the list I was handed was to move animated takes out of MB and into Maya so that all exported files can be run through the same export steps, and also so that moving forwards animators would have the same tools for working on older animations as they will on files using my new rig.
I have Maya Creation Suite 2012 on my work machine, which is touted as being able to seamlessly transfer data between the included apps– Maya, MotionBuilder, and Mudbox. I haven't had need to open Mudbox yet, but in my limited testing so far the Human IK rigs never come through properly from MB to Maya and on the Maya side the HIK characterization gets broken. This means that to do any animation fixes or retargeting inside Maya, the characterization needs to be deleted and rebuilt. Also funny: the automatic naming templates in Maya don't always work, making recharacterization a tedious manual process. Keyed transforms (joints, etc.) and meshes come through just fine, however, with all skinning and materials in tact. Updating previously-sent objects did not.
Apart from all that, the first file I've been working on has 50 animations in it. I didn't relish the idea of converting all of them by hand, so I set about seeing what's possible on the scripting side.
The FBX import/export plugin comes with a number of commands for massaging how files are read in. A full list of the commands is on Autodesk's site. Note that the Python versions of these functions fail; I think they're being generated improperly at plugin load. Could be that I'm just not calling them properly; I didn't bug-hunt because I found doing the HIK post-import steps didn't work in Python, either.
I've written more MEL in the last two days than I have in the last four years, not that it's a lot of code!

In 3ds Max, create a CAT bipedal character and position it in a T-stance. (See Prepare a skeleton for HumanIK.)
NoteA T-stance is required to ensure that your CAT character has a valid skeleton definition once it is transferred to HumanIK in Maya.
Select a spine bone and open the Modify panel.
Set the Spine Control to Keyframed and click Yes in the warning dialog box that appears.

Repeat steps 3 and 4 for the neck bone.
Select your CAT character and send it to Maya ( > Send to > Send to Maya > Send as New Scene).
Selecting one element of your character will send the entire character to Maya.
NoteIf your CAT character is not a valid biped, it will be sent to Maya without a skeleton definition. If your CAT character is a biped with extra limbs, the bipedal part of the structure will be converted to HumanIK and the remaining limbs will be converted to simple joints.
Maya opens and loads your CAT character as an HumanIK character with a valid skeleton definition. Any animation that you transferred from 3ds Max is baked on to your character's HumanIK skeleton and/or simple joints.
Animate this HumanIK character in Maya.
To use a HumanIK Control rig, open the Character Controls window (Skeleton > HumanIK or Window > Animation Editors > HumanIK) and ensure that your character's name displays in the Character menu.
Select Control Rig from the Source menu. If your character does not have a Control rig, selecting this option automatically creates a new rig.
To retarget animation from another HumanIK source, assign the other HumanIK character as the Source to your CAT character.

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Maya HumanIK channel box problem

Maya  HumanIK channel box problem

Using an FBIK rig based on Autodesk HumanIK technology, Maya software users can now apply any animation in Mixamo's online collection directly onto their FBIK control rigs. Consequently, Maya FBIK users can animate their characters more efficiently than previously possible. Furthermore, because the control rig is preserved, users can make additional keyframe adjustments to the applied animations. With these advancements, Mixamo can help to significantly reduce the time it takes to create high quality animations using Maya software.
"We are seeing more casual and mobile game developers move from a 2D to a 3D pipeline with Autodesk Maya software, as a way to differentiate their games in an increasingly crowded market," said Marc Stevens, Autodesk vice president, Games. "Mixamo's support for Maya FBIK control rigs will be especially valuable to these developers. It helps to simplify the animation process and makes quality animation more attainable for smaller game development teams working with tighter budgets and on shorter deadlines."
Mixamo provides animators, game artists, and 3D professionals an improved character animation pipeline that fits seamlessly into their existing 3D projects. Users simply upload their own FBIK-rigged character to Mixamo and select and customize animations from an extensive production-quality collection, which are then automatically applied onto their character. Finally, users can download the animations and import back into their Maya scenes. This improved workflow results in significant time and cost savings.

In this Maya tutorial we will be learn techniques, workflows and best practices for use with Maya's HumanIK (HIK) toolset. Throughout these lessons we will be learning some of the MEL commands needed to add HIK to a character rigging pipeline. Along the way we will look at some of the limitations with the HumanIK toolset and how we can work around them. By the end of the this tutorial, you will comfortable with HIK whether you are an animator with no rigging experience or a TD looking to add HIK to your rigging pipeline. About Digital-Tutors Since 2000, we've been a dedicated team of artists, professionals, representatives and problem-solvers who are truly passionate about teaching the people around the globe who make movies and games. But enough about us, let's talk about you. No matter your skill level or experience, you need an educational resource that helps you conquer complicated topics so you can focus on your future. So whether it's graduating from school, advancing your skill set or getting a promotion, you can access the world's largest online CG training library and find the solution you need in seconds.

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