maya动画动作导出说明

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maya菜单教程

maya菜单教程

File (文件)菜单New Scene(新场景)Open Scene(打开场景)Save Scene(保存场景)Save Scene As…(另存为)Save Preferences(保存参考)Optimize Scene Size(优化场景大小)Import…(导入)Export All…(导出)Export Selection…(导出选择的物体)View Image…(观看图像)View Sequence…(观看序列帧)Create Reference…(创建参考)Reference Editor(参考编辑器)Project(工程)Recent Files(最近的文件)Recent Projects(最近的工程)Exit(退出)Edit(编辑)菜单Undo(后退)Redo(重做)Repeat(重复)Recent Commands List(最近命令列表)Cut(剪切)Copy(复制)Paste(粘贴)Keys(关键帧)Delete(删除)Delete by Type(类型删除)Delete All by Type(类型全部删除)Select Tool(选择工具)Deselect(去选)Select Hierarchy(选择层级)Invert Selection(反选)Select All by Type(类型全部选择)Quick Select Sets(快速选择设置)Duplicate(复制)Duplicate Special(特殊复制)Duplicate with Transform(变换复制)Group(成组)Ungroup(解组)Level of Detail(细节级别)Parent(父子)Unparent(断开父子)Modify (修改)菜单Transformation Tools(变换工具)Reset Transformations(重设变换)Freeze Transformations(冻结变换)Snap Align Objects(吸附排列物体)Align Tool(排列工具)Snap Together Tool(吸附工具)Evaluate Nodes(计算节点)Make Live(激活吸附)Center Pivot(中心坐标点)Prefix Hierarchy Names…(层级名前缀)Search and Replace Names…(查找替换名称)Add Attribute…(增加属性)Edit Attribute…(编辑属性)Delete Attribute…(删除属性)Convert(转换)Paint Scripts Tool(绘制代码工具)Paint Attributes Tool(绘制属性工具)Display(显示)菜单Grid(网格)Heads Up Display(顶部显示)UI Elements(用户界面元素)Hide(隐藏)Show(显示)Wireframe Color…(网格颜色)Object Display(物体显示)Transform Display(变换显示)Polygons(多边形)NURBS(NURBS)Subdiv Surfaces(细分表面)Animation(动画)Rendering(渲染)Windows (窗口)菜单General Editors(主编辑器)Rendering Editors(渲染编辑器)Animation Editors(动画编辑器)Relationship Editors(关系编辑器)Settings/Preferences(设置/参数编辑器)Attribute Editor(属性编辑器)Outliner(大纲窗口)Hypergraph: Hierarchy(超级图表:层级)Hypergraph: Connections(超级图表:连接)Paint Effects(笔刷特效)UV Texture Editor(UV编辑器)Playblast(动画预览)View Arrangement(视窗排列)Saved Layouts(保存Layout)Save Current Layout…(保存当前的Layout)Frame All in All Views(在所有窗口最大化显示所有物体)Frame Selection in All Views(在所有窗口最大化显示选择的物体)Minimize Application(最小化应用窗口)Raise Main Window(提升主窗口)Raise Application Windows(提升应用窗口)Help(帮助)菜单Maya Help(Maya帮助)Learning Movies(学习视频)Tutorials(教程)What’s New(最近更新)Support Center(支援中心)Data Exchange Solutions(数据交换方案)Online Release Note Updates(在线节点更新)The Area(区域)Download Setup Assistant(下载设置助手)Browser Setup Assistant(浏览设置助手)Report a Problem…(上报问题)Suggest a Feature…(建议)Autodesk DirectConnect Help(Autodesk直连帮助)Autodesk Online Store(Autodesk网上商城)MEL Command Reference(MEL命令参考)Python Command Reference(Python命令参考)Node and Attribute Reference(节点和属性参考)Find Menu…(查找按钮)About Maya(关于Maya)Animation (动画)模块Animate(动画)菜单Set Key(设置关键帧)Set Breakdown(设置受控制值)Hold Current Keys(保持当前帧)Set Driven Key(设置驱动关键帧)Set Transform Keys(设置变形帧)IK/FK Keys(IK/FK关键帧)Set Full Body IK Keys(设置全身IK关键帧)Set Blend Shape Target Weight Keys(设置混合变形目标权重帧)Create Clip(创建片段)Create Pose(创建姿势)Ghost Selected(影像代理)Unghost Selected(移除所选择的影像代理)Unghost All(移除全部影像代理)Create Motion Trail(创建运动轨迹)Create Animation Snapshot(创建动画快照)Update Motion Trail/Snapshot(更新运动轨迹/快照)Create Animated Sweep(由动画曲线创建几何体曲面)Motion Paths(运动路径)Turntable(转盘)Geometry Cache(物体缓存)菜单Create New Cache(创建新的缓存)Import Cache…(导入缓存)Disable All Cache On Selected(使所有选中的缓存无效)Enable All Caches On Selected(使所有选中的缓存有效)Replace Cache(重置缓存)Merge Caches(合并缓存)Delete Cache(删除缓存)Append to Cache(附加缓存)Replace Cache Frame(重置缓存帧)Delete Cache Frame(删除缓存帧)Delete History/Ahead of Cache(删除历史/以前的缓存)Paint Cache Weights Tool(绘制缓存权重工具)Create Deformers (创建变形器)菜单Blend Shape(混合变形)Lattice(旋转)Wrap(蒙皮)Cluster(簇)Soft Modification(软化修正)Nonlinear(非线性式)Sculpt Deformer(造型变形)Jiggle Deformer(抖动变形)Jiggle Disk Cache(抖动磁盘缓存)Jiggle Disk Cache Attributes(抖动磁盘缓存属性)Wire Tool(网格化工具)Wire Dropoff Locator(网线定位器)Wrinkle Tool(褶绉变形工具)Point On Curve(线点造型)Edit Deformers(编辑变形器)菜单Edit Membership Tool(编辑成员工具)Prune Membership(变形成员)Blend Shape(混合变形)Lattice(旋转)Wrap(蒙皮)Wire(网格化)Display Intermediate Objects(显示中间物体)Hide Intermediate Objects(隐藏中间物体)Paint Blend Shape Weights Tool(绘制混合变形权重工具)Paint Cluster Weights Tool(绘制簇权重工具)Paint Jiggle Weights Tool(绘制轻微变形权重工具)Paint Wire Weights Tool(绘制网格权重工具)Paint Membership Tool(绘制设置成员工具)Skeleton(骨骼)菜单Joint Tool(关节工具)IK Handle Tool(反向动力学句柄工具)IK Spline Handle Tool(反向动力学样条曲线句柄工具)Insert Joint Tool(添加关节工具)Reroot Skeleton(重新设定根关节)Remove Joint(去除关节)Disconnect Joint(解除连接关节)Connect Joint(连接关节)Mirror Joint(镜向关节)Orient Joint(确定关节)Retargeting(重置目标)Joint Labelling(接合标注)Full Body IK(全身反向动力学)Set Preferred Angle(设置参考角)Assume Preferred Angle(采取参考角)Enable IK Handle Snap(反向动力学句柄捕捉有效)Enable IK/FK Control(反向/正向动力学控制有效)Enable Selected IK Handles(反向动力学句柄有效)Disable Selected IK Handles(反向动力学句柄无效)Skin(蒙皮)菜单Bind Skin(绑定蒙皮)Detach Skin(断开皮肤)Go to Bind Pose(恢复骨头绑定)Edit Smooth Skin(柔体皮肤编辑)Edit Rigid Skin(刚体皮肤编辑)Constrain(约束)菜单Point(关节)Aim(目标)Orient(方向)Scale(缩放)Parent(父子)Geometry(几何体)Normal(法向)Tangent(切线)Pole Vector(矢量坐标)Remove Target(移除目标)Set Rest Position(设置静止位置)Modify Constrained Axis…(修改约束坐标轴)Character(角色)菜单Create Character Set(创建角色属性)Create Subcharacter Set(创建子角色属性)Character Mapper(角色贴图)Attribute Editor(属性编辑器)Add to Character Set(添加角色属性)Remove from Character Set(从角色属性中移除)Merge Character Sets(合并角色属性)Select Character Set Node(选择角色属性节点)Select Character Set Members(选择角色属性成员)Set Current Character Set(设置当前角色属性)Redirect(改变方向)Polygons(多边形)模块Select(选择)菜单最常用的是上面五项:Object/Component(物体层级)Vertex(点层级)Edge(边层级)Face(面层级)UV(UV点层级)每一个后面都有对应的快捷键(后同)。

Maya动画及图片文件的渲染输出设置步骤

Maya动画及图片文件的渲染输出设置步骤

一、动画或图片系列文件的默认保存路径设置1、首先进入Maya的场景工作窗口,在Rendering应用窗口状态下,如下图7-1所示,点击File 选择Set Project…,打开对话窗口,如图2所示:图7-1图7-22、在如图7-3所示的对话窗口中,根据自己的存储需求,调整设置动画或图片文件默认保存文件夹,选定文件夹后,点击“Set”按钮确认退出对话框。

图7-3打开设置的动画或图片系列文件的默认保存文件夹,Maya系统在该文件夹下自动生成两个文件夹“images”和“renderData”及一个Mel脚本文件“workspace.mel”,如图7-4所示。

至此,成批渲染输出生成的动画文件(如*.AVI)或图片文件(*.jpg)就默认存在images文件夹中。

图7-4二、渲染输出默认格式(图片文件或动画文件)的设置Maya的场景工作窗口,在Rendering应用窗口状态下,如下图7-6所示,点击Windows→Rendering Editors→Render Settings,打开设置窗口,如图7-7所示,根据用户需求,设置渲染输出文件为动画(如*.AVI)或图片文件(*.jpg)。

图7-5图7-6设置渲染输出文件名的系统默认命名形式,如图7-7所示,一般选择“Name_#.Ext”或“Name#.Ext”等。

图7-7设置渲染输出动画或图片序列文件的帧长度,一般以帧为长度单位,如图7-8所示,设置起始帧及终止帧。

图7-8设置渲染输出动画或图片帧的尺寸及播放速率,尺寸一般以像素为单位,如图7-9所示,以上设置完成后,点击“Close”按钮确定退出。

图7-9三、成批渲染输出图片文件或动画动画设计制作完成后,通过渲染窗口进行效果查看及反复修改调整后,通过调用成批渲染输出,如图7-10、7-11所示,选择图7-11所示的“Batch render and close”按钮或“Batch render”按钮都可以动态比量渲染输出。

maya动画特效从新手到高手pdf

maya动画特效从新手到高手pdf

maya动画特效从新手到高手pdf摘要:I.引言- 介绍Maya 动画特效- 简述从新手到高手的过程II.Maya 动画特效基础- 什么是Maya 动画特效- Maya 动画特效的应用领域- Maya 动画特效的基本原理III.新手如何开始学习Maya 动画特效- 学习Maya 软件的基础操作- 掌握动画特效的基本概念- 学习Maya 动画特效的相关模块和工具IV.高手进阶之路- 深入了解动画特效的原理- 学习高级动画特效技巧- 制作具有创意和艺术性的动画特效作品V.实践项目与案例分析- 分析不同类型的动画特效项目- 分析经典动画特效案例- 总结项目实践中的经验和教训VI.职业发展- 动画特效行业的就业前景- 动画特效职业发展的路径- 提高个人技能和职业竞争力的方法VII.结语- 总结全文内容- 鼓励读者持续学习和进步正文:Maya 动画特效作为数字娱乐领域的重要分支,越来越受到行业和广大爱好者的关注。

从新手到高手,是一个不断学习、积累和实践的过程。

本文将为您详细解析如何从新手成长为Maya 动画特效高手。

首先,我们来了解一下Maya 动画特效。

Maya 动画特效是运用Maya 软件制作出的具有动画效果的视觉元素,可以实现角色、场景、道具等各种元素的动态效果。

这些特效广泛应用于电影、电视、游戏、广告等数字娱乐领域。

对于新手来说,学习Maya 动画特效需要从基础开始。

首先,要掌握Maya 软件的基础操作,了解界面布局、菜单功能和基本工具。

其次,要掌握动画特效的基本概念,如时间、速度、帧、关键帧等。

最后,学习Maya 动画特效的相关模块和工具,如动画编辑器(Motion Editor)、特效编辑器(Effects Editor)等。

成为高手,不仅需要熟练掌握动画特效的原理,还需要不断学习高级动画特效技巧。

例如,粒子系统(Particle System)、流体模拟(FluidSimulation)、布料模拟(Cloth Simulation)等高级特效的运用。

本教程将讲解maya流体有关插件操作的8个技巧

本教程将讲解maya流体有关插件操作的8个技巧

本教程将讲解有关插件操作的8个技巧,分别是Playblast动画效果预览、创建缓存、控制粒子随机大小、设定粒子的寿命、应用扰动场影响粒子的形态、在图片上发射粒子、空气场与拖曳场和刚体制作不倒翁。

技巧一:Playblast动画效果预览在Maya时间轴上单击鼠标右键,在弹出的菜单中即可找到Playblast(播放预览)命令,如下图所示。

使用该功能的目的是:在动力学效果比较复杂的情况下,动力学的解算需要花费一定的时间,因此不能按照24帧/秒的速度进行正常播放,也就无法观察以正常速度播放的动画,因此需要通过硬件拍屏的方式将动画过程记录下来,然后在播放软件中进行播放,从而观察以正常速度播放的动画效果。

(提示:通常在做角色动画和动力学解算时都需要用到Playblast功能进行预览。

)下面通过一个小案例来对Playblast(播放预览)做具体讲解。

步骤01:将配套光盘中本小节的场景文件“01 playblast动画效果预览”导入Maya软件中,如下图所示。

步骤02:在执行Playblast命令之前,首先需要对动画的播放参数做一些设置。

单击Maya 界面右下角的按钮,打开Preferences(参考)窗口中的Time Slider(时间滑块)面板,选择Playback(播放)栏下Looping(循环)中的Once(一次)选项,同时在Playack speed (播放速度)中选择Play every frame(播放每一帧)选项,如下图所示,最后单击Save(保存)按钮。

(提示:选择Play every frame(播放每一帧)选项可使动画按照结算的速度进行播放,如果选择Real-time[24 fps](实时[24 fps]),在播放动画时,会产生丢帧的现象。

)步骤03:在时间轴上单击鼠标右键,在弹出的菜单中找到Playblast(播放预览)命令,单击其后面的,打开Playblast Options(播放预览选项)窗口,设置播放器的Format(格式)为qt,Encoding(编码)为Photo-JPEG,提高Quality(质量)的值到100,提高Scale(缩放)的值到1,最后勾选Save to file(保存到文件)选项,并在Movie file(影片文件)栏中选择保存的路径和文件的名称(“maya”),如下图所示。

Maya动画基础原理 ppt课件

Maya动画基础原理  ppt课件

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基本设置
接下来将播放速率改为实时播放。在Preferences(参数)窗口中选择左 侧Categories(类别)中的Time Slider(时间滑块),然后在右侧将 Playback(回放)中的Playback Speed(回放速度)改为Real-time(24fps)[ 实时(每秒24帧)],最后单击Save(保存),这样动画就可以实时播放了 。
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Maya中动画的基本分类
5、动力学动画 此类动画多与自然界中的各种物理力学与运动
规律相关。 如:物体的掉落,柔体的随风飘动,刚体之间
的碰撞。此类动画主要节合Maya的动力学模 块进行制作。
ppt课件
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Maya中动画的基本分类
6、表达式动画 当某一物体的运动与时间或是其它物体运动之
动作跟随是指物体的运动超过了它应该停止的位置然后折 返回来,直到停止的位置。例:当我们扔一个东西的时候 ,在扔出去之后,胳膊因为惯性不会立刻停下来,而要继 续摆动几下才能停止,这就是跟随。
动作的重叠是指当主要动作改变动作方向或状态时,其角 色的附属物却仍按原动作方向运动,而不会立刻停止。例 :急刹车时,车虽停下,人会按惯性前倾,不会马上停止 。
好的理解。动作表现力能够很好地渲染气氛,因为它直观 的影响观众主观的态度、情绪、反应,以及想法等。 首先不要在同一时间出现过多的动作,这样易分散观众的 注意力而抓不住重点。其次,动作要与角色的情绪相配合 ,如一个情绪低落的角色,动作表现上一般是垂头丧气的 ,弓着背,而不能是昂首挺胸的。 此处特别强调的是对背景角色动作的设计要适当,它是衬 托的,是辅助的,因而不能抢了前景角色的风头。
ppt课件
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Maya动画模块

maya动画菜单运动路径(MotionPaths)指令详解(一)

maya动画菜单运动路径(MotionPaths)指令详解(一)

maya动画菜单运动路径(MotionPaths)指令详解(一)该命令中包含3个选项,如下图所示。

下面一一进行讲解。

一、Set Motion Path Key (设置运动路径关键帧)功能说明: 设定路径动画的关键帧,Maya会连接不同的运动路径关键帧位置,自动生成一条运动路径。

操作方法:选择要设置动画的对象,然后在不同的时间里改变对象的位置,单击执行。

应用效果:分别在第1帧、第4帧、第8帧、第12帧、第16帧、第18帧、第22帧和第26帧处执行该命令,结果如下图所示。

二、 Attach to Motion Path (连接到运动路径)功能说明:使对象沿着已有的NURBS曲线运动,这条NURBS曲线就是运动路径,路径可以是3D曲线,也可以是表面曲线,如果路径是表面曲线,那么运动对象在表面上沿曲线运动。

操作方法:先选择要设置动画的对象,然后按住Shift键加选路径路线,单击执行。

参数详解:单击Animate>Motion Paths>Attach to Motion Path> (动画>运动路径>连接到运动路径>)打开选项窗口,如下图所示。

该窗口中的部分参数在前面的小节中已经讲解过,这里只介绍该命令的特有属性。

*Parametric length (参数长度)指定对象沿曲线运动的方式有两种:参数间距和参数长度。

在参数间距方式中,标记表示对象在曲线U参数间距中的位置;而在参数长度方式下时,标记将按曲线总长度的百分比来表示对象的位置。

使用参数间距方式,则路径曲线上的CVs分布影响路径动画结果。

而使用参数长度方式容易得到对象的平滑运动,路径曲线上的CVs分布不会影响路径动画结果。

为了能够更好地理解这两种方法的区别,下面用一个图示来说明。

这是一条具有统一参数化但CVs之间的间距不相等的曲线,如下图所示。

曲线的起始位置在U为0处,结束位置在U为2.0处。

圆锥体的路径动画从第1帧到第30帧。

MAYA表情和镜头导出 1

MAYA表情和镜头导出 1

MAYA表情和镜头的导出(重要:同时需要导出表情和摄像机的时候,先导出摄像机后再导出模型就不容易出问题,反之容易很在动画层合并的时候出现问题)一摄像机的导出打开需要导出的MAYA源文件,点击视图栏左边的大纲快捷(如下图)点击视图栏上面摄像头快捷点开上面菜单,选择面板选项里透视选项,选定要使用的摄像机(看下图参考)选择后,视图栏会自动跳到所选择的摄像镜头再次点击摄像机快捷后,大纲自动跳到所选摄像机文件选项确定没问题了,查看摄像机属性面板(在视图的右边,位置如下图红框处),首先确认摄像机的属性有没有被锁定如下图,数值在灰框内,说明摄像机被锁定状态,这时候我们是不能编辑摄像机属性的,必须先解锁全选属性(如下图1)后右键点击,选择解除锁定选定项(位置如图2)图1图2当数值的灰色框变成红色或者黄色,说明我们已经解锁成功(如下图),可以进行下一步操作选择摄像机属性面板下面的项目栏,选择动画层选中一层绿点的层级,然后新建一层动画层全选所有动画层,点击右键,选择选项合并层合并成功后只有一层base层选择动画层,拖动帧数查看一下摄像机的位移旋转焦距是否有数值变化,如果位移旋转焦距没有数值变化,则需要手动K上数值,数值范围在0.00-0.02,如果都有变化则跳过下面分界线操作____________________________分界线_____________________________________________ 先在没变化的帧数开始K上一帧,在末尾帧改变数值,例如,给焦距K帧,右键选择起始帧末尾帧重要:起始帧与末尾帧调整差距不能超过0.02,也不能等于0.00,否则摄像头导出会失败或者镜头错误的现象____________________________分界线_____________________________________________烘培点击菜单栏的编辑,选择关键帧,然后设置烘培模拟(如下图,点击红框处)具体设置如下系类图设置完后点击应用,再点击烘培烘培完之后选择摄像机,文件的导出当前选择具体设置如下图:二模型表情的导出初始设置的准备打开MAYA文件,先清楚我们要引用的模型的文件位置人物路径S:\QSJResources\RigFile道具路径Y:\影视部\动画\Chr\道具S:\QSJResources\Prop For Maya因为要牵扯插件导出,先从服务器上将脚本复制到本地脚本路径S:\QSJResources\Plugin下的BakeAnimAndClearOtherKeyInMaya.py打开maya的脚本编辑器(位置如下图右下角红框处)现在要新建一个Python口令层在脚本编辑器里,长按鼠标右键,弹出快捷命令选项中选择新建选项卡在指定执行器源语言中,选择Python脚本里会出现新的一层Python将刚才复制的脚本直接拖入然后Ctrl+A全选里面的内容将其拖到自定义选项的空白处会生成一个图标(如下图),表示已经创建了快捷键到这里前期设置工作准备完毕,开始正式导出导出操作在大纲里选择需要导出人物的RIG、Reference、MOD如果命名旁边有蓝色的菱形,则说明这是一个引用文件,需要导入文件才可以使用,具体方法如下,选中文件,点击右键选择则可以将文件导入到本地命名旁边的蓝色菱形消失说明导入成功再次选中RIG、Reference、MOD,执行脚本(点击一下快捷键)*此操作会执行自动保存并且将RIG控制器删除,请确认所有文件都在本地,不要直接打开服务器上的文件等待脚本执行完成后会自动弹出保存窗口,更改设置后(如下图)命名,保存即可保存设置选项。

【理论篇】Maya动作调整MotionBuilder功能及用途介绍

【理论篇】Maya动作调整MotionBuilder功能及用途介绍

【理论篇】Maya动作调整MotionBuilder功能及⽤途介绍 本教程向的朋友们介绍Maya动作调整Motion Builder功能及⽤途,教程属于⼀篇理论知识教程,虽然⽂字有点多,但介绍地很详细。

相信⼤家能从中有个颠覆性的认识,原来功能可以开发成这样…… 相信⼤家都知道Maya,但却不能不知道Motion Builder,⼀套最强⼤的动作调整软件, Motion Builder 原属是加拿⼤Kaydara公司,但后来被Alias收购,改名为alias Motion Builder。

Motion Builder的⽤途很⼴泛,实时意味着你⽆需花时间等待渲染的结果,预览起来没有任何解析度及帧速率的限制,也就是所谓的"所见即所得",回放时的效果如同最终成品,因此可以清楚知道每时每刻的结果。

Motion Builder根据功能的不同,分为家庭版、专业版以及专⽤作运动捕捉的mocap版,⽽各个版本的功能相差很⼤,家庭版只有最基本的功能模块,没有Actor,同时只能打开⼀个take (就是⼀个动作⽚段),没有Motion blend,并且还缺少专业版的⼀些⼩功能;⽽专业版是没有什么限制的版本,⽀持Actor,Motion blend,同时打开多个take,增强了约束、关系式等的功能模块;⽽mocap版是相当于增加了运动捕捉功能的专业版,功能⼤致和专业版相同,可以拥有动作捕捉,⾯部表情捕捉等强⼤功能。

我在这⾥要讲解Motion Builder 6.0,它⽐起以前的版本也是有相当⼤的改进,包括改进的⽤户界⾯、⾃动记录动画帧、运动轨迹,3d路经动画等。

改进的⽤户界⾯:新版把常⽤的功能放到视窗的右边,⽅便⽤户操作(图 0)。

并且允许⽤户⾃定义界⾯的布局。

例如我们不想浪费Key controls的⾯板空间(图 0-1),想把Groups和Sets菜单放到Key controls⾥,我们可以把当前的布局保存下来,选择layout菜单下的Create new layout⼦菜单(图 0-2),在弹出的菜单输⼊⾃⼰定义的命名(图 0-3),MotionBuilder会把这个配置⽂件保存为⼀个txt的⽂本,放到x:\Program\Files\Alias\MotionBuilder6Pro\bin\config\Layouts\mylayout.txt,⽤记事本打开,找到描述Key controls菜单的⼀项,更改为(图 0-4),关闭Motion Builder,重新运⾏后,更改就起效了,我们可以看看我们改后的成果(图 0-5),是不是很⽅便呢?⽤户的⾃由度⼤⼤的提⾼了。

maya命令概述

maya命令概述

界面Polygon的建模方式通常是在一个简单的模型上不断地深入刻画细节,很类似于雕塑。

NURBS可以使艺术家很容易地建立光滑的曲面。

Subdivision可让你只对需要编辑的的部分增加面数,而其它地方保持不变,制作很精细的模型时,可极大地节省数据量。

2菜单栏与状态栏菜单栏包括了Maya的所有菜单和命令,状态栏中的图标包含一些常用的命令和辅助选择工具,如打开、存储文件、选择遮罩、成分模式捕捉工具等。

1菜单栏在Maya对菜单进行了分组的设置。

每组菜单对应一个软件模块:Animation动画模块、Polygons多边形模型、Surfaces曲面模块、Dynamics动力学模块和渲染模块,在菜单组之间切换,可使用状态栏最左边的下拉列表或热键。

缺省的热键定义是:F2(动画),F3(多边形),F4(曲面),F5(动力学),F6(渲染)。

位置如图1-002所示。

图1-0031.2.2状态栏状态栏主要分为七部分:文件按钮组、选择遮罩、选项选项、捕捉按钮、渲染按钮组、输入盒、工具条按钮组。

位置如图1-004所示。

图1-004文件按钮组选择遮罩选择遮罩工具可以快速地屏蔽掉不希望选择的对像种类。

在选择模式框中按住鼠标左键不放,便会弹出下接菜单,菜单中列出了所有的选择遮罩。

例如选择了NURBS后,用户在场景中便只能选择到NURBS物体,而不会误选到Polygon、动力学等其它类型的物体。

选择模式选择模式栏提供了3 种选择模式:层级模式、物体模式和成份模式。

图1-007•层级选择模式:在层级模式下有3种选择方式:选择根、选择叶、选择模板。

由于Maya使用了树状的拓扑结构来管理场景中的对像,所以“选择根”图标被激活时,单击物体,选择的是物体最顶级的父级物体,而不是物体本身;“选择叶”图标被激活时单击物体,会直接选择物体本身。

“选择模板”图标被激活后,用户可以直接选择设为模板的物体。

在Maya中,物体被设为参考模板后,一般是不能选择的。

从MAX或者MAYA中导出角色动画的注意事项

从MAX或者MAYA中导出角色动画的注意事项

unity3d 资源文件从MAX或者MAYA中导出角色动画的注意事项1.首先,Unity3d 中,导出带动画的资源有2种导出方式可以选择:1)导出资源时,只导出一个文件,保留模型,骨骼和所有的动作帧(把所有的动作,比如idle,attack,hit等等全部做成一个长动画),导出之后,放入unity3d,在project 窗口中选中FBX文件,在Inspector 窗口中,找到Split Animations选项,在该子选项下,拆分整个长动作为数个子动作。

2)导出的资源是分成模型,和多个动作的文件。

一个FBX是模型,其他的是动作文件。

导出模型时候,删除所有的动画,注意,是删除所有的动画哦,连T-POS 都要删掉,然后导出成一个FBX文件。

这个FBX就是模型资源。

然后同样的max资源,把其中的模型删除,保留骨骼和其中某一段动作,比如idle 的30 帧,删除其他的动作帧,然后再导出成一个FBX,这个FBX就是该骨骼的一个动作。

注意,动作文件是跟着骨骼走的,相同的骨骼可以使用同一个动作资源。

一般项目中,同职业啊,或者同种族等,男生一套骨骼,女生一套骨骼,这样动作资源就共享了。

方法一的优缺点:优点:操作简单,美术操作起来不易出错。

如果项目中,不需要游戏中切换动画,比如只有一个人,而且不需要后期更新。

那么这么做比方法2省掉了每个动作中的骨骼大小缺点:不灵活,单个资源太大,更新,修改,和加载都是问题方法二的优缺点:优点:组合方式灵活,单个资源控制到很小,加载,更新,修改的代价都很小。

而且如果项目中,角色非常多,而且这些角色是相同的骨骼,那么动作文件就全部可以共享。

和方法1相比,改一个动作只需要更新一个小小的动作FBX文件,而上面的方式,需要更新所有的角色的所有FBX文件。

缺点:导出操作复杂,美术操作易出错如果项目中,不需要游戏中切换动画,比如只有一个人,而且不需要后期更新。

那么这么做比下面的方法省掉了每个动作中的骨骼大小2.各种设置1.Bake AnimationBake Animation 要勾选上2.Curve Filters 勾选上3.Constant Key Reducer 勾选上动画的制作一般分为手K,和真人动作捕捉,前者一般是动画师手动可以控制每秒帧的数目(一般30帧每秒),倒出来的资源大小还是比较合适的,《忍》就属于这样的项目。

MAYA基本操作

MAYA基本操作

MAYA基本操作ﻫAlt+中键(不要松开) 移动视图Alt+左键(不要松开) 鼠标往左移动顺时针不要过大旋转视图Alt+右键鼠标往左移动则就是缩小视图,反则放大视图鼠标滑轮:放大缩小视图(最常用)Ctrl+N 新建工程ﻫCtrl+O 打开工程ﻫCtrl+S 保存工程Ctrl+Z 还原上一步操作MAYA有分一般,专家模式(就像玩游戏,对电脑)ﻫ切换命令:Shift+Ctrl+空格3DMAX跟MAYA都就是一样,都有四个视图ﻫ则就是透视图(最常用)Perseﻫ正视图Froutﻫ侧视图Sideﻫ顶视图Topﻫ切换四个视图得快捷键:选择要用得视图,然后空格,则可放大被选视图!再试下空格,呵呵,又回来了!ﻫ新建物体,MAYA大多都就是Ploygons建模,在基础上加线删线,挤压来改变物体得形状!在告诉您们更快捷操作命令前,先改一个设置ﻫMAYA界面最上面各模块命令前有个Crea te 打开后:第2个ploygons Primitives 点击又会出现另一行就就是要创建得物体名称,这个不说,瞧到最下面分割符号里得Interactive Creation把前面得对号勾掉,单击即可接下来就要创建想要得物体了。

这个对以后得操作习惯跟效率都有很大得关系这个命令俗称:热核视图里按着Shift+鼠标右键不动,发生了什么,有一圈得命令,这个就就是MAYA得快捷操作热核ﻫ(这个其实不当面跟您们操作应该很难理解,如果不会,有时间我会录制视频或者我亲自上门告诉您们!)Ploy Cube 创建立方体(一般就是正方体)最常用ﻫPloy Sphere创建球体常用Ploy Cylinder 创建圆柱体常用Ploy Cone创建圆锥Poly Torus 创建救生圈(我起得名字)ﻫPoly Plane 创建面片Ploy Disk 创建圆形面片创建以上物体都要按着Shift+右键(别松开)然后转动鼠标,有个很明显得选择条,ﻫ想要创建哪个,停在上面然后松开!(所有按着得都松)就是不就是出来了?以上操作请练习一个小时。

Maya命令大全,为初学者、业余爱好者学员使用

Maya命令大全,为初学者、业余爱好者学员使用

Maya命令大全,为初学者、业余爱好者学员使用大家好,我是一名专科大二的学生,很小的时候就喜爱动画,大一下学期的时候疯狂的迷上了三维动画,忽然想大学毕业之后,从事有关三维动画方面的工作,于是我在大二刚开学没多久的时候,报了杭州蓝铅笔的角色表演这个科目,现在还在学习中。

有喜爱三维动画的朋友,我们可以一起交流哦。

大家共同探讨和学习嘛,嘿嘿。

下面是我从网上或者是从软件上给大家收集和整理的一些关于maya的命令,希望对maya的初学者或者兴趣爱好者可以起到一定的帮助。

1、快速按空格键—四视图的切换2、Ctrl+Z——回退3、Alt+鼠标左键—旋转4、Alt+鼠标中键—移动5、Alt+鼠标右键—缩放6、名词解释Animation动画Polygons 建模Surface表面Pynamics动力学Rendering渲染Ncloty拓展Eage边Face面UV贴图7.绿色的轴y轴蓝色的轴z轴红色的轴x轴8. select tool—选择lasso tool—划线选择移动(W键)旋转(E键)缩放(R键)双击移动图标右侧选Solft Selection—软选择9. 5键可以让网格模型变成灰色实体4键恢复网格10.面数统计Display-Heads-Polycount11.打组Edit-Group (Ctrl+g)大纲Window-outliner12.级别组级别物体级别次物体级别13.Object Mode—回到物体级别【快捷菜单鼠标右击】14.Ctrl+d—复制Shift+d连续复制相同的物体(前提复制后没改变)15.创建线Create-CV Curve Tool(在正交视图中)完成按回车键,右击Control Vertex—修改16.Alt+左键—减选命令旋转成型在Surfaces(动画)下,Surface-Revove旋转成型设置,Output geometry—输出方式Tub—管Distance(距离例子做瓦)Polygons设置,Type—面设置,Quads—四边面(用这个)Standard fit—标准General—常规(用这个)注意:如果说点没有在网格上可以按住X键+移动,开始加点时可以按住X键+左键自动吸附到网格上。

maya

maya

这学期我接受了两个多月maya的学习与制作,由于这是初次接触,我经常会出现各种问题,对作品的进度和质量造成了一定的影响,现在作品完成了,对maya也有一定的认识,特意编写了这个供大家参考,避免某些不必要的错误和麻烦。

用maya制作三维动画,具体的步骤有:建模(人物和场景)、贴图材质、绑定人物/骨骼蒙皮、刷权重、动画(表情动画和人物动作)、灯光、装摄像机、渲染、下面分点介绍每一个步骤:一、建模polygons二、贴图财质贴图之前一定要先把模型展好UV,然后导出UV,用PS根据UV画我们需要的贴图。

一般简单的模型我们可以用maya自带的展UV的功能,复杂的模型可以用另外的软件展UV例:,这个软件可以很方便快捷地帮助我们展UV,这个软件可以根据我们的实际情况,按照自己的意愿随意展开UV.现在我举个用unfold3D展UV的例子:1、如图□1这是在maya上建好模型的一个头,现在我们先把它导出来。

(导出来的步骤是○1选择要导出的一个模型○2点主菜单File-Export Selection-工程文件的date 注意:保存的时候命名的下方File of type要改成是OBJ格式如图□2如果File of type下没有OBJ,那就要在window-Settings/Prferences-Plug-in Manager下,把OBJ打勾如图□3,勾后直接关掉就可)2、导出模型后,我们打开Unfold3D开始展这个头的UV。

打开Unfold3D,我们把头导进来。

File-Load-date选择我们要展UV的头。

如图□43、设置Unfold3D。

我们要把这个软件的控制方式设置成我们熟悉的maya的控制方式。

Edit-Mouse bindings 、Load presets-Alias Wavefront Maya、OK4、开始展UV。

如图□5左边是我们要展UV的头,右边是展出来的效果。

展UV我们主要用这个工具,选择这个工具以后,我们想从哪里展开就点击哪里即可如图□6,点击同时按着shit我们可以快速选择。

2024版Maya课程教案(新)

2024版Maya课程教案(新)

01
点光源、平行光、聚光灯等。
属性设置详解
02
颜色、强度、衰减等。
灯光效果演示
03
不同灯光类型在场景中的效果对比。
20
阴影效果调整优化
2024/1/24
阴影类型介绍
深度贴图阴影、光线追踪阴影等。
阴影属性设置
颜色、密度、偏移等。
阴影优化技巧
调整阴影分辨率、使用阴影贴图等。
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渲染设置及输出格式选择
UV编辑
UV编辑是调整模型表面贴图坐标的过程。通过UV编辑,可以 将贴图准确地映射到模型表面,避免出现拉伸、扭曲等问题。 Maya提供了多种UV编辑工具,如切割、缝合、展平等,以方 便用户进行精确的UV调整。
18
05
灯光与渲染技术解析
2024/1/24
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灯光类型及属性设置
2024/1/24
灯光类型介绍
04
材质与贴图技术探讨
2024/1/24
15
材质编辑器使用方法
打开材质编辑器
在Maya界面中选择“窗 口”>“渲染编辑器”>“材质 编辑器”命令,打开材质编辑器。
创建材质
在材质编辑器中,单击“创建” 按钮,选择需要的材质类型,如
Blinn、Phong等。
材质属性调整
在材质编辑器中,可以调整材质 的颜色、透明度、反射、折射等 属性,以模拟真实世界中的物质
2024/1/24
9
视图控制与导航
视图控制
了解视图控制的基本操 作,如缩放视图、平移
视图、旋转视图等。
2024/1/24
导航器
使用导航器工具可以快 速定位到场景中的任意
位置。
视图渲染

maya动画动作导出说明

maya动画动作导出说明

Exporting animated models from Maya to CrysisThis page gives instructions about the way to export animated models (.chr files) from Maya to Crysis. Before attempting to export an animated character, you should go to this page and try to export a simple s tatic mesh. It’s a good reading anyway, since the basic concepts are similar.Installation instructions for MayaCGF can be found on this page.GENERAL CONCEPT (Alternate Methods):1) The direct method:If you just want to do a simple animated model and you prefer to set keys directly on the skeleton that deforms the mesh, you can go ahead and do just that.Note that you should still select the root joint of your skeleton and click on “Prepare Joints For Export” before attempting to export a .chr file. This should be done prior to skinning or animating the joints.2) The master/slave method:This method offers the advantage of working well with your own pre-existing custom rigs. For this method, there should be in fact two skeletons for your model. One skeleton will be the skeleton you animate (the master skeleton), while the other skeleton (the slave skeleton) will actually deform the geometry. The master skeleton should be part of your animation rig.Again, the skeleton that deforms the geometry (on the left in the above picture) is a slave to the animation skeleton. The simple FK slave skeleton is the one that will be exported along with the character mesh.INSTRUCTIONS:You should work at film speed (24fps). At export time, your animation will automatically be converted to NTSC (29.97fps), which the CryEngine2 uses.The space unit can be set to anything (mine is on “centimeters”), but remember that one unit in Maya is equivalent to one meter in Crysis.The name of the exported file is derived from the name of the top node you select in Maya. So if you name the group containing your model “my_model”, the resulting exported files will be called “my_model.cgf”, “my_model.chr”, etc…The “exclude_GRP” is a group where you can put stuff you’d like to k eep within the main export group but that should not get exported.The mesh should be in the group bearing the name of the model you want to export (in the example below “ratTest”). You can also put the export skeleton and physics hierarchy within that group or choose to leave them parented to the world.The joints which are not an influence on the mesh (not part of the skincluster) will be automatically removed by MayaCGF at export time. So if the joint is part of your hierarchy, make sure it is also par t of the binding partition. You can then set its weights to 0 if it’s just a helper joint.IMPORTANT: Remember that all the joints that should appear in Sandbox 2 have to be an influence on the skin mesh. In other words, if you have a wrist joint which is parented to a forearm joint, but the forearm joint is not part of the skincluster, then the wrist (and all the joints which stem from it) will NOT be taken into account by the CryEngine2, even if THEY are part of the skincluster! This will likely wreak havoc on your model.After you freeze the rotations on the slave joints, the values from the jointOrient attributes have to be transferred onto the corresponding rotate channels. So by default the joints influencing the mesh should have values corresponding to their actual rotation and translation.To achieve this tedious task with just one click, select the root node of the slave skeleton (“bip01″) and click on “Prepare Joints For Export”(in the Tools section of MayaCGF).Then you can bind the mesh to the slave skeleton (set “Max Influence” to 4).Specific to master/slave method:The slave joints should bear the same name as the master joints, but be prefixed with “bip01_”. Then you just have to parent-constrain your “bip01″joints to the joints in your animation rig (the master skeleton). As a side note, you should probably hide t he slave skeleton, so you don’t select it by mistake. Remember that you shouldn’t interact directly with the slave skeleton!The next step is to parent-constrain the slave skeleton to the master skeleton. To automatically do that, you can click on “Constrain Slave Skeleton”. All you have to do is select the bip01 joint andrun the script. It will look for the master joints based on the slave joints’ name minus “bip01_”. So it you have a joint named “bip01_L_shoulder_JNT”, the script will connect it to an existing “L_shoulder_JNT”.Finally, you should bind the mesh to the slave skeleton (set “Max Influence” to 4).So to sum-up: the animation rig/skeleton drives the slave skeleton (“bip01″), which in turn drives the mesh.PHYSICS:If you do not want to be able to walk right through your animated model then you should also build a simplified physics skeleton for it. Create some very simple meshes that occupy roughly the same volume as your main joints and name them according to the joint they should represent plus “_Phys” at the end. For example, for a shoulder joint named “L_shoulder_JNT” you would build a mesh called “L_shoulder_JNT_Phys”.Note: The physics meshes won’t f ollow the joints movements in Maya. This is normal. If they get in the way visually, just put them in a layer and hide them. DO NOT turn their visibility off or they will not get exported!The physics hierarchy does not need to perfectly match the export skeleton one on one. In fact it is better if it doesn’t, as the skeleton for a classic biped can hold up to a hundred joints or more. The physics mesh should be few in number and fairly simple in topology (shperes, cubes, etc…). As long as the basic hierarchy makes sense and the name convention is respected, the physics will getexported correctly.Finally, to make the physics meshes solid in Crysis, assign a cryShader to proxy meshes (please refer to the static models instructions page). And make sure to do a “Freeze Transforms” and “Delete History” on all the “_Phys” meshes!BLENDSHAPES:You must first bind your base mesh to the skeleton and then apply all the blend shapes at once. The reason for this is that there can be only one blendShape node related to the skin cluster. So if you decide later on to add a blend shape to an already existing blend shapes set, you must first delete the existing blendShape node (not the blend shapes meshes themselves!) and then reapply all the blend shapes at once to your skinned base mesh.Also, you can move your blend shapes target meshes anywhere you want in space. Just make sure NOT to freeze their Translate channels, or else when you fire the target within Sandbox2, your whole mesh will jump in space as well!MODEL/RIG REQUIREMENTS:- To successfully export a model, the positive world X axis should point to the right of the model (to your left if you look at your model from the front). Usually, rigs and models are created with the world +X on your right and +Z towards you. So you’ll probably have to rotate your animation rig 180 degrees in Y. You’ll have to do the same for the geometry. Then don’t forget to freeze the transforms on the geometry!- The “bip01″joint (the root joint of your export skeleton) should have rotateX set to -90, rotateY to 0 and rotateZ to 90 (the other joints can be oriented any way you want, but try to avoid values neighboring 180 degrees). In addition, the “bip01″joint should lie at the origin of the world.- Make sure that the joints influencing the mesh do not have default values close to 180 in either rotation channel; this would result in weird flipping artifacts on those joints.- Always keep the default binding pose at frame 0 in your scene. It will be the reference frame upon which all your animations are based.- Your multiple meshes should be combined into one single mesh and its history deleted before you bind it.- The number of joints influencing one vertex in the CryEngine2 is limited to 4. In consequence, when bindin g your mesh to the joints, set “Max Influences” to 4 or less.- Each node (mesh, joint, etc…) in your model should have a unique name.- You should only use parentConstraints to drive the slave skeleton (do not use point or orientconstraints!).- There should be no instanced nodes in the model.- Scale attributes on the slave joints and geometry should be set to 1.- The “rotateOrder” of your deform skeleton’s joints should be “xyz“.- The “rotateAxis” and the “jointOrient” values of the slave skeleton’s joints should be 0 (and the “rotate” channels should inherit the “jointOrient” values).TROUBLESHOOTING:If you see joints twisting or popping out of place when you play your animation in Sandbox2, it probably means those joints have values in their “jointOrient” or “rotateAxis” attributes. Those should be set to 0; the only values should be in the “rotate” channels of the joints.Also double-check that the rotate values in your slave skeleton’s joints are nowhere near 180 degrees.If the default pose of your model looks wrong in Sandbox 2, turn on the joints label names and make sure all the joints have been exported (they most likely haven’t).EXPORTING ANIMATION:Again, you should always keep the default bind pose at frame 0 and set a key on all the joints. This is the reference frame upon which the animation export is based. If you don’t have this, your model will simply explode, both in Maya and Sandbox2.The path that appears in the Path text input only shows a partial result. Anything before “…/Crysis Wars/Game/Objects/…” will not appear. This is to keep the path short as to be able to see the export directory at a glance. If you hover your mouse over the text field, the complete path will appear. Choose the directory to which you want to export your model.Note that you can also click on the quick path menu line to access bookmarks that give you instant access to the last ten locations you used.To export animation, first click on “Add Animation Clip” to create… an animation clip! Give it a name and set the start and end frames for the animation. Finally, select your mesh group’s top node (in the first example above that would be “ratTest”) and click on “Export!”. When you export your animated model, several files will be created:.dae: Those are temporary Collada files; text files of your model which get compiled by the Crytek compiler to produce the actual files used by the CryEngine2..chr: Binary file containing the data for the mesh and joints (vertices, normals, weighting, etc…).caf: Binary file containing the animation data corresponding to a .chr file..cal: Text file listing the .caf animation files and the name under which they should appear in the Sandbox2 editor..cdf: Text file containing data regarding the character’s attachment s and the way it should appear if the player picks it up in his hands, as well as attachments..mtl: Text file containing the material (shader information) related to a model.LOADING YOUR MODEL IN SANDBOX2:To see your model in Sandbox2, simply call the Character Editor window (View->Open View Panel->Character Editor) and load the .chr file. You’ll see the list of available animations on the right-hand side column. The “null” animation is created by default and is just a one-frame place-holder. Your anima tions should be neatly located within a folder with your model’s name.原网址bbb://seithcgaaa/wordpress/?page_id=316[文档可能无法思考全面,请浏览后下载,另外祝您生活愉快,工作顺利,万事如意!]。

Maya 2016动画制作案例教程第六章Maya动画基础

Maya 2016动画制作案例教程第六章Maya动画基础
63约束动画选择连接到运动路径菜单可以将被约束对象连接到已有曲线上按照第1种方式创建运动路径动画后选择流动路径对象菜单会在被约束对象或曲线周围出现晶格使被约束对象在沿曲线运动时自身发生变形从而创建一种流畅的运动效果选择设定运动路径关键帧菜单会在创建关键帧动画时自动生成运动路径无需事先创建曲线这种方式很少使用第37页课堂案例2制作摩天轮动画父约束和点约束第38页下面通过制作摩天轮旋转动画介绍应用父对象约束和点约束制作约束动画的方法如图所示
第 5页
6.1 Maya动画制作入门
6.2 曲线图编辑器动画
6.3 约束动画
6.4 变形器动画 6.5 灯光和摄影机动画
Contents
目录
6.1 Maya动画制作入门
6.1.1 动画原理 传统动画和影视实质上是由一组静态画面按照一定顺序快速播放实现的,每一幅静态画面就相
当于一帧。由于人眼有视觉停滞现象,所以连续的画面看上去就像是“ 动”了起来。Maya动画也是如此,
(3)打开秋千模型的“ 曲线图编辑器”对话框,单击工具栏中的“ 后方无限循环 ”按钮 ,最后在摄影机视图中预览动画并渲染输出。
第 30页
举一反三 制作步骤
扫一扫
第 31页
6.1 Maya动画制作入门
6.2 曲线图编辑器动画
6.3 约束动画
6.4 变形器动画 6.5 灯光和摄影机动画
Contents
步骤2
将当前时间设为第100 帧,在顶视图中将篮球模型沿z轴向上移至合适位置,并在“ 属性编辑器”面板中 将其x轴的旋转角度设为-1800。这样一个篮球滚动的动画就制作好了。激活摄影机视图,然后单击动画控 制区中的“向前播放”按钮 ,即可预览动画,效果如图所示。
第 9页

Endorphin,MotionBuilder,Maya简单流程

Endorphin,MotionBuilder,Maya简单流程

Endorphin,MotionBuilder,Maya简单流程Endorphin 2.5 是英国Natural Motion 公司所最新研发的角色动态生成软件,里面拥有英国牛津大学实验室独步全球的Dynamic Motion Synthesis 生物动力学技术,经过适当的调整让每一个数字生物拥有自己的动作行为,自动演算反应出真实复杂、符合开发者想象的动画。

Endorphin 软件运行原理,是根据英国牛津大学长期在人工智能、人体生物力学的研究基础下,赋予虚拟角色最真实的生物动作模拟。

传统上,要做出动画中人物走路的画面,通常都需要仔细描述每个路径走法、或是透过Motion Capture 演员撷取输入动作数据,然而这种方式不仅太繁琐也需要高昂的开发成本。

endorphin 首创运用基因算法,把重力和人物的肌肉结构都设定好关连之后,透过类神经网络来控制肌肉的运动,教导人物角色自动演算出逼真的动作反应。

广受好评的endorphin 是一套自动化的3D 角色动态生成软件,不同于一般动画数据库,endorphin 的行为模块是在人工智能、生物动力学、基因演算的根基下,赋予角色拟真的动作及互动模拟,依循设计者的想象,创造出自然、灵活的动画呈现。

此外,其实时而聪敏的动态仿真效果、友善而便利的图形开发接口,以及视频背景投影、摄影资料导入等… 诸多特色,都能让动画师在直觉式工作环境下,比传统动画技巧少得多的时间内,实时的创建真实、复杂的角色动画,并直接修改调整参数、预览动画效果。

endorphin 亦巧妙的整合档案数据汇入及输出,无须改变角色的骨架系统设定,有效的延伸、扩充动画应用,显著的降低生产开发时程。

特点:实时的创建人物动画endorphin 将AI 应用到人体生物力学的模拟当中,你可以实时的调整动画、创建两个打斗的动画只需要要短短几分钟的时间,而真实的足球射门动作亦可以很快的完成。

产生完整干净的动态数据比起一般的Motion Capture,endorphin 将可产生毫无瑕疵与抖动的动态数据,不需要做任何后续清除噪声数据的程序,可节省大量的制作时间和成本。

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Exporting animated models from Maya to CrysisThis page gives instructions about the way to export animated models (.chr files) from Maya to Crysis. Before attempting to export an animated character, you should go to this page and try to export a simple s tatic mesh. It’s a good reading anyway, since the basic concepts are similar.Installation instructions for MayaCGF can be found on this page.GENERAL CONCEPT (Alternate Methods):1) The direct method:If you just want to do a simple animated model and you prefer to set keys directly on the skeleton that deforms the mesh, you can go ahead and do just that.Note that you should still select the root joint of your skeleton and click on “Prepare Joints For Export” before attempting to export a .chr file. This should be done prior to skinning or animating the joints.2) The master/slave method:This method offers the advantage of working well with your own pre-existing custom rigs. For this method, there should be in fact two skeletons for your model. One skeleton will be the skeleton you animate (the master skeleton), while the other skeleton (the slave skeleton) will actually deform the geometry. The master skeleton should be part of your animation rig.Again, the skeleton that deforms the geometry (on the left in the above picture) is a slave to the animation skeleton. The simple FK slave skeleton is the one that will be exported along with the character mesh.INSTRUCTIONS:You should work at film speed (24fps). At export time, your animation will automatically be converted to NTSC (29.97fps), which the CryEngine2 uses.The space unit can be set to anything (mine is on “centimeters”), but remember that one unit in Maya is equivalent to one meter in Crysis.The name of the exported file is derived from the name of the top node you select in Maya. So if you name the group containing your model “my_model”, the resulting exported files will be called “my_model.cgf”, “my_model.chr”, etc…The “exclude_GRP” is a group where you can put stuff you’d like to k eep within the main export group but that should not get exported.The mesh should be in the group bearing the name of the model you want to export (in the example below “ratTest”). You can also put the export skeleton and physics hierarchy within that group or choose to leave them parented to the world.The joints which are not an influence on the mesh (not part of the skincluster) will be automatically removed by MayaCGF at export time. So if the joint is part of your hierarchy, make sure it is also par t of the binding partition. You can then set its weights to 0 if it’s just a helper joint.IMPORTANT: Remember that all the joints that should appear in Sandbox 2 have to be an influence on the skin mesh. In other words, if you have a wrist joint which is parented to a forearm joint, but the forearm joint is not part of the skincluster, then the wrist (and all the joints which stem from it) will NOT be taken into account by the CryEngine2, even if THEY are part of the skincluster! This will likely wreak havoc on your model.After you freeze the rotations on the slave joints, the values from the jointOrient attributes have to be transferred onto the corresponding rotate channels. So by default the joints influencing the mesh should have values corresponding to their actual rotation and translation.To achieve this tedious task with just one click, select the root node of the slave skeleton (“bip01″) and click on “Prepare Joints For Export”(in the Tools section of MayaCGF).Then you can bind the mesh to the slave skeleton (set “Max Influence” to 4).Specific to master/slave method:The slave joints should bear the same name as the master joints, but be prefixed with “bip01_”. Then you just have to parent-constrain your “bip01″joints to the joints in your animation rig (the master skeleton). As a side note, you should probably hide t he slave skeleton, so you don’t select it by mistake. Remember th at you shouldn’t interact directly with the slave skeleton!The next step is to parent-constrain the slave skeleton to the master skeleton. To automatically do that, you can click on “Constrain Slave Skeleton”. All you have to do is select the bip01 joint andrun the script. It will look for the master joints based on the slave joints’ name minus “bip01_”. So it you have a joint named “bip01_L_shoulder_JNT”, the script will connect it to an existing “L_shoulder_JNT”.Finally, you should bind the mesh to t he slave skeleton (set “Max Influence” to 4).So to sum-up: the animation rig/skeleton drives the slave skeleton (“bip01″), which in turn drives the mesh.PHYSICS:If you do not want to be able to walk right through your animated model then you should also build a simplified physics skeleton for it. Create some very simple meshes that occupy roughly the same volume as your main joints and name them according to the joint they should represent plus “_Phys” at the end. For example, for a shoulder joint named “L_shoulder_JNT” you would build a mesh called “L_shoulder_JNT_Phys”.Note: The physics meshes won’t follow the joints movements in Maya. This is normal. If they get in the way visually, just put them in a layer and hide them. DO NOT turn their visibility off or they will not get exported!The physics hierarchy does not need to perfectly match the export skeleton one on one. In fact it is better if it doesn’t, as the skeleton for a classic biped can hold up to a hundred joints or more. The physics m esh should be few in number and fairly simple in topology (shperes, cubes, etc…). As long as the basic hierarchy makes sense and the name convention is respected, the physics will getexported correctly.Finally, to make the physics meshes solid in Crysis, assign a cryShader to proxy meshes (please refer to the static models instructions page). And make sure to do a “Freeze Transforms” and “Delete History” on all the “_Phys” meshes!BLENDSHAPES:You must first bind your base mesh to the skeleton and then apply all the blend shapes at once. The reason for this is that there can be only one blendShape node related to the skin cluster. So if you decide later on to add a blend shape to an already existing blend shapes set, you must first delete the existing blendShape node (not the blend shapes meshes themselves!) and then reapply all the blend shapes at once to your skinned base mesh.Also, you can move your blend shapes target meshes anywhere you want in space. Just make sure NOT to freeze their Translate channels, or else when you fire the target within Sandbox2, your whole mesh will jump in space as well!MODEL/RIG REQUIREMENTS:- To successfully export a model, the positive world X axis should point to the right of the model (to your left if you look at your model from the front). Usually, rigs and models are created with the world +X on your right and +Z towards you. So you’ll probably have to rotate your animation rig 180 degrees in Y. You’ll have to do the same for the geometry. Then don’t forget to freeze the transforms on the geometry!- The “bip01″joint (the root joint of your export skeleton) should have rotateX set to -90, rotateY to 0 and rotateZ to 90 (the other joints can be oriented any way you want, but try to avoid values neighboring 180 degrees). In addition, the “bip01″joint should lie at the origin of the world.- Make sure that the joints influencing the mesh do not have default values close to 180 in either rotation channel; this would result in weird flipping artifacts on those joints.- Always keep the default binding pose at frame 0 in your scene. It will be the reference frame upon which all your animations are based.- Your multiple meshes should be combined into one single mesh and its history deleted before you bind it.- The number of joints influencing one vertex in the CryEngine2 is limited to 4. In consequence, when binding your mesh to the joints, set “Max Influences” to 4 or less.- Each node (mesh, joint, etc…) in your model should have a unique name.- You should only use parentConstraints to drive the slave skeleton (do not use point or orientconstraints!).- There should be no instanced nodes in the model.- Scale attributes on the slave joints and geometry should be set to 1.- The “rotateOrder” of your deform skeleton’s joints should be “xyz“.- The “rotateAxis” and the “jointOrient” values of the slave skeleton’s joints should be 0 (and the “rotate” channels should inherit the “jointOrient” values).TROUBLESHOOTING:If you see joints twisting or popping out of place when you play your animation in Sandbox2, it probably means those joints have values in their “jointOrient” or “rotateAxis” attributes. Those should be set to 0; the only values should be in the “rotate” channels of the joints.Also double-check that the rotate values in your slave skeleton’s jo ints are nowhere near 180 degrees.If the default pose of your model looks wrong in Sandbox 2, turn on the joints label names and make sure all the joints have been exported (they most likely haven’t).EXPORTING ANIMATION:Again, you should always keep the default bind pose at frame 0 and set a key on all the joints. This is the reference frame upon which the animation export is based. If you don’t have this, your model will simply explode, both in Maya and Sandbox2.The path that appears in the Path tex t input only shows a partial result. Anything before “…/Crysis Wars/Game/Objects/…” will not appear. This is to keep the path short as to be able to see the export directory at a glance. If you hover your mouse over the text field, the complete path will appear. Choose the directory to which you want to export your model.Note that you can also click on the quick path menu line to access bookmarks that give you instant access to the last ten locations you used.To export animation, first click on “Add Animation Clip” to create… an animation clip! Give it a name and set the start and end frames for the animation. Finally, select your mesh group’s top node (in the first example above that would be “ratTest”) and click on “Export!”. When you export your animated model, several files will be created:.dae: Those are temporary Collada files; text files of your model which get compiled by the Crytek compiler to produce the actual files used by the CryEngine2..chr: Binary file containing the data for the mesh and joints (vertices, normals, weighting, etc…).caf: Binary file containing the animation data corresponding to a .chr file..cal: Text file listing the .caf animation files and the name under which they should appear in the Sandbox2 editor..cdf: Text file containing data regarding the character’s attachments and the way it should appear if the player picks it up in his hands, as well as attachments..mtl: Text file containing the material (shader information) related to a model.LOADING YOUR MODEL IN SANDBOX2:To see your model in Sandbox2, simply call the Character Editor window (View->Open View Panel->Character Editor) and load the .chr file. You’ll see the list of available animations on the right-han d side column. The “null” animation is created by default and is just a one-frame place-holder. Your animations should be neatly located within a folder with your model’s name.原网址/wordpress/?page_id=316。

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