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Reference Guide
Contents:
General
Interface Overview 2
Basic Topics 5
Advanced Topics 9
Modeling
Common Windows and Editors 11
Basic Topics 13
Advanced Topics 15
Animation
Common Windows and Editors 17
Basic Topics 19
Advanced Topics 21
Dynamics
Common Windows and Editors 23
Basic Topics 25
Advanced Topics 27
Rendering
Common Windows and Editors 29
Basic Topics 31
Advanced Topics 33
Maya 2008 Reference Guide
General: Interface Overview
2 3
4 6
9 10
7 Hotbox
Perhaps one of the most commonly used tool by
advanced users is the Hotbox. The Hotbox displays in a
convenient way all the different menus found in Maya.
This tool is displayed by pressing and holding down the
space bar anywhere in the interface.
Hierarchy
Navigate your selection by hierarchy with the keyboard arrows.
Up arrow Moves the current selection to a parent. Left arrow moves selection to the previous child.
Down arrow Moves the current selection to a child. Right arrow moves selection to the next child under.
Function Keys
The function keys are very important, since they allow you to quickly change the different menu sets and selection modes.
F1 will invoke the Maya help documents in your web browser. From there, you can In Maya, you can interact with objects in two main ways: object mode and
easily get answers to your questions. component mode.
Menu Sets F8 Toggles the selection mode from one to the other.
Each Maya menu set has a function key assigned to it. Pressing these function Masks
keys changes the current menu.
Quickly access different component masks.
F2 Animation F5 Dynamics
F9 Vertex F11 Face
F3 Polygons F6 Rendering
F10 Edge F12 UVs
F4 Surfaces
Numeric Keys
The numeric keys are also assigned significant actions, switching how the scene is drawn.
These keys change the drawing resolution of NURBS objects. Depending on your These keys change the display of the objects in your scene.
computers power and how it manages to draw the scene, you might want to go
4 Shows all objects in wireframe
for 1 low, 2 medium, or 3 high drawing resolution.
5 Shows all objects shaded
6 Displays textures on shaded objects
7 Calculates rough lighting
Camera Controls
By pressing and holding the Alt key along with different mouse button combinations, you can navigate your scene. The Tumble Tool is only used in the Perspective view
to rotate, but you can track and dolly in many other views such as the Orthographic, Hypergraph, Hypershade, Visor and Render View.
Tumble Dolly
Press and hold the Alt key and use the LMB to rotate Press and hold the Alt key and use the RMB to dolly in
the camera around in the 3D Perspective view. and out of your scene. The mouse wheel has also the
same effect.
Track
Press and hold the Alt key and use the MMB to pan left,
right, up, and down.
Toggle full view Source a MELscript by dragging the file onto the interface or browse by selecting
File > Source Script.
1 Press and release the spacebar over a panel to maximize it.
Increase/Decrease font size
2 Press and release the spacebar again to come back to the chosen layout.
Hold down the Ctrl key and use the mouse wheel to change the font size.
3 Change the desired units to fit your project. 1 Locate the Construction History button in the Status bar.
Enable/Disable undo 2 Enable or disable the construction history for upcoming actions.
1 Select the Undo category and set the number to suit your needs. Delete construction history on selected objects
Changing the playback speed 1 Select the objects with unwanted history.
1 Select the Timeline category and change the playback speed to customize 2 Select Edit > Delete by type > History.
how you want your scene to play over time. Delete construction history for the entire scene
3 Click Optimize or Apply. 1 Look for a Maya file in the Documents/temp directory in your home folder.
If the TEMP (Windows/Mac) or TEMPDIR (IRIX/Linux) variables are set, the
4 Open the Script Editor for more details on what was removed. recovery file will be saved to the path in the variable instead.
2 Open the file and check your scene to see if you are missing any data.
The Script Editor is used to create macros by dragging text from the history pane
to the Input pane. These macros or scripts can then be edited, executed, saved
or dragged to a shelf. The history pane will display results, warnings or errors
generated from commands, MEL scripts or Python scripts.
The most common editor is the Attribute Editor. An object can be defined as
a group of attributes that can be modified and animated. This editor is used
to review the attributes of selected objects and browse input and output
connections.
The Outliner lists all the objects in your scene and lets you browse hierarchies.
You can also select, parent and rename objects through this window.
Advanced users can list the underworld nodes, such as construction history or
The Reference Editor is the easiest way to see which files your scene is referencing
scene configuration nodes.
and it allows you to create, load, unload or remove them. A reference is a separate
file that is displayed and animated in the current scene, but not saved with it.
All the general preferences in Maya can be quickly reviewed, modified and
saved through the Preferences window. General settings include the unit of
measurement and enabling or disabling unlimited undos.
The Tool Settings window lets you change how the current tool behaves. Most
tools have settings that can be accessed through this window. In most cases,
double clicking on a tool in the Tool Box will display the Tool Setting Window.
The Hypergraph is similar to the Outliner window, but it has several advantages. It
allows you to edit the input and output connections between objects. It displays
animated object with slanted sides. Use the same mouse controls as the view
panels to navigate.
The Shelf Editor allows you to customize and organize your shelves. You can add,
rename or remove shelves, modify the appearance of buttons, and edit the button
commands. Saving your shelves is recommended in order to use them in another
Maya session.
Hotkeys
You can set custom Hotkeys for repetitive actions with the Hotkey Editor. Note that you should copy your Maya preferences to other computers to conserve them.
1 Select Window > Settings/Preferences > Hotkeys. 1 Click on the List All button and browse the Hotkeys by keys or by category.
2 If your Hotkeys command is a generic Maya command, such as Show Selected Finding a command
or Render View, find it in the Categories and Commands sections of the editor.
1 Click on the Search button in the lower right corner of the editor.
Then check if a hotkey is already assigned in the Current Hotkeys field.
2 Type the command and press Enter. Use asterisks as wildcards if it
3 If you know which key or key combination you want for your hotkey, enter it in
returns no results.
the Assign New Hotkey section.
3 It is recommended that you put the new command in the User Category.
Shelves userSetup.mel
The Shelves can greatly improve your speed when working with Maya. You can If you need to execute scripts or commands every time you launch a new Maya
completely customize their appearance through the Shelf Editor. session, it might be easier to put them into a MEL file which is always sourced
when Maya starts.
Add a button to shelf
Using userSetup.mel
1 Press and hold Ctrl + Shift, then select the desired menu item. The item
appears in the current shelf. 1 Locate the userSetup.mel file in your Maya/script/ folder. If the file does not
exists, create it.
OR
2 Copy or type the MEL commands you want to be executed for every Maya session.
1 Type MEL in the Script Editor and highlight the text.
3 Save the file and launch Maya.
2 MMB-drag the text to the desired shelf location.
3 You can customize the look of the newly created button through
the Shelf Editor.
Save Panels with File
Review a shelf button script
By default, when you save a scene file, Maya will also save the position of all the
1 MMB-drag the shelf button to the input section of the Script Editor. opened windows. You have the option to turn this feature off
OR 1 Open the Preferences window.
1 Open the Shelf Editor. 2 Select the UI Elements category.
2 Browse to your button in the Shelf Contents tab. 3 Find the Save panel layouts with file and Restore saved layouts from file
3 Click on the Edit Commands tab. check boxes.
4 Save your changes before closing the editor. 4 Uncheck both if you do not wish to use this feature.
1 MMB-drag the shelf button onto the garbage can icon located to the far
right of the shelves.
5 Test your custom menu in the test area at the bottom of the window. The insert key toggles objects between normal manipulation mode and Edit Pivot
mode. Editing the pivot of an object changes where the transformations originate.
6 Once you are done, click Save. Notice that your new marking menu now shows
up in the Marking Menus editor.
8 Open the Hotkey Editor to assign a Hotkey to the new menu found in the
User Marking Menus category.
3 Enter the following code and job number to kill the job:
scriptJob -kill 49
Paint Effects is usually used to add enhanced 3D elements to your scene, but
because it can be converted to polygons, you can use this tool to create models of
trees, grass or hair. Paint Effects geometry also retains its construction history, so
you can modify the Paint Effects parameters and immediately see changes.
The Artisan sculpting tool is perfect for moving vertices quickly with the stroke
of a brush. Simply paint your geometry with the Sculpt Polygon Tool or Sculpt
Surfaces Tool to push and pull vertices to achieve the shape you want.
The visor is used with Paint Effects to select different brushes to paint with. A The Relationship Editor provides a single place to create and edit relationships
large variety of brushes are available by default, and you can customize them to in Maya. A relationship is a collection or grouping of objects or components for
suit your needs. sets, deformer sets, character sets, partitions, display layers, shading groups and
light linking.
AUTODESK MAYA 2008 | REFERENCE GUIDE
11
Maya 2008 Reference Guide
Modeling: Common Windows and Editors
Components Editor
The Component Editor allows you to edit data assigned to components. For
example, use this window to edit the weights assigned to individual CVs by cluster
deformers.
There are many other windows and editors you can use for modeling purposes. The Attribute Editor is useful to review all the different attributes or connections of
a shape; the Hypergraph and Outliner for hierarchy tasks; the Script Editor for MEL and Python commands or scripts; and the Tool Settings window to customize
tools to achieve your desired results.
Primitives Artisan
To begin modeling, you usually start from a primitive shape and modify it to get The most intuitive way of adding details to an object is to push and pull the surface
to your final shape. For example, a head can start as a sphere, an arm as a cylinder just like a sculptor would do with clay. Artisan lets you use a mouse or a tablet to
and a car as a cube. sculpt any geometry type.
1 Determine the kind of primitive you need and 1 Select a polygonal geometry and
select its shape from the Create menu. ensure it has enough subdivisions to
create nice details. If not, add
2 Newly created primitives in Maya always have subdivisions manually, or by using Edit
a construction history node listed under the Input Mesh > Add Divisions.
section of your object in the Channel Box. Change
these attributes to get the desired initial shape 2 Select Edit Mesh > Sculpt Geometry Tool > o. Notice a red circle is drawn under
and divisions from the primitive. your mouse when you hover over the geometry.
3 Move, rotate and scale your shape to get it to the 3 Under the Brush section, change the radius of our brush for the desired size.
desired position and proportion.
4 Under Sculpt Parameters, select the desired Push, Pull, or Smooth operation
4 Go in Component mode and select the and select Normal as the Reference Vector.
appropriate selection mask.
5 Change the Max Displacement value to diminish or increase the effect of
5 Begin modifying the appearance of the primitive. sculpt deformer.
6 Use the appropriate tools from the Modeling menu set. 6 Draw directly on the geometry to sculpt it.
4 Select the points on the lattice box by going into component mode or right 4 Use the manipulators to scale and move the new
clicking on the lattice and select Lattice Point from the context menu. face into a triangular roof.
5 Move the points around and observe how the geometry reacts. 5 Repeat to create the chimney for the house.
Notice that each extrusion saves its construction
6 Once you are done, delete the history to freeze the deformed object. history in the Channel Box. You can modify it later if necessary.
Delete History
You can delete the construction history on geometry that no longer needs it.
Deleting history keeps your geometry light, your scenes easier to manage, and
your file sizes smaller.
1 Objects with construction history selected, select Edit > Delete By Type >
History.
2 To delete the history for the entire scene, select Edit > Delete All By Type >
History.
5 The construction history lets you modify the results in the Channel Box.
Booleans Stitch
A Boolean operation is applied to two pieces of intersecting geometry. The type of When modeling with NURBS surfaces, you often need to connect to edges
operation specifies which parts of the objects you want to keep: Union, Difference together. The stitch tool lets you pick two isoparms and connect them. This
or Interaction. Polygonal Booleans create the resulting geometry, and NURBS technique is often used along with global stitch for advanced patch modeling.
Booleans simply trim the surfaces to achieve the new shape.
Stitching two NURBS surfaces
Using polygonal Booleans
1 Create two NURBS cylinders.
1 Create two pieces of polygonal geometry.
2 Select Edit NURBS > Stitch > Stitch Edge Tool.
2 Move them in order to have them intersecting.
3 With the tool enabled, click on the first
3 Select both meshes. Note that the order in which surface border to be connected. Notice
you select them affects the result. that the tool shows a full yellow line when
an isoparm is selected. A dotted line means
4 Click on Mesh > Booleans > Union, Difference or that you have selected an isoparm but not necessarily the edge.
Intersection. The new geometry is one polygonal
mesh with construction history. 4 Click on the second isoparm to be connected. The tool will connect
them together.
1 Create a NURBS sphere. 1 Build half a rough human shape using polygons.
4 Set Project Along to Active View. With this 4 Translate the mirror plane to correctly mirror and cut
setting, the active viewport determines the axis of projection. your geometry.
5 Use the viewports as a guide for the curves projection, then make the most OR
appropriate orthographic view active and click Project.
1 With the geometry selected click on Mesh > Mirror
6 Move the original curve or the curve on surface and watch how the Geometry-o. Select the appropriate plane.
geometry reacts.
2 Click on the Mirror button. Notice that your geometry is
mirrored and merged across the most distant point on
the defined axis.
1 Create two polygonal spheres. 1 Create any type of geometry, and click on
the Make Live button. The object is
2 With the first sphere selected, click on Normals. displayed as a green wireframe.
3 Click on Harden Edge. 2 Select Create > NURBS Primitives > Sphere.
4 Select the second sphere and click 3 With the Move Tool, click the middle of
on Soften Edge. Then the Apply the manipulator and drag the sphere on
button. Examine the differences your geometry. It should snap to the Live
between the two spheres. objects surface.
5 Switch to component mode and select 4 To exit the Make Live mode, simply click on the Make Live button again.
a face from the smooth sphere, then repeat step 3. Notice how only the
selected face has hard edges.
The Graph Editor is an animators best friend. Whether you keyframe an object When you create character sets, you can create clips and poses from their
or a skeleton, Set Driven Keys, or create expressions, you can see the resulting animation. Clips and poses can then be assembled, blended, cycled, split and
curves in this editor. Graphically representing an animation makes it easier to view merged in order to create a totally different animation. Here, you can also add
interpolations and make timing corrections. sound to your scene.
You can view keyframes without their curves in the Dope Sheet window. This
makes it very easy to add, delete, or change the timing of keys in your animation.
To modify and animate only specific attributes, the Channel Control window
allows you to lock and/or set attributes as non-keyable.
When deforming geometry with Blend Shapes, the Blend Shape window acts like
a mixing device. Using the sliders to keyframe your animation makes it easy to
achieve the desired shapes.
Keyframing Constraints
When you need to move objects, animate characters, or control dynamics, you Constraints are often used in 3D because they automate various details such as
will inevitably use keyframing. Keyframes are the essence of animation and are set constraining a hat to a head, or aiming eyes at a ball. You can also have multiple
over time, which can then be played. source objects and adjust the constraint weight. For example, an apple on a table
picked up by a characters hand would be constrained to both the table and the
Setting keyframes to an object hand.
1 Create any type of primitive object. Create a constraint
2 Make sure the Time Slider is set to frame 1. 1 First, select the source object(s) to which the target object will be constrained.
3 Place the object in its initial position, then select Animate > SetKey. You can 2 Shift-select the target object.
also press the s hotkey.
3 Select the option box of the desired constraint, such as Constrain>Point-o.
4 Move the Time Slider a couple of frames forward. Keep in mind that depending
on your animation preferences, one second could be 24 frames or 30 4 Check Maintain Offset if you want the object to preserve the offset from
frames, etc. its pivot to the source. Uncheck it you want the object moved to the
source pivot.
5 Move the object to its final position and press s again.
6 Press the Rewind button, then the Play button. You should see your object
move over time.
12 Select the car and move it away from and into the garage. Watch the
door move.
3 Select the root joint, then Shift-select the 3 Press s to set a keyframe on every attribute or right
end joint. The IK handle should be created click on an attribute and choose Key Selected.
automatically. Try moving it around.
4 Select Window > Animation Editors > Blend Shape
4 Create any object to be used as a Pole
5 Adjust the sliders to change the attribute values. Notice how it is easier to
Vector object.
animate from this window since everything is just one click away.
5 Select the Pole Vector object, then Shiftselect the IK handle, and choose
Constrain > Pole Vector. Try moving the Pole Vector object around.
1 Select the animated object to be ghosted. 1 Create a biped skeleton with only one arm an done leg.
As long as the object moves, you will see
2 Select the arm bone.
an immediate result.
3 Select Skeleton > Mirror Joint- o, and select the appropriate mirror plane.
2 Select Animate > Ghost Selected o.
4 If your bone names contain, for example left or right, there is an option to
3 If you want to set the ghosting preferences
automatically replace them upon mirroring.
manually, change the Type of Ghosting setting.
5 Press Mirror to see a second arm appear on the opposite side of the skeleton.
4 Click the Ghost button.
4 Select Skin > Bind Skin > Smooth Bind-o. 4 Select the From Channel Box option and highlight the desired attributes in the
Channel Box. Set the Sample by number to define how often keys are set.
5 Make sure the Bind to option is set to
Complete Skeleton and leave the other 5 Click on the Bake button. Maya will play through the animation and bake
options as default values. the results.
6 Click Bind Skin. 6 The objects animation is now baked for the specified attributes. Delete the
motion path and playback the scene to confirm animation curves were
7 Rotate the elbow joint to see the result. created properly.
8 Adjust the weights with the Paint Skin Weights Tool.
1 When you have animation on your character nodes or character set, they can 1 Create an airplane out of a cone primitive.
be made into a clip. First, select the nodes whose animation will go in the clip.
2 Draw a curve in 3D for the plane
2 Select Animate > Create Clip-o. to follow.
3 Give a name to the new clip and leave the remaining options as default values. 3 Select the plane, then the curve, and
choose Animate > Motion Paths > Attach
4 Click on the Create Clip button. Notice the keyframes in the timeline are gone, to Motion Path-o.
but your animation is still moving the character.
4 Make sure to set up the front and up axes correctly. Check the Bank option if
5 Open the Trax Editor from Window > Animation Editor. If your character set you want your plane to rotate sideways while turning.
doesnt show up, select List > Load Selected Characters. To center the clip, press
A to Frame All. 5 Click Attach. Play your animation.
6 You can cycle, split and/or blend the clips as needed from this window.
7 You can also import and export your clips to and from a clip library.
Muscles Expressions
Muscles can be achieved by combining several Maya deformation tools. Using Sometimes, it is much simpler to control attributes with an expression then
these techniques, your characters can have a pretty realistic and organic feel. keyframing them. For example, it is simpler to animate a click via an expression.
1 Once your characters skin is bound to a 1 Create a clock with hour, minute and
skeleton, select the component points second hands.
around the bicep area.
2 Open Window > Animation Editors >
2 Create a sculpt deformer by selecting Expression Editor.
Deform > Sculpt Deformer.
3 Write this expression in the Expression field:
3 Scale and move the sculpt deformer so that seconds.rotateZ = (frame / 30)*360;
the bicep area looks relaxed. minutes.rotateZ = (frame / 1800) *360;
hours.rotateZ = (frame / 108000) *360;
4 Parent the deformer and its origin to the
shoulder joint. 4 Click on the create button.
5 Set a driven key on the arm in a relaxed position. 5 Press Play and watch the clock start ticking.
6 Bend the elbow, scale up the deformer, and set another driven key.
When you need to review and modify a dynamic system, the Hypergraph can
show you the dependency graph along with all the connections.
Maya has two types of particles: software and hardware. Hardware particles can
be rendered with your graphics card through the Hardware Render Buffer or with
the Hardware Renderer.
The Attribute Editor is one of the most important editors when using Maya
dynamics. With it, you can modify and fine-tune all of your particle effects and
dynamics solutions.
The Attribute spread sheet lets you access and modify per component attributes,
which would hardly be accessible otherwise.
5 Change the Emitter Type to Surface to have the particles emitted evenly
over the surface.
7 If you do not want any more particles to be emitted, delete the emitter or set
Create a hinge or pin constraint its Rate attribute to zero.
6 When you play your scene, the cube should keep its shape, like if it was
made of jelly.
Goals Cache
A Goal is an object that particles follow or move towards. You can use goals to Caching stores dynamic simulations either to disk or to memory, enabling you to
give trailing particles a flowing motion thats hard to generate with other see the desired effect without waiting for playback computation. Also, caching
animation techniques. The trailing particles move as if connected to the goal results in more efficient renders, especially when using multi-processor batch
by invisible springs. rendering. Maya loads the particles from the disk cache instead of re-computing
them. This avoids the particle run-up at the start of the rendering process.
Create a particle Goal
Create a particle cache
1 Select Particles > Particle Tool > o and
enable the Sketch Particles checkbox 1 Select Solvers > Create Particle Disk Cache > o
and draw graffiti in your scene.
2 Set the cache options, then click the Create button. Maya will then play your
2 Create an emitter, emit some particles scene, recording each frame into the particle cache.
and select them.
3 Once this is done, you can now scrub in the timeline.
3 Shift-select the sketched particle object.
4 Save your scene before batch rendering to ensure Maya locates the cache file.
4 Select Particles > Goal.
5 Press Play and see the new particles being attracted to the graffiti particles.
7 Experiment with the Goal Smoothness, Goal Weight and Mass attributes.
Solvers Instancing
A solver gathers all the algorithms to provide the data required to simulate the A particle instancer will place an object instance at each particle position. Each
details of physical motion. There are different kinds of solvers in Maya such instance can also be rotated independently in the direction it is moving. The
as the rigid body, Maya cloth instanced geometry can be animated, making it easy to simulate crowds.
and IK solvers. In order to keep
Create an arrow swarm
your scene light, you can create
multiple solvers that simulate 1 Model a low-count polygon arrow pointing along the positive X axis.
independent groups of objects
instead of the entire scene. 2 Create a Directional emitter and assign a Gravity field to its freeze transforms.
Create a new solver 3 Select the particles and change their Lifespan Mode to Constant.
1 Create a first group of Active Rigid Body cubes and a Passive Rigid Body floor. 4 Select the arrow geometry and choose Particles > Instancer (Replacement) > o.
Your arrow geometry should appear in the Instanced Objects list.
2 When you are ready to create a second group of rigid bodies, select Solvers >
Create Rigid Body Solver. Note that the Solvers > Current Rigid Solver is set to the 5 Make sure the Particle Object to Instance is set to the particles you
newly created solver. All the new rigid bodies will be connected to that just created.
new solver. 6 Click on the Create button. You should see instances of arrows at each
3 Create a second group of active rigid body cubes. particle position.
4 Select all of your active rigid bodies and create a gravity field. 7 Select the particle node and open its Attribute Editor.
5 When you play your scene, the two groups of rigid bodies will be evaluated 8 Under the Instancer (Geometry Replacement) section, change the Aim
separately. They do not influence each other. Direction of the Rotation Options section to Velocity. That will point the arrow
in the direction it is moving.
Note: In simple scenarios a better solution might be to use the Collision Layer
attribute. If a Collision Layer is set to -1, every rigid body will collide with that
object. For any other positive value, the rigid bodies wont collide.
7 To use the hardware renderer, select Window > Rendering Editors >
Render Settings.
9 The Common tab will allow you to set the frame range of your render,
resolution, and how you would like to name your rendered images.
10 The Maya Hardware tab, allows you to add motion blur and adjust the shading
properties of the particles in your scene.
Rendering is what 3D software is all about. The Render view is a small window
within the interface that allows you to quickly render individual frames or stills of
your animation or current views. Renders are created when the software computes
your scenes geometry, textures, lighting, and dynamics into a final image. This
editor also has Interactive Photorealistic Renderer (IPR). This allows you to see
quick updates of any changes done to lighting, color, or textures in your scene.
The Render Settings window contains settings that affect the final out come of
your render. This window also contains a dropdown menu(render Using) that
allows the user to choose between one of the four different renderers: Maya
Software, Maya Hardware, mental ray for Maya, and Vector Renderers.
The Attribute Spread Sheet displays all the attributes of a selected objects. It
The UV Texture Editor lets you visually map and edit the UVs of a polygon mesh separates the attributes under headings and categories, which allows you to
or subdivision. change certain items all at once. For example, you could turn of the Casts Shadow
flag for a number of objects all at once.
The Hypershade is an editor that allows you to create, edit, and connect
rendering nodes such as textures, materials and utilities to create more complex
and interesting shading networks. This window displays each node as a swatch
representing the characteristics of the node.
You can use the Paint Effects to paint on a 2D or 3D canvas, creating stunning
textures right in Maya. The painted textures can then be used in your scene or The Multilister is like a simplified alternative to using the Hypergraph. It
saved for use elsewhere, just like any other image file. displays and updates swatches as you modify them, but things like connections
arent visible.
Lighting Reflections
Before rendering a 3D scene, you must add light There are two kinds of reflections in Maya: real
sources. There are many options available to create reflections, calculated from the objects in your
the most accurate and realistic lighting such as Light scene, and fake reflections, images you map
Intensity, Color, Decay and Shadow Casting. as reflections. Fake reflections are quicker to
render and can have excellent results.
Create and edit lights
Using the environment ball node
1 With some geometry in your scene, click on
Create > Lights > Spot Light. 1 Create an object and assign a Phong
material to it.
2 Position the new light in your scene. To place the light, select Panels >
Look Through Selected. Select Panels > Perspective to go back to normal view. 2 In the materials Attribute Editor, click on
the Map button for the Color attribute.
3 Press 7 on your keyboard to see rough scene lighting. For accurate rendering,
open Window > Rendering Editor > Render View... and select the 3 Scroll to the Environment Textures section in the Create Render Node window.
Render button.
4 Click on the Env Ball button. The environment ball is now mapped on
4 Open the spot lights Attribute Editor. your object.
5 Adjust the light attributes and render the scene to examine their effects. 5 Click on the map button for the Image attribute of the envBall node and assign
it a File texture.
7 Since reflections do not show up in the viewports, you need to render your
scene to see the result.
2 Render your scene. Note that if there are no lights in your scene, Maya will 2 Open Window > Rendering
use default lighting. Editors > Hypershade...
3 If you would like to move or scale the rendered image, use the same mouse 3 Create a Phong material and assign it
control as you would in any viewport. to the sphere.
4 To save the current rendered image to disk, select File > Save Image. 4 Open the materials Attribute Editor.
5 Click on the Map button for the Color attribute and then click on the
Leather button under 3D texture. This will connect a Leather texture to your
materials color.
6 Tweak the Leather attributes to achieve yellow skin with darker spots.
7 In the Work Area of the Hypershade, you should see your current shading
network. MMB-drag the Leather texture onto the material again and map it
onto the Specular attribute. Repeat once more and map it into the
Bump Map attribute.
1 Create a NURBS sphere. 1 With your current scene open, click on the Render Settings button
or Window > Rendering Editors > Render Settings...
2 With the sphere selected, choose Texturing >
3D Paint Tool > o. 2 Under the Common tab, set image options such as the name, resolution
presets and channels.
3 Scroll down to the File Textures section and make
sure the Attribute to paint is set to Color. 3 Under the tab for the current renderer, set rendering options such as the
Quality, Anti-aliasing, and Motion Blur.
4 Click on the Assign/Edit Textures button to make
the object paintable.
1 Click on the Get Brush button at the top of the 3D Paint Tool window.
3 Choose whether you want full 3D blur or a simpler 1 In the desired view, select
2D blur and test render your scene. You should see View > Camera Attribute Editor...
a blur trailing behind animated objects. 2 Under the Environment section, click on the Create Image Plane button.
Enable refractions and reflections in Maya Software renderer The Attribute Editor will automatically update with the image plane node.
1 Open Render Settings and select the Maya Software tab. 3 Click on the Browse button next to the Image Name attribute and choose
a picture file.
2 Enable the Raytracing checkbox and set the
different Raytracing attributes. 4 Set the Placement options and modify the size, position and depth of
the image plane.
3 Enable the Raytracing Refractions on the desired
object material. 5 When using a reference for modeling, assign image planes to the front and
side Orthographic views.
4 Test render your scene. You should see refracting
and reflecting effects.
4 Test render your scene. You should see light patterns on objects that have Using Paint effects
refractions and you should see that the light bounces off objects in the scene. 1 Open an empty scene and select
Enable Final Gather in mental ray for Maya Paint Effects > Paint Effects Tool o.
1 Open the Render Settings and select the mental ray tab. 2 Select Paint Effects > Get Brush to open the Visor to access the brush presets.
2 Enable the Final Gather checkbox and set the 3 Double click on a brush to copy its settings to the current brush.
different attributes. 4 Draw strokes straight on the scene grid. You should see the Paint effects grow
3 Add Irradiance on the desired object material. in the viewport. Only a representation of the actual result is drawn to preserve
the interactive nature of the viewports.
4 Test render your scene. You should see the
color of your object spill onto others. 5 Render your scene to get a closer look at the result.
Enable Image Base Lighting in mental ray for 6 If you need to convert strokes into polygons, select the stroke, then choose
Maya Modify > Convert > Paint Effects to Polygons. Note that construction history
is retained.
1 Open the Render Settings and select the mental ray tab.
2 Set one lights color to red and the other to blue. Notice that both lights 2 Open a shell, and navigate to the directory your scene is in. Depending on
affect all three spheres. which renderer youre using, you will use different commands.
3 Select Window > Relationship Editor > Light Linking > Light-Centric. To fin out the flags to use with the chosen renderer, type:
Render -help -r <renderer>
4 In the Relationship Editor, select one of the lights. You should see the different Where <renderer> is: mr = mental ray for Maya
objects affected by that light highlighted on the right side of the editor. sw = Maya Software
5 Toggle the links to different objects and render the scene to see the results . hw = Maya Hardware
vr = Maya Vector Renderer
4 Open the Attribute editor for a shader and change its settings. Watch the IPR
update your render automatically.