提升 Maya 2012 动画效率：技巧与实战指南

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《如何在Maya 2012中作弊：角色动画的工具与技巧》是一本专为动画师打造的指南，由专业的动画人员编撰，而非单纯的技术手册。它全面更新了针对Maya 2012的教程，提供了详尽的步骤指导，帮助读者提升角色动画效率和速度。书中涵盖了丰富的动画制作内容，包括： 1. 核心动画原则：新章节深入探讨了动画的基础原理，这对于理解角色动作的构建至关重要。 2. 相机设置与Camera Sequencer：讲解了最新版本中关于相机设置的优化以及Camera Sequencer工具的使用，帮助读者更好地控制镜头运动和空间表现。 3. Editable Motion Trails：介绍了这一全新的功能，使得创建和编辑动画轨迹变得更加直观和高效。 4. 多镜头动画测试和短片工作：分享了针对多场景动画项目中的角色处理技巧，适用于创作连续性和一致性高的动画作品。 5. 飞行和行走等循环动作：专门针对这些常见的动画动作设计了一章，确保动作的连贯性和自然性。 6. 时间节省脚本：书中提供了实用的快捷方式和自动化脚本，帮助动画师节省时间和提高工作效率。 7. Graph Editor高级技巧：探索了新版本Graph Editor的高级功能，这在创建复杂动画曲线和关键帧调整中发挥着关键作用。《How to Cheat in Maya 2012》系列以其独特的方式让学习者快速上手，同时保持乐趣，适合各个层次的动画师提升技能。版权信息强调，书中的知识和实践不断演变，反映了动画领域的最新研究和最佳实践，可能需要根据新的研究方法和行业标准进行适时更新。通过这本书，读者将不仅掌握工具的使用，还能深入了解动画艺术的精髓。

How to Cheat in Maya

HOT TIP

Play your

animation at

speed! We

know that

timing is vitally

important in

animation.

You get so

much more

information

playing your

animation at

speed than you

do if you just

scroll through

the timeline.

If you select the squash_Bend_anim control on the ball,

you will see there is a keyframe on the Squash Stretch

control at f50 with an unlocked tangent. This is the frame of

anticipation. We are going to play with this anticipation and

see what looks best.

Or does this look better? Remember, if you keep the

number of keyframes you use to a minimum, you can

spend more time making adjustments and less time wrestling

with technical trouble. What new impression does this

anticipation give you? What is the ball thinking?

Select the squash_Bend_anim control, and open the

Graph Editor. See that key frame with the unlocked

tangent handles? Try moving that key up and down and

finding a good size of squash for this anticipation. Watch

the animation over and over again to see what looks best.

Remember, it’s up to you!

At f03 is another little anticipation that I sneaked in.

Play with the size and timing of this one as well, and

start training your eye to hone in on the most powerful and

engaging performance.

f50

f03

anticipation.ma

Animation Principles

Open staging_start.ma, and set

one of your panels to look through

“renderCam”. Yikes. This scene has a lot

of staging problems. The camera is in

a position where it cannot see any of

the action, the ball has been positioned

very oddly, and the light is casting a

shadow on the entire main action.

Let’s make some adjustments.

TAGING IS A FUNDAMENTAL that encompasses a mass of artistic sensibilities. Staging involves framing the

camera in a way to best capture the action. It involves making sure your animation has been planned to best

communicate the motion, the character arc, the story. Simply put, staging is how you create the scene.

Ideally staging starts with your planning phase. Thumbnailing your poses is the best way to make strong pose

choices at the start of a shot. If you are not a strong drawer, then perhaps you rely more on photo or video

reference to give you cues to begin your work. At this very early phase, staging means you are thinking about how

your posing and the layout of the scene is going to clearly show the motion.

As you begin your scene, staging becomes more complex. How are you going to maintain the high level of

communication throughout the life of the shot? Will you be able to hit all of the poses that you’d like, or are the

poses going to have to be changed to work when the character is in motion? Staging means that you are thinking

about the entire action at this point. Adjusting the camera, making tweaks to the layout, and finding just the right

balance in the composition all improve your staging of the scene. When you are finished blocking, generally the

major staging decisions are decided. This does not mean that staging is over!

As you finish the animation, there are still staging considerations you must be aware of. Where is the audience’s

eye going to be looking at every moment of the shot? If you’ve animated the scene correctly, you have a very

good idea of what the audience should be paying attention to at every second. As your shot is finished and moves

through the rest of the pipeline, other decisions that hone in audience’s focus are going to come into play: lighting,

effects, and editing.

As animators, our staging choices have far-reaching impact on the success of a shot in communicating an idea.

We’ll practice these staging concepts by repositioning a bouncing ball animation, the camera, and some lights to

find the greatest impact.

Staging

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