Efnisyfirlit

• Introduction
• Who Should Buy This Book
• What’s Inside
• Conventions
• How to Contact the Author
• Chapter 1 Working in Autodesk Maya
• Color Management
• Creating and Editing Nodes
• Creating Maya Projects
• The Bottom Line
• Chapter 2 Introduction to Animation
• Using Joints and Constraints
• Inverse Kinematics
• Keyframe Animation
• The Graph Editor
• Playblast and FCheck
• Driven Keys
• Motion-Path Animation
• Motion Trails
• Animating Constraints
• Animation Layers
• Grease Pencil
• The Bottom Line
• Chapter 3 Hard-Surface Modeling
• Understanding Polygon Geometry
• Understanding NURBS
• Using Subdivision Surfaces
• Employing Image Planes
• Modeling NURBS Surfaces
• Converting NURBS Surfaces to Polygons
• Modeling with Polygons
• The Bottom Line
• Chapter 4 Organic Modeling
• Implement Box Modeling
• Employ Build-Out Modeling
• Sculpt Polygons
• Use Retopology Tools
• The Bottom Line
• Chapter 5 Rigging and Muscle Systems
• Understanding Rigging
• Creating and Organizing Joint Hierarchies
• Rigging the Giraffe
• Human Inverse Kinematics
• Skinning Geometry
• The Maya Muscle System
• The Bottom Line
• Chapter 6 Animation Techniques
• Working with Deformers
• Animating Facial Expressions Using Blend Shapes
• Animating a Scene Using Nonlinear Deformers
• Creating a Jiggle Effect
• Optimizing Animations with the Geometry Cache
• Applying Motion Capture
• The Bottom Line
• Chapter 7 Lighting with mental ray
• Shadow-Casting Lights
• Indirect Lighting: Global Illumination
• Indirect Illumination: Final Gathering
• Image-Based Lighting
• Physical Sun and Sky
• mental ray Area Lights
• Light Shaders
• The Bottom Line
• Chapter 8 mental ray Shading Techniques
• Shading Concepts
• Layering Shaders
• The Bottom Line
• Chapter 9 Texture Mapping
• UV Texture Layout
• Bump and Normal Mapping
• Displacement Mapping
• Subsurface Scattering
• ShaderFX
• The Bottom Line
• Chapter 10 Paint Effects
• Using the Paint Effects Canvas
• Painting on 3D Objects
• Understanding Strokes
• Designing Brushes
• Create Complexity by Adding Strokes to a Curve
• Shaping Strokes with Behavior Controls
• Animating Strokes
• Rendering Paint Effects
• The Bottom Line
• Chapter 11 Rendering for Compositing
• Render Layers
• Render Passes
• Setting Up a Render with mental ray
• mental ray Quality Settings
• The Bottom Line
• Chapter 12 Introducing nParticles
• Creating nParticles
• Making nParticles Collide with nRigids
• Using nParticles to Simulate Liquids
• Emitting nParticles Using a Texture
• Using Wind
• Shading nParticles and Using Hardware Rendering to Create Flame Effects
• Controlling nParticles with Fields
• Rendering Particles with mental ray
• The Bottom Line
• Chapter 13 Dynamic Effects
• Creating nCloth Objects
• Creating nCloth and nParticle Interactions
• Soft Body Dynamics
• Creating Flying Debris Using nParticle Instancing
• Animating Instances Using nParticle Expressions
• Bullet Physics
• The Bottom Line
• Chapter 14 Hair and Clothing
• Understanding XGen
• Animating Using Dynamic Curves
• Adding Hair to a Character
• Styling Hair
• Rendering Hair
• Creating Clothing for Characters
• Painting nCloth Properties
• The Bottom Line
• Chapter 15 Maya Fluids
• Using Fluid Containers
• Fluid Interactions
• Igniting the Fuel
• Rendering Fluid Containers
• Creating Fluids and nParticle Interactions
• Creating Water Effects
• The Bottom Line
• Chapter 16 Scene Management and Virtual Filmmaking
• Organizing Complex Node Structures with Assets
• File References
• Determining the Image Size and Film Speed of the Camera
• Creating and Animating Cameras
• Creating Custom Camera Rigs
• Applying Depth of Field and Motion Blur
• Using Orthographic and Stereo Cameras
• Using the Camera Sequencer
• The Bottom Line
• Appendix A The Bottom Line
• Appendix B Autodesk Maya 2016 Certification
• EULA