Monday, May 16, 2011

History Of Autodesk Maya

Maya is the culmination of three 3D software lines: Wavefront's The Advanced Visualizer (in California), Thomson Digital Image (TDI) Explore (in France) and Alias' Power Animator (in Canada). In 1993 Wavefront purchased TDI, and in 1995 Silicon Graphics Incorporated (SGI) purchased both Alias and Wavefront (due to pressure from Microsoft's purchase of Softimage earlier that year) and combined them into one working company, producing a single package from their collective source code. In the mid-1990s, the most popular pipeline in Hollywood films was a combination of tools: Alias Studio for modeling, Softimage for animation, and PhotoRealistic RenderMan for rendering

The combined company was referred to as Alias|Wavefront. It took Alias|Wavefront two more years after the merger to release the highly anticipated Maya.

Both Alias and Wavefront were working on their next generation of software at the time of the merger. Alias had taken a Macintosh product, "Alias Sketch!", moved it to the SGI platform and added many features to it. The code name for this project was "Maya", the Sanskrit term for "illusion." The first scene ever animated with Maya was the cave-mouth from Disney's "Aladdin".[citation needed] Maya was developed in close collaboration with Disney and the GUI was all customizable as a requirement from Disney so they could set up their own GUI and workflow based on decades of animation experience and without giving up the technology to Alias. This had a large impact on the openness of Maya and later also help the software become the de-facto industry standard, this since most facilities implement extensive proprietary customization of the software to gain competitive advantage.

After much discussion it was decided to adopt Alias' "Maya" architecture, and merge Wavefront's code with it.

In the early days of development, Maya used Tcl as the scripting language. After the merger, there was debate amongst those who supported Tcl, Perl and Sophia. Sophia was much faster than the others and won out. However, once error checking was added, it ended up being equally slow.

Upon its release in 1998, Alias|Wavefront discontinued all previous animation-based software lines including Alias Power Animator, encouraging consumers to upgrade to Maya. It succeeded in expanding its product line to take over a great deal of market share, with leading visual effects companies such as Industrial Light and Magic and Tippett Studio switching from Softimage to Maya for the animation software.

Later Alias|Wavefront was renamed Alias. In 2005 Alias was sold by the cash-strapped SGI to the Teachers' pension fund of Ontario and the private equity investment firm Accel-KKR. In October 2005, Alias was sold again, this time to Autodesk, and on January 10, 2006, Autodesk completed the acquisition and Alias Maya is now known as Autodesk Maya.

Maya has been used to animate popular television shows. It is used in combination with CorelDRAW to animate the cartoon South Park,[2] and has been used to make 3D segments on Futurama and games such as Xenosaga, Resident Evil, and character models in F.E.A.R. Every episode of VeggieTales after Larry-Boy and the Rumor Weed was animated using Maya. It is now used to do the 3D modeling in Channel 4's Grand Designs.

Maya has also been Crystal Dynamics' (US game designers) main software, creating such titles as Tomb Raider: Legend, Tomb Raider: Anniversary and Prince of Persia. The software was also used to create the best selling game The Sims.

Autodesk Maya versions

A|W Maya 1.0.1 (October 1998) – Windows Version
A|W Maya 1.0.1 (June 1998) – IRIX Version
A|W Maya 1.0 (June 1998) – first Windows Version
A|W Maya 1.0 (February 1998)
A|W Maya 1.5 (October 1998) – IRIX only
A|W Maya 2.0 (June 1999)
A|W Maya 2.5.2 (March 2000)
A|W Maya 2.5 (November 1999)
A|W Maya 3.0.1 (Jan 2001)
A|W Maya 3.0 (February 2000) – first Linux Version
A|W Maya 3.5.1 (September 2002) – Mac OS X only
A|W Maya 3.5 (October 2001) – first Mac OS X Version only
A|W Maya 4.0.2 (May 2002)
A|W Maya 4.0 (June 2001) – no Mac OS X Version
A|W Maya 4.5 (July 2002
A|W Maya 5.0.1 (Oct 2003)
A|W Maya 5.0 (May 2003)
Alias Maya 6.0 (May 2004)
Alias Maya 6.0.1 (August 2004)
Alias Maya 6.5.1 (December 2005)
Alias Maya 6.5 (January 2005) – last IRIX Version
Alias Maya 7.0.1 (December 2005)
Alias Maya 7.0 (August 2005)
Autodesk Maya 8.0 (August 2006) – First 64-bit release
Autodesk Maya 8.5 (January 2007) – Intel-based Mac OS X
Autodesk Maya 8.5 Service Pack 1 (June 2007)
Autodesk Maya 2008 ver. 9.0 (September 2007) – Support for Windows Vista
Autodesk Maya 2008 Extension 1, ver. 9 (December 2007) – Maya Muscle
Autodesk Maya 2008 Extension 2, ver. 9.0.1 (February 2008) – Enhanced Creative Control

Autodesk Maya 2009 Service Pack 1, ver. 10 (14-Apr-2009) – includes over 100 fixes
Autodesk Maya 2009 ver. 10 (August 2008)
Autodesk Maya 2010 (August 2009)
Autodesk Maya 2011 Service Pack 1 (30. Sep 2010) [mray 3.8.1.33]
Autodesk Maya 2011 Subscription Advantage Pack (29. Sep 2010) [mray 3.8.1.33]
Autodesk Maya 2011 Hotfix 3 (21. Jul 2010)
Autodesk Maya 2011 Hotfix 2 (14. Jun 2010)
Autodesk Maya 2011 Hotfix 1 (10. May 2010)
Autodesk Maya 2011 (6. April 2010)
Autodesk Maya 2012 (March 2011)

List of shortcut keys in Maya

Snapping Operations

c     Snap to curves
x     Snap to grids
v     Snap to points
j     Move, Rotate, Scale Tool snapping
Shft+J     Move, Rotate, Scale Tool relative snapping
 
Painting Operations

Alt+f Flood with the current value
Alt+a              Turn Show Wireframe on/off
Alt+cTurn Color Feedback on/off
Alt+rToggle Reflection on/off
u+LMBArtisan Paint Operation marking menu
bModify upper brush radius
Shft+BModify lower brush radius
Ctrl+bEdit Paint Effects template brush settings
iModify Artisan brush Stamp Depth
mModify Max Displacement (Of Sculpt Surfaces and Sculpt Polygons Tool)
nModify Value
/Switch to pick colour mode
'Select cluster mode (Of Paint Weights Tool )
8Open Paint Effects panel
o+LMBPoly Brush Tool marking menu
o+MMBPoly UV Tool marking menu
 
Tumble, Track or Dolly

Alt+LMB     Tumble Tool
Alt+MMBTrack Tool
Alt+RMBDolly Tool
 
Display

4                   Shading > Wireframe
5Shaded display
6Shaded and Textured display
7Lighting > Use All Lights
d+LMBDisplay Quality marking menu
1Low Quality Display setting
2Medium Quality Display setting
3High Quality Display setting
 
Displaying Objects (show, hide)

Ctrl+h                        Display > Hide > Hide Selection
Ctrl+Shft+HDisplay > Show > Show Last Hidden
Alt+hDisplay > Hide > Hide Unselected Objects
Shft+IShow > Isolate Select > View Selected
 
Tool Operations

Return                               Complete current tool
~Abort current tool
InsertEnter tool Edit mode
Shft menu+QSelect Tool
Shft menu+Q+LMBComponent marking
Alt+qSelect tool
Alt+q+LMBPolygon marking menu
q+LMBMask marking menu
wMove tool
w+LMBMove tool marking menu
eRotate tool
e+LMBRotate tool marking menu
rScale tool
r+LMBScale tool marking menu
tShow manipulator tool
ySelect last used tool (Excluding Select, Move, Rotate and Scale)
jSnap Move, Rotate, Scale tool
= or +Increase manipulator size
-Decrease manipulator size
 
Animation Operations

s                               Animate > Set key
iInsert Keys tool (for graph editor)
Shft+S+LMBKeyframe marking menu
Shft+S+MMBTangent marking menu
Shft+ESet key for Rotate
Shft+RSer key for Scale
Shft+WSet key for Translate
Alt+sCycle handle stiky state (for IK handles)
 
Playback Control

Alt+.                       Move forward one frame
Alt+,Move backward one frame
.Go to Next key
,Go to previous key
Alt+vTurn Playback on/off
Alt+Shft+vGo to Min Frame
 
Hotbox Display

Space                 Hotbox
Alt+mDefault Hotbox Style (Zones and Menus Rows)
 
Window and View Operations

Crtl+a               Toogle Attribute Editor and Channel Box
aFrame all in active panel
a+LMBHistory Operations marking menu
Shft+AFrame All in all views
fFrame selected in active panel
Shft+FFrame selected in all views
]Redo view change
[Undo view change
`Set keyboard focus to command line
Alt+`Set keyboard focus to numeric input line
F1Help > Contents and Search
 
Moving Selected Objects

Alt+Up arrow                  Move up one pixel
Alt+Down arrowMove down one pixel
Alt+Left arrowMove left one pixel
Alt+Right arrowMove right one pixel
 
Traversing the Hierarchy

Up arrow                          Walk up the current hierarchy
Down arrowWalk down current hierarchy
Left arrowWalk left current hierarchy
Right arrowWalk right current hierarchy
 
Modeling Operations

Crtl+Up arrow                Display coarser Sub-d level
Crtl+Down arrowSelect/refine Sub-d component
Crtl+F9Convert poly selection to Vertices
Crtl+F10Convert poly selction to Edges
Crtl+F11Covert poly selection to Faces
Crtl+F12Convert poly selction to UVs
 
File Operations

Ctrl+n                             File > New Scene
Ctrl+oFile > Open Scene
Ctrl+sFile > Save Scene
Ctrl+qFile > Exit
 
Selecting Menus

Ctrl+m                           Show/Hide main menu bar
Shft+mShow/Hide panel menu bar
h+LMBMenu Set marking menu
F2Show Animationmenu set
F3Show Modeling menu set
F4Show Dynamics menu set
F5Show Rendering menu set
 
Edit Operations

z or Ctrl+z                     Edit > Undo
Shft+zEdit > Redo
gEdit > Repeat
Shft+GRepeat command at mouse position
Ctrl+dEdit > Duplicate
Shft+DEdit > Duplicate with Transform
Crtl+gEdit > Group
pEdit > Parent
Shft+PEdit > Unparent
Crtl+xEdit > Cut
Crtl+cEdit > Copy
Ctrl+vEdit > Paste
 
Selecting Objects and Components

F8                                   Switching between Objevt and Component Editing
F9Select Polygon and Subdivision Surface Vertices
F10Select Polygon and Subdivision Surface Edges
F11Select Polygon and Subdivision Surface Faces
F12Select Polygon and Subdivision Surface UVs
Ctrl+iSelect next intermediate onject
Alt+F9Select Polygon Vertex/Faces
<Shrink polygon selection region
>Grow polygon selection region

Timing for Animation by Harold Whitaker


Written by two internationally acclaimed animators, this classic text teaches you all you need to know about the art of timing and its importance in the animated film. This reissue includes a new foreword by John Lasseter, executive vice president of Pixar Animation Studios and director of 'Toy Story', 'Toy Story 2', 'A Bug's Life' and 'Monsters Inc.' He sets the wealth of information in this classic text in context with today's world of computer animation, showing how this is a must-have text if you want to succeed as a traditional drawn, or computer animator.

Learn all the tips and tricks of the trade from the professionals. How should the drawings be arranged in relation to each other? How many are needed? How much space should be left between one group of drawings and the next? How long should each drawing, or group of drawings, remain on the screen to give the maximum dramatic effect? The art of timing is vital.

Highly illustrated throughout, points made in the text are demonstrated with the help of numerous superb drawn examples. 'Timing for Animation' not only offers invaluable help to those who are learning the basis of animation techniques, but is also of great interest to anyone currently working in the field and is a vital source of reference for every animation studio.

John Halas, known as the 'father of animation' and formerly of Halas and Batchelor Animation unit, produced over 2000 animations, including the legendary 'Animal Farm' and the award winning 'Dilemma'. He was also the founder and president of the ASIFA and former Chairman of the British Federation of Film Societies.

Harold Whitaker is a professional animator and teacher. Many of his former students are now among some of the most outstanding animation artists of today.

Animation Career

by Shanna Smith

The term "persistence of vision" describes the optical phenomenon that makes animation possible. The human eye retains an image for a split second after the source of the image disappears, so when 24 frames per second of an animated film zip through a projector, the flow of motion on the screen looks seamless.

The same phrase could also be applied to the mind-set of a young (or not quite so young!) person who has his or her heart set on becoming a Disney animator. For generations, the debut of each Disney animated feature film has ignited in the minds of thousands of individuals the desire to be a part of the marvel they see on the screen.

What does it take to be a Disney animator? What spectrums of talent and elements of training are needed to produce these wonder-working "actors with pencils" called animators? We recently put these questions to Frank Gladstone, Manager of Animation Training for Disney, who works out of the Disney-MGM Studios at Walt Disney World.

Gladstone begins by explaining that natural talent will come out at a young age. Every parent knows that a child with an artistic bent considers the family home a vast and inviting canvas. Such children "draw all the time... everywhere, on everything. They see Mommy and they try to draw Mommy. They see the dog and they try to draw the dog," Gladstone says.

Children go through different phases as they explore their skills. Three that Gladstone cites are: 1) The very young child who tries to render his or her own creative fantasies. Mom or Dad may not be able to recognize it as such, but according to the child, that blue scribble is a dinosaur eating an ice-cream cone! (And who is to say it isn't?) 2) The older child who is fascinated by visuals, who sees cartoons or illustrations and attempts to copy them as accurately as possible. (This "draftsman" stage may be difficult and frustrating - more on this later.) 3) The high school student who goes back to the beginning and gives free rein to the imagination, rather than adhering to straight copying.

"This is the bridge," Gladstone says. "This is when someone may be a serious artist. If they draw things they see - the real world - that is a big jump. The intent to interpret what they see in the three-dimensional world is, for me, the tell-all that somebody's interested in art in a serious way."

Getting to that "bridge," that third phase, though, requires passing through phase two - easier said than done.

Gladstone explains, "Most young people who start drawing are trying to make things as accurate as possible. They work very hard to get the eye right, and that's where a lot of people get discouraged.

"There's a certain strength in being an artist, he says "in that at some point every artist I know is trying to draw Mom or Dad and somebody will come up behind them and say `that doesn't look like that.' This is when many people's art career ends."

He continues, "The only time they'll draw again is if they can copy something exactly, which is why many people are good at drawing from a picture, but they can't do the other [draw from life]. The person who is strong enough to say `So what? It's my version of this'- that's another step."

Practice is paramount to maturing as an artist. "Go to the zoo and sketch: draw your friends," Gladstone suggests. "Drawing people and their animals, trying to capture something that's moving - this kind of thing comes with time. It's not something that many children do early on. It comes with experience."

Milton Gray, in his book Cartoon Animation: Introduction to a Career, recommends studying animated films frame by frame, using a VCR or laser videodiscs.

Gladstone agrees. "I had the opportunity to put an old-time print of "Pinocchio" on a Moviola and spent an entire night going through the scenes I like frame by frame and finding out how they created that movie.

"It won't teach you everything," he warns, but, "we still do that. We still study how [certain segments] were done - how did Frank Thomas approach this problem. It's a very good way to do things, but it's only one of the ways."

Hand-in-hand with practice is formal art training. A young person, brimming with talent though she or he may be, needs structured schooling to make animation a career.

"They're not going to get a job here when they're fifteen years old," Gladstone says. "We recommend not only high school, but additional schooling as well - hopefully a college degree."

This schooling would, of course, have art as its primary focus - not merely drawing, but other disciplines as well, such as painting and sculpting. Milton Gray recommends studying actors and books on acting, learning something of staging, choreography, and principles of music.

Beyond the fine arts, some background in history, geography, the life sciences, et al., makes for a more knowledgeable, flexible animator.

"You have to bring things to the table," Gladstone explains. "Half of doing Disney-style feature animation is the ability to draw, paint, run a computer, or whatever, but the other half is communication skill. We find that people who have some post-secondary education are more well-rounded, more adapted to the needs of our studio.

"We realize," he adds "that not everybody can go to college, but we seem to see more seasoned players if they have." Can you be an animator without being able to draw? Gladstone replies, "If a kid wants to do animation and he or she can't draw, there are ways to do that. There always have been ways to do that - stop-action, pixilation (which is stop-action using people instead of objects), things like that. Now there's another one, the computer. You don't have to learn to draw to learn how to animate on a computer."

He cautions, however, "Computer animators just have a very fancy electronic pencil. If they can draw traditionally, they're that much ahead of the game. In all the computer work that I've seen in my life, [work] that has really pushed the animation limits - not just the movement limits, there's a difference - the animators have either come from traditional areas or had good traditional skills."

These skills, be they traditional or high-tech, can be utilized in a variety of ways. An animated feature film employs the talents of a wide variety of artists. Animators make up a fairly small population of the people that create an animated film. There are also assistant animators; in-betweeners; breakdown, background and layout artists; effects animators; storyboard artists; visual development or inspirational artists; computer animators; and graphic designers - to name a few!

All these individuals work as a team (hence the importance of communication) during the long, arduous process of producing an animated film. Gladstone gives an example of how the artist (in this case the layout artist), director, and art director work together. These individuals interpret the storyboard into the various sets, backgrounds and foregrounds for each shot of an animated film.

"The layout artist has a lot to do with the lighting of the film, the scope, the way the camera moves through the sets," he explains. "The layout artist is in a very great way the cinematographer of an animated film, deciding what the camera is going to see and where the characters will be blocked in a scene."

The in-betweener has traditionally been looked upon as the first rung on the ladder of a animation career. Although there are exceptions, Gladstone says, "Most people come up through the ranks, starting as an in-betweener and working their way up to an animator. I think that's a good way to do it. Eventually, if they become an animator, they will have had the experience of the people that follow them up. They were there before."

So, the path is charted - now, where to go for the all-important formal instruction? There are many schools that offer good fundamental art programs and consistently produce graduates with the skills necessary to become Disney animators. These schools are by no means the only choices available to the future animator.

Gladstone speaks from experience, "If you need to go to a state school - great! Find a state school that has an art program and take the best advantage of it you can. Learn how to draw well. Draw better than everybody there. If you can only go to trade school, great! Go to trade school and do it that way."

The various roads to an animation career all demand hard work, discipline, and patience. We asked Frank Gladstone what crucial advice he would give animators. He responded, "Keep trying. Don't get too frustrated. Realize your potential, be honest with yourself, and apply yourself to whatever that particular goal is you want to reach."