
- #Maya 2016 tutorial crow how to#
- #Maya 2016 tutorial crow professional#
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#Maya 2016 tutorial crow how to#
AdskMaya Animation This Maya video tutorial we will learn how to smooth skin a mesh to your rig. Recent work includes modeling and texturing at Bad Robot for " 10 Cloverfield Lane " and " Star Trek: Beyond ” as well as models for the title sequences in " Aquaman ", " Power Rangers ", " Swamp Thing ", and " John Wick 3:Paraabellum ". Creating a Character Rig: Appendix C - Skinning in Maya. He has also worked as a visual effects artist on commercials, television, games, and feature films. Eric has been a guest lecturer at Harvard Medical School.
#Maya 2016 tutorial crow series#
He has authored 5 video series for the Gnomon Workshop on ZBrush and Maya, He teaches Introduction to Digital Sculpting and Introduction to Maya at the Gnomon School of Visual Effects and advanced ZBrush Workshops at the LA Figurative Art Academy. Eric has written several top rated books on both ZBrush (Introducing ZBrush) and Maya (Mastering Maya 2009, 2011), numerous tutorials and articles for leading industry magazines such as 3D World, and 3D Artist, as well as created instructional videos for Pixologic's ZClassroom.
#Maya 2016 tutorial crow professional#
For more modeling tutorials, check out our video library.Eric Keller has been working as a professional CG artist since 1998 creating animations and images for both the entertainment industry and for scientific visualization. Good luck with your character modeling in Maya. Leave the muscles for last, it’s a topic for another day. Look at your own body – it’s a great reference for this. It can be a daunting topic if you try to do everything at once, so don’t. On a final note, it helps to know some anatomy before you get started with character modeling in Maya. The animator should create the poses and do the acting, rather than having it built into the model. If the pose is extreme it might be a problem to get the model into something else. You don’t want deformations built into your model. The face should also always be modeled relaxed in a neutral pose. Some joints, such as the hinge joints of the fingers, can be padded for extra smooth deformation. This would be the joints, such as shoulders, knees and elbows. Try to keep your poles in areas that don’t deform during animation.Īreas of great deformation should be enclosed with edge loops. A few is fine, but you don’t want to end up with too many. A pole is a vertex that has five or more edges connected to it. This can cause rendering artifacts.Īnother thing to keep an eye on are poles. Don’t make your quads long and narrow, or too large. You could model in tris if you wanted, but this is much harder on the human brain. At render time models are tessellated into triangles, so it helps to keep things tidy. You’re doing half the modeling, and when it comes time to rig you can mirror your joints, skin weights and blend shapes.įor the geometry, when working in Maya you want to keep your mesh in quads (four-sided polygons). To model in halves across the x-axis is something that will save you lots of time. You should create your characters with symmetry. A lighter mesh also gets easier to rig and animate.

Cartoon characters are less detailed, which makes for lighter builds. It’s much easier to make a cartoon character, than a true to life portrait. The more realistic the character, the harder it gets to nail it, so start simple. Use image planes, both for the front and side, rather than try to work of a single reference. It’s often better to pick a character that there’s plenty of reference for, than try to design your own.

Because 3D modeling is such a time consuming process, it helps to know exactly what you’re trying to do. So plow the internet for as much reference material as you can. As a rule, you can never have too much reference. As a rule, you can never have too much reference. One of the keys to creating successful character models is to use reference. One of the keys to creating successful character models is to use reference.
