You can create 3D animations in Autodesk Maya.
Learn everything you need to know to get started - taught by a Hollywood professional.
As the industry standard 3D animation software, learning Autodesk Maya is a great skill to help you land a job in the film, music and gaming industry. In this course, you'll learn how to create your entire animation from scratch.
What sets this course series apart from the rest? It's focused purely on animation. We will not cover modeling, texturing, rigging, because if you want to be a professional animator you need to focus only on animation.
What will you learn?
You can create 3D animations in Autodesk Maya.
Learn everything you need to know to get started - taught by a Hollywood professional.
As the industry standard 3D animation software, learning Autodesk Maya is a great skill to help you land a job in the film, music and gaming industry. In this course, you'll learn how to create your entire animation from scratch.
What sets this course series apart from the rest? It's focused purely on animation. We will not cover modeling, texturing, rigging, because if you want to be a professional animator you need to focus only on animation.
What will you learn?
Advanced animation techniques in Autodesk Maya
Create your first demo reel with all your work
Create looping animation cycles
Analyze video reference
Adjust animation with advanced tools
Baking, Retiming, and Animation Layers
Animate your first body mechanics
Lay the foundation for all your animation knowledge
Learn by doing Challenges and completing Quizzes
Throughout this entire course, you'll be animating 'Challenges' and taking Quizzes to lock in your knowledge. By the end of the course, you'll truly be inspired by your own skills, and confident in using Autodesk Maya.
What do you get when you enroll?
23+ hours of easy-to-follow tutorials
Extra animation demonstrations
Downloadable project files for every step of the course
Premium support to help you as you take the course
Why learn from us?
Lucas Ridley is a professional 3D animator who has worked on Hollywood films such as Steven Spielberg's Ready Player One. His students love him and has taught over 47,000 students around the world with his top-rated courses. We're sure you're going to enjoy this class.
Lucas breaks down the most complicated steps of animating in Autodesk Maya, so that you can easily start animating on your own.
Our 30-day 100% money-back guarantee.
We want you to be happy. If there's any reason you aren't enjoying the course, and getting what you expected, we'll refund your money.
We can't wait to see you in the course.
Cheers,
Lucas
00:00 - Lecture
07:37 - Maya Examples
Adding more of an arc is the exaggeration animation principle to exaggerate motion from our reference.
00:00 - Intro to rotations
07:00 - Rotation manipulators are all gimbal behind the scenes
09:54 - All rotation order combinations and their gimbal locks
14:56 - Practical example of gimbal lock
18:02 - Practical example with cameras
21:23 - Why's this important to animators?
26:06 - Wrap Up
A new tool native to Maya 2024 now makes adjusting rotation order after animation has occurred much much easier!
Extra reading in Resources to download on why we tend to use Euler (pronounced 'oil-er') rotations and not quaternion in animation, they each have their advantages and disadvantages with Euler the preferred method for animation since we need to see curves clearly in the graph editor and rotate objects 360 degrees.
I'm also adding a more realistic Great White Shark rig to the mix, use at your own risk ;)
00:00 - Why we're learning this
02:02 - Shark Reference 1
09:55 - Shark Reference 2
11:45 - In Maya
15:45 - Beginning Animators Struggle With This
Download the reference below to analyze for yourself:
If you haven't already don't forget to change the default setting in the preferences to update all views of your viewport: Preferences > Time Slider > Playback > Update View: All
If you'd like to turn on the fog in the environment scene go to the Shading viewport menu, then check on Hardware Fog.
One student had a question about the use of the override layer at 29min. I only had the tail selected when I created it. So if you're trying it and it's killing all your animation including the body, then you have too many controls selected.
The reason I used it was so I could visually isolate the body's motion temporarily. Notice at around 35 min I get rid of the override layer to bring back the tail animation I wanted to freeze momentarily. At first, around 29 min, I tried the mute layer but was unhappy with that option, because muting freezes whatever current value and pose it is in at the time you mute it. Whereas I wanted to have a straight tail to evaluate the body motion. I didn't want the tail to be stuck in a swimming pose, I wanted it straight. That's why I chose the override layer instead of muting the value.
In this lesson, Chris shares his journey to landing his first jobs in the industry which only recently happened at the time of recording this interview.
Kinds of poses (or keyframes) and in order of created:
1) Golden Poses = Story Poses = Key poses: the minimum number of poses/keys to convey an action
2) Extremes = the furthest or most extreme moments of the animation
3) Breakdowns = deciding the motion between keys and extreme poses
4) Inbetweens = the motion in between the other keyframes, can be keyframed on their own, sometimes used interchangeably with breakdowns
00:00 - Getting Started and the problem of Auto Tangent in blocking
02:43 - Stepped in the Graph Editor
03:56 - Default tangent settings in Maya and how to change
06:28 - Why work in stepped
08:09 - Caveat to working in stepped
10:01 - New method I recommend
11:19 - Be Careful Notice
14:09 - Excerpt from this week's demo showing the issue to look out for
14:38 - Wrap Up
See 3 ways to visualize 'Stepped' in the downloadable screenshots
00:00 - Posing vs Timing
01:56 - Retiming methods
03:25 - Add inbetween + create shelf button
06:00 - How to create a hotkey
09:44 - Summary
NOTE: Since recording this lesson 'OfficiallyMaize' converted the old python 2 tweenMachine into python 3. I'm including both versions below, but know if you're using anything later than Maya 2022 then just use the python 3 version, the zip comes with installation instructions.
00:00 - What, Why, How to use
05:16 - Install instructions of my preferred Tween Machine tool 'TriDragTween'
08:57 - Making Maya 2022 run with Python 2 and Install the old 'Tween Machine'
Find your scripts folder. Run this command in the MEL script editor to find the file path where Maya looks for scripts:
internalVar -usd
For example, my scripts are located by default here:
C:/Users/lucas/Documents/maya/2022/scripts/
triDragTween - Allows you to tween objects by holding a hotkey and click + dragging in the viewport. Middle mouse click + dragging allows for overshoots.
Run the code below to install. It’s Python:
import triDragTween
triDragTween.install()
If the above method doesn’t work, here’s how to install manually. In the Hotkey Editor, save this as your press command for your desired hotkey:
import triDragTween
triDragTween.press(sensitivity=.5, barLength=100, barOffset=-200)
For the same hotkey, save this as your release command:
import triDragTween
triDragTween.release()
tool made by Michael Trikosko
tweenMachine
The old tweenMachine no longer works in python 3 which Maya 2022 and all newer version now use. I'm including both versions of tweenMachine.
Previously I found a work around that's now out of date since they updated it to python 3 but here's how you can actually make newer versions of Maya use python 2 anyways:
create a new desktop shortcut for Maya 2022
find the original program location and right click send to desktop
right-click on the shortcut icon and go to Properties
In the Target text box paste in this after the existing text, don't replace it with this, just add it to the end: maya.exe -pythonver 2
Then close this down and open Maya by double-clicking this new shortcut and it will open using python 2.
Paste the tweenMachine.py script file that you can download here as well as from the github link above to the scripts folder mentioned at the top of this text.
If you had Maya already open you can type rehash in the MEL command text box and hit enter to refresh.
Then copy/paste and run this python command to open the tweenMachine. You can also middle mouse drag this to a shelf to create a button:
import tweenMachine
tweenMachine.start()
00:00:00 - Start
00:02:00 - Planning
00:04:40 - Blocking
00:41:00 - Spline
01:04:20 - WATCH OUT for squash and stretch affecting your silhouette and adjust for it.
02:01:55 - Final Words and Review
Note: if you start animating the ball and then later turn on the tail but it is not in the right place on the ball, you can spin the tail to where you want to begin animating it!
Select MoverMain_Cntrl (the main + control) and adjust Tail Anchor attribute.
00:00:00 - Grease Pencil Planning
00:10:57 - Ball Final Tweaks Before Animating Tail
00:15:36 - Begin Tail Animation
00:17:00 - Make Display Layer
00:18:18 - Blocking Poses
00:46:13 - Begin Tail Polish
01:24:29 - First Jump Tail Polish
01:39:00 - Second Jump Polish
01:47:25 - End Landing Polish
02:03:03 - Fix Tail Dragging Ground Too Much
02:19:10 - Final Settle C to S shape
02:30:00 - Final Settle Fix Closer to Ball
02:39:00 - Retime End Tail
02:59:03 - Final Look
Note: if you start animating the ball and then later turn on the tail but it is not in the right place on the ball, you can spin the tail to where you want to begin animating it!
Select MoverMain_Cntrl (the main + control) and adjust Tail Anchor attribute.
Challenge Goal: Demonstrate a ball jump with a tail that drags, follows through, and overlaps.
If you have more time, perform two jumps.
Challenge Summary Overlapping Action:
Choose one of the 3 environment scene files below to download and open it in Maya.
Set your project (and accept the project window folders)
Save scene in versions, rename to something that includes _anim_ in the file name to distinguish from the environment only scene file.
Reference in the ball rig.
If you have only 5 hrs, just do one jump.
If you have more than 5 hrs, do 2 jumps in a row.
No more than 120 frames in length.
Playblast your animation and upload it to the next lesson for review.
Estimated time to complete = 8-10 hours
Note: if you start animating the ball and then later turn on the tail but it is not in the right place on the ball, you can spin the tail to where you want to begin animating it!
Select MoverMain_Cntrl (the main + control) and adjust Tail Anchor attribute.
Warning: This is an advanced technique.
It's not something everyone needs to learn to successfully complete this Beginner course.
In case you wanted to perform a swing motion like Anna, then this is one technique you can use to smoothly create a rotation with your own temporary rig you can create with locators to get the desired pivot point for a rotation.
00:00 - Pre-production
07:02 - Production
15:00 - Post-production
18:22 - Pipeline
23:37 - Final Anecdote
00:00 - How Rigs Work
03:50 - Inside Maya
06:52 - Painting Weights
00:00 - What are Pickers and their advantages?
03:22 - How to Use The New Picker You Can Download Here?
05:31 - No picker buttons are working fix... Set up namespace.
Tip: if you double-click the base tail button it will select the entire tail.
If you get a pop-up window, just check the box (Apply to all...) and 'Allow', it shouldn't reappear:
00:00 - Center of Gravity
01:45 - COG examples
05:30 - Bike example
06:45 - Mass distribution
07:22 - Changing COG
13:23 -Stable vs Unstable COG
14:20 - Determine where COG is
14:55 - Vehicles
17:58 - Summary
00:00 - Reference as a tool
09:22 - Maya - Movie File
12:45 - Maya - Image Sequence
15:16 - Maya - Image Sequence Advantages
24:12 - Premiere Pro - Blocking Stepped Reference Edit
29:58 - Final Tips
31:40 - Summary
00:00 - Weight Shift Overview
05:43 - Common Mistake
12:20 - Contrapposto
15:15 - Example for Animation
18:18 - Another Common Mistake
20:36 - Summary
00:00 - Getting Scene Setup
03:57 - Starting Blocking
07:37 - Turning on center of pressure tracker
16:35 - Antics and Overshoots
44:15 - Spline
01:06:05 - Feet
00:00 - Intro
03:08 - Base Poses
04:20 - Cycles
05:00 - Rules of Thumb
09:32 - Analyze a walk: Feet and Knees
25:25 - Analyze a walk: COG and Hips
00:00 - Two Methods
01:24 - Method 1
05:28 - Method 2
07:12 - Tweaking Options
00:00 - What's the deal?
00:58 - First Example
01:47 - Consider This Before...
02:29 - Evaluate what first?
05:20 - Trackers
11:37 - Anti-pop controls
17:35 - Summary - how to address
00:00 - What's On vs Off the spot animation
03:16 - Maya: How to make a cycle that works for both
10:07 - Maya: How to convert "on the spot" to off
19:33 - Maya: How to convert "off the spot" to on
Remember to make sure your math for your foot contacts makes sense.
The middle frame between 1-24 is not 12.
The middle frame of 0-24 is 12.
Because 0-11 is the first stride and 12-24 is the second stride.
Frame 0 and 24 will be identical and frame 12 is the mirror of 0 and 24.
Keep your cycle ending on an even number and starting on 0 to make the math easy for you.
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