art3830 Digital Modeling
FALL 2017
CSULA
Professor Jim Ovelmen
jim@jimovelmen.com
jovelme@calstatela.edu
LAB HOURS (for working labs outside of class) OTHER LABS
CAL icon for all DUE DATES
PINK icon for all assignment formatting
TRICOLOR icon to return to ovelmen syllabi
Department of Public Safety/Security 323-343-3700
OfficeFA 227,Office Hours (see syllabi page), PhoneExt. 3-4033, Course Length15 weeks + finals day, Meeting TimeFRIDAYS 4:00-8:40pm,Class LocationFA 225, Term/Year FALL 2017
COURSE DESCRIPTION
This course introduces aspects and methods for achieving high-quality 3D models both organic and inorganic. Major emphasis of this class will be put on the creative output of the student via the tools learned and projects assigned. Moreover, the course aims toward the comprehensive use of techniques in Maya to create meaningful 3D sculptures and environments with expressive content. The class will be structured around increasingly challenging projects around practical topics, and a final focusing on the human head. Lectures will focus on the tools and principles of surface construction as well as characteristics involving materials, textures, lighting, and more. Related topics may include methods for realistic rendering, and displacement sculpting techniques with up to date methods and software.
PREREQUISITES:ART 3800 2D Animation
INSTRUCTIONAL METHODS
Class lectures, in-class assignments, and project related demonstrations will be provided from original or researched content. Supplemental homework assignments, specific tutorials from published sources will be given. Most of these assignments are, of course, to be done exclusively outside the hours of class time. Students are expected to work 5 to 6 hours per week working outside of class on project assignments and homework. Lab hours will be posted. Thorough instruction will occur in class, students will follow and take notes, additional there will be online tutorials accessible to students at any time.
The expecation is 3 to 6 hours per week working outside of class on project assignments and homework. Lab hours will be posted. There are numerous books and online tutorials on 3D modeling. I have listed recommendations of texts and URLs for further study. I will also distribute, handouts, images, and other reference materials to supplement your studies.
STUDENT OUTCOMES.
This course encourages student to think, plan and work creatively and comfortably with 3D modeling tools, and display expressive choices and technical proficiency. It will apply industry standard modeling techniques of correct quad-based topology. If students engage in the course, they will posses versatility in different modeling strategies including Polygonal, NURBS surfaces, and displacement sculpting. Hardworking students will leave the class with the ability to create high quality texture maps with precise and artist application. They will be able to create high quality inorganic and organic referenced models, which have anatomic accuracy expected in the animation industry, and/or the ability to follow a design as expected to create artwork that is “on-model”. Students who apply themselves, will leave the class with the ability to predict and build content which professionally anticipates the future production pipeline for animation in films, broadcast or gaming. Students who pay attention, and do all their work and homework, will be able to obtain a comfort with the node-base structure and interdependency logic of Maya, and have a strong workflow for creating professional content.
STUDENT RESOURCES
MODELING
MUDBOX, ZBRUSH Kittleson, Joan of Arc, Stop Staring, Ear layout, Box modeling, Spline Method, etc..
SURFACING
NORMAL MAPPING:
Ben Cloward, Cody Sargent, BAAAAM! tutorial, Game-Artists.net
TEXTURES, MUDBOX:
some texture, more textures what is Mudbox?
MudboxandMaya?, MudboxBasicsAndWacomPen, NORMALMAPSinMudbox, MUDBOX_1of_4, MUDBOX_2_of4, MUDBOX_3_of_4, MUDBOX_4_of_4, RETOPPINGdetailinMUDBOX
FREE RIGS
http://www.meshfactory.com, http://www.turbosquid.com, http://www.3dcafe.com, http://www.linefour.com
ie: McCainModel.zip, McCainMode.mb
PROFESSIONAL CG SITES:
http://highend3d.com (Creative Crash)
RIGGING (ANZOVIN)
http://www.anzovin.com/products/tsm2maya.html
MEL SCRIPTING
SUGGESTED TEXTS AND SUPPLIES.
Exploring 3D Modeling with Maya 7 , by P. Beckman and S. Wells Thompson Delmar LearningISBN 1-4180-1612-8-
Learning Maya 7, The Modeling & Animation Handbook, Alias Systems Corp.ISBN: 1-894893-873-
Digital Lighting and Rendering, by Jeremy Birn New Riders Press ISBN: 0-321-31631-2
ANIMATION TEXTS
-Timing for Animation, by Harold Whitaker and John Halas, Focal Press ISBN 0-240-51714-8
-The Illusion of Life, Disney Animation Walt Disney Productions ISBN 0-7868-6070-7
-The Animator’s Reference Book , Les Pardew & Ross WolfleyThompson Course Technology, USBN 1-59200-675-2
-The Animators Survival Kit, by Richard Williams, Faber, ISBN 0-571-20228-4
-Cartoon Animation, by Preston Blair, Walter Foster, ISBN 1-56010-084-2
-Understanding Comics, Scott McCould, ISBN 0-06-097625-X
REQUIRED SUPPLIES.
USB
Flash Drive (1 GIG recommended)
External Hard Drive, (mac formatted). At least 80 gigs
Large Sketchbook, graph paper, pencils, markers, and other drawing materials,
Sculpting material (optional) may include: formable wire, clay or "sculpy"
UNIVERSITY POLICY Classroom Protocol
It is essential that students attend class on time, and remain working and productive the entire period of class. Arriving late or leaving early will be counted against points of participation. Use of texting, phone technology, social media websites, as well as socializing during class is strictly prohibited. Instructor reserves the right to eject students engaging in such behavior. Students will turn off their phones when they participate class. In an emergency situation, students may activate their phone to call campus Police at: (213) 323-3700. Absences and tardiness may not be excused against penalty of participation points, except in the case of a personal illness, emergency, hospitalization, or hardship that incapacitates the student, and only with the written note by a medical doctor.Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drops, academic renewal, etc. Students should be aware of the current deadlines and penalties for adding and dropping classes: https://get.calstatela.edu/Registrar.htm
Student Handbook
Information on student rights and responsibilities, academic honesty, standards of conduct, etc., can be found in Schedule of Classes (http://www.calstatela.edu/classschedule/) under Policies and Procedures.Academic Honesty
http://www.calstatela.edu/sites/default/files/groups/Judicial%20Affairs/Docs/academic_honesty.pdfAmericans with Disabilities Act (ADA)
Reasonable accommodation will be provided to any student who is registered with the Office of Students with Disabilities and requests needed accommodation.LEARNING DISABILITIES: Any student with a learning disability (i.e., reading, speaking, and/or writing impediments) that might affect his/her performance in this class is encouraged to notify me in writing at the beginning of the SEMESTER identifying the specific nature of such disability.
Fri,
Aug 25
PROFESSOR introduction COURSE introduction STUDENT introduction |
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SEEING, NAVIGATING, and MANIPULATING · Interface layout, and logic (images here are not latest Maya version): grid, interface, channel box, attribute editor, commandline, helpline, modules , hotbox, layer editor, manipulators, outliner, panel layout, pivot, quicklayout, shelf, statusline, toolbox, move tools, shortcuts, |
·See through the 3D camera space and the orthogonal views. · Cartesian properties (xyz) · Navigating around the virtual world and camera control · Manipulating objects. (move, rotate, scale) · Displaying object wire, shadeModeling basics |
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IN-CLASS PROJECT: you will Model a City and Navigate through it!
IN-CLASS PROJECT : you will Model a Tree
MAYA BASICS hierarchy and control · Primitive geometry
· Moving an object’s pivot
· Polygon intro
· Selection order, and duplication hierarchy
· Understanding hierarchy, dependency and the workflow of Maya
· Grouping, parenting, and the hypergraph
· Class Exercise: Create a Tree, Extrude face/edge of a box, Extrusion on a curve
HOMEWORK: model a polygon hammer DUE NEXT WEEK.
ALL CLASSWORK goes in OVELMEN-DROPBOX FIRST login to your CSULA account. THEN click box to the right.
BROWSER: "Safari" or "chrome" if you are Mac, or "Firefox" if on a PC
Only upload your own work. No editing or deleting of files in Dropbox.
Fri, Sep 1
DUE: HOMEWORK model a polygon HAMMER (due at beginning of class)
DEMONSTRATION: STILL LIFE:
I will create objects for a Table Setting using Poly and NURBS tools, give materials and light
IN-CLASS PROJECT: you will Model, material, and light a STILL LIFE
· Object and component mode · Manipulating polygon surface components (vertex, edge, face) · Extruding a face, edge, etc. (keep faces together, or not) · NURBS objects and their components (hulls, lines, CVs) · NURBS and Polygon comparison, show tesselation differences.
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· Trimming NURBS, and use of Make Live · Pick masks: prioritizing and masking· The Outliner: · Drawing and manipulating NURBS curves · Using simple curves to create custom objects (extrude, loft, etc)Rendering Basics |
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lighting explained |
· Lighting intro (point, directional, spotlight, etc) · Hypershade and Shading intro basic UV texture intro: UV MAPPING |
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HOMEWORK: UV
maping a crate DUE NEXT WEEK.
Fri, Sep 8
DUE: HOMEWORK UV mapping a CRATE (due at beginning of class)
PROJECT#1: "Virtual Mobile" DUE WEEK 6 see past student work (must log-in csula account)
mo·bile
a piece of kinetic sculpture having delicately balanced units constructed of rods and sheets of metal or other material suspended in midair by wire or twine so that the individual parts can move independently, as when stirred by a breeze.Compare to stabile.I want you to start with a collection of FOUND OBJECTS, model them individually, then desgin them into a virtual hanging mobile sculpture. You can use lights if you wish to create a chandelier-like piece as well, it's up to you. Moreover, in the tradition of Alexander Calder, create a piece that looks like it could actually balance itself in gravity. (more info on kinetic sculpture)
STEPS for PROJECT#1 (1) Spend some time collecting small objects..you could go on a nature walk and collect leaves, rocks, stones, bark, pine or seedling cones, shells, broad grass samples, etc. Then you could go and search for junk items, metal, wood, simple toys, harwares, stuff in a junk drawer...
..all items you can fit easily into your hand...make sure you have a large amount of diversity of items. You may if you want collect any manmade items, dicarded or trashed, but again, only if it looks completely safe, and permitted. DO NOT go to anyplace dangerous, CSULA holds no liability.
(2) Collect all a wide variety of portable found items, that you can put in a bag and bring back to lab or home to begin to make organic models.
(3) choose at least THREE of the most interesting forms among the object and make sketches of them in front and side views. Take these drawings and scan them into Maya and use as building plans for you model.
(4) You may also TAKE A PICTURE some of the flat surface and texture of your object. You are to not only to model these objects as faithfully as possible, you will contribute color, bump, tranparency, and any other texture maps needed to give full richest and similitude to your objects. Using efficient quad-polygon and/or NURBs techniques, you are expected to make professinal level models as well as believable textures and High quality lighting. (using global illumination / mental ray)
(5) After all THREE of your objects are modeled and textured, you are to arrange these mutiple objects into a MOBILE, or VIRTUAL HANGING SCULPTURE that connects all the peices together. you can incorporate lights as well to make you piece like a chandelier or any creative interpretation
Your project can have a social message as well if you wish, warning against overconsuption, but the content, message, and the creativity is up to you.
(6) WHAT TO TURN IN?
3 RENDERED IMAGES, od 3 different views, at a resolution size of at least 2K each. DUE week6
DEMONSTRATION: I will Model and Texture* a RANDOM student OBJECT
*using Maya's proceedural 2d/3d textures, then simple material and UV.
IN-CLASS PROJECT: you will Model and Material an Object in Your Possession
· Intro to 3D topology: Surface construction via curves to create NURBS surfaces · Shading and lighting continued: materials, different types of lights, and aspects of surface appearance. · Lighting and the properties of rendering, tesselation, raytracing. Depthmap and raytraced shadows. Emulating realistic lighting without using Raytracing. · More Poly tools: split polygon, split edge ring, cut faces, merging, etc. · Polygons, Collapse edges, Merging Verticies · Subdivision modeling· Polys to subD conversions · Materials further: 2D and 3D textures · texture maps further: color, bump, displace, transparency, etc. |
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HOME RESEARCH
Watch intro to Mudbox Tutorial (take good notes on all the hotkeys menus and concepts!)
Over this course, watch the remaining tutorials in this series by Digital Tutorials called "Artist Guide to Mudbox". It is a 17-part tutorial, each is fairly short, beginner-oriented, and clear. It is your obligation to watch these totrials outside of class! You may watch these at your own pace throught this class.
Prt1 2min intro to Mudbox 2012
prt2(interface) prt3(sculpting tools) prt4(stencils) prt5(sculpt layers) prt6(VctrDsplMaps) prt7(MaterialsPtlrs) prt8(OnTargetPrsnt) prt9(PaintingTex) prt10(MltplPntLyrs) prt11(AdjstngPntLyrs) prt12(P-TEX) prt13(MudboxPhotoshp) prt 14(MapExtrction) prt 15(TrsfrDtlBtwnMshs) prt16(PoseTools) prt 17(ntegration)
HOMEWORK: Modeling, UV texturing, Lighting and Rendering an Oil Barrel DUE NEXT WEEK
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REMAINDER OF CLASS: WORK ON PROJECT#1
Fri, Sep 15
DUE: Homework: Oil Barrel
LECTURE ON TOOLS and SHADERS:
I will model and texture a MECHANICAL object, with Repeating Geometery/Detail, UV bump and displacement. Complex, and Booleans.
IN-CLASS PROJECT: SHADER BALL CREATION (shaders with all kinds of maps) Hypershade Intro
Initial use of SHADERS: EAR with various SHADERS
Laying out UVs on polygon figure · Box modeling techniques: begin with half of a Poly cube (open). · Outputting UV maps· Mapping methods for geometryPaint EffectsCamera Properties · Box model a basic head, using edge loops, and Instance duplicate; upon finish Mirror Geometry and merge both parts. (all edge verts. flush to the "0" line, before mirror,) (trans tools settings set to WORLD, retain component spacing OFF, discreet move OFF) box modeling, (subdiv Proxy) instance setup Other modeling methods: Duplicate Special for quick complexity, but be careful.. |
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FRAMING and CAMERA
· Film format/aspect ratio, composing the camera
· Film format/aspect ratio, composing the camera· Changing lenses, focal length, and Action Safe/Title safe areas· Depth of field
REMAINDER OF CLASS: WORK ON PROJECT#1
Fri, Sep 22
DEMONSTRATION on DEFORMERS and TEXTURES
I will Model and Texture an ORGANIC object (LEAF) Using CREATE POLY, edge extrude, then Soft Mod (B), and Deform. Show more on UV mapping with bump, transparency and shaders: diffuse, specular, and more Hypershade.
Progressive use of SHADERS: EAR with various SHADERS
IN-CLASS PROJECT: Work on Project#1
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-in Animation Menu, try using Deformers -Animation>Deform>Non-Linear Deformers: bend, flare, sine, squash, twist, wave, etc. use front/side/top view images for accuracy, i.e:
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Digital Tutorials "Artist Guide to Mudbox". REMINDER: It is your obligation to watch these totrials outside of class! You may watch these at your own pace throught this class, but you must be up to speed with these. Watch! and take good notes!
Prt1 2min intro to Mudbox 2012
prt2(interface) prt3(sculpting tools) prt4(stencils) prt5(sculpt layers) prt6(VctrDsplMaps) prt7(MaterialsPtlrs) prt8(OnTargetPrsnt) prt9(PaintingTex) prt10(MltplPntLyrs) prt11(AdjstngPntLyrs) prt12(P-TEX) prt13(MudboxPhotoshp) prt 14(MapExtrction) prt 15(TrsfrDtlBtwnMshs) prt16(PoseTools) prt 17(ntegration)
REMAINDER OF CLASS: WORK ON PROJECT#1
Fri, Sep 29
PROJECT#1 : "Virtual Mobile" is DUE
PROJECT#2: ANIMALS (menagerie) is assigned
see past student work (must log-in csula account)
DUE: Beginning of class,Week 9
me·nag·er·ie
A menagerie is a form of keeping common and exotic animals in captivity that preceded the modern zoological garden. The term was first used in seventeenth century France in reference to the management of household or domestic stock. Later, it came to be used primarily in reference to aristocratic or royal animal collections. The French-language "Methodical Encyclopaedia" of 1782 defines a menagerie as an "establishment of luxury and curiosity." Later on, the term referred also to travelling animal collections that exhibited wild animals at fairs across Europe and the Americas.I want you to start collecting and researching different reference on animals and/or insects that you will model, sculpt, paint, texture and render into final images.
HERE ARE THE STEPS FOR THIS PROJECT
1) Research all of the animals and/or insects in your menagerie
you can choose anykind of an animal or insect, but you must find clear reference photographs to use. You also must reasearch texture, color, and other physical properties. You will present you research and drawings along with your final rendered menagerie at due date.
2) Research about 4-6 different animals or insects that you would like to model. Show your research (photos drawings, etc.)
3) Choose at least TWO animals or insects for your menagerie, that you will choose to create in 3D. One should be SIMPLPE, and more more COMPLEX. look for "unusual" and visually engaging animals. No cartoon characters or fantasy characters, and no using or copying preexisting designs or other people's artwork. Original reseach only! photos and/or your own drawings. Before you start working, please approve your final two animals thought me.
4) There are many textures online, and on the "Mudbox Community" you can use and share. You may also DIRECTLY SCAN some of the flat surface and texture of your object. You are to not only to model these objects with detail and accuracy, you will contribute color, bump, tranparency, and any other texture maps needed to give full richest and similitude to your subjects. Using efficient quad-polygon you are expected to make professinal level models as with believable textures, high quality lighting and sculpting.
5) After you model the poly cage in Maya, you must do your UV's in Maya!! and only then, bring your model into MUDBOX to sculpt details, and add paitning layers (diffuse, specular). These ordered steps are crucial.
6) Sculpt and/or paint details in MUDBOX, and extract the NORMAL map, and being it back into MAYA to render.
WHAT TO TURN IN:
4, 2K Renders of your 2 Animals
in a labeled folder, to the DropBox, on Week9
DEMONSTRATION of BOX MODELING, SINGLE POLY-edge extrude, and MIRRORING:
I will demo the POLY EDGE extrude METHOD, while building an ANIMAL's HEAD
IN-CLASS CLASS PROJECT: Work on Project #2
NOTES:
Use of Photoshop in texture map creation, import UVout into a layer in PS, painting on above layers with less% of Fill.
-Modeling demo, starting again with Poly-toPoly sconstruction of the eye, building in edge rings, showing strategy of point layout
-converting the eyes and surrounds to SudDiv, using tools to sculpt, and back to Polys again, (make sure to set to "Verts" in conversion Options)
-benefits in modeling in SudDivs,: slect edge(s) under eye, and inset crease (SubdivSurf>full crease edge)
-show kinds of errors one can get with converting Polys to SubDivs: what are nonmanifold geometry? and lamina faces? you can correct these in Mesh>Polygon Cleanup
-show the usefulness of Mesh>Sculpt Geometry Tool (works with Poly or SubDivs)
-show the SOFT MODIFICATION, red feedack shows influence: *also in: Modify>Transformation Tools>Soft Modification Tool, OR, Animation>Deform>Soft Modification
REMAINDER OF CLASS: WORK ON PROJECT#2
The Jungle Book, Creating Animals
ZOOTOPIA: Fur technology
Fri, Oct 6
DEMONSTRATION on MUDBOX and MAYA
I will Create a RAISIN: base-mesh Maya, sculpted in Mudbox, back to Maya to render
IN-CLASS CLASS PROJECT: Work on Project #2 (import/export one of your models from Maya into Mudbox)
IMPORTING and EXPORTING work between MAYA and MUDBOX EXTRACTING DISPLACEMENT and NORMAL MAPS in MUDBOX EXTRACTING DISPLACEMENTS maps: EXTRACT a 32FP bit EXR (OpenEXR 32bit, FloatingPoint RGBA, 8.exr) put it on the SHADING GROUP of you materialSGnode (eg:Blinn) render with MENTAL RAY |
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· Rendering specifics, surfaces, mental Ray, Mental Ray shaders,
REMAINDER OF CLASS: WORK ON PROJECT#2
HOMEWORK: watch Parts 1-4!!
Prt1 2min intro to Mudbox 2012
prt2(interface) prt3(sculpting tools) prt4(stencils) prt5(sculpt layers) prt6(VctrDsplMaps) prt7(MaterialsPtlrs) prt8(OnTargetPrsnt) prt9(PaintingTex) prt10(MltplPntLyrs) prt11(AdjstngPntLyrs) prt12(P-TEX) prt13(MudboxPhotoshp) prt 14(MapExtrction) prt 15(TrsfrDtlBtwnMshs) prt16(PoseTools) prt 17(ntegration)
"..let's go ahead and.."
Fri, Oct 13
DEMONSTRATION on REALISTIC Lighting and Rendering
I will demo Progressive Lighting and Indirect Lighting; Global Illumination and Final Gather.
EAR with various SHADER RECIPIES
*also can "conform" Normals if the are not homogenous
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this special topic will by demonstrated for interested students:
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REMAINDER OF CLASS: WORK ON PROJECT#2
HOMEWORK: watch parts 5-10!!
prt2(interface) prt3(sculpting tools) prt4(stencils) prt5(sculpt layers) prt6(VctrDsplMaps) prt7(MaterialsPtlrs) prt8(OnTargetPrsnt) prt9(PaintingTex) prt10(MltplPntLyrs) prt11(AdjstngPntLyrs) prt12(P-TEX) prt13(MudboxPhotoshp) prt 14(MapExtrction) prt 15(TrsfrDtlBtwnMshs) prt16(PoseTools) prt 17(ntegration)
Fri, Oct 20
PROJECT#2 : ANIMALS (MENAGERIE) is DUE
(1) IN-CLASS CLASS PROJECT: We will take professional quality photos of your face
(2) DEMONSTRATION : I will demo IMAGE PLANES: see sample here. I will demo Modeling a Face sample MBs
(3) IN-CLASS CLASS PROJECT: You will set-up and begin Modeling your own face (begin Project# 3)
· Making Normals Soft or Hard: Edit Polygons>Normals>Soften/Harden*
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REMAINDER OF CLASS: WORK ON PROJECT#3
HOMEWORK: watch parts 11-13!!
prt2(interface) prt3(sculpting tools) prt4(stencils) prt5(sculpt layers) prt6(VctrDsplMaps) prt7(MaterialsPtlrs) prt8(OnTargetPrsnt) prt9(PaintingTex) prt10(MltplPntLyrs) prt11(AdjstngPntLyrs) prt12(P-TEX) prt13(MudboxPhotoshp) prt 14(MapExtrction) prt 15(TrsfrDtlBtwnMshs) prt16(PoseTools) prt 17(ntegration)
Fri, Oct 27
DEMONSTRATION : Building the EAR, and attaching it
DEMONSTRATION : Importing and placing the EYE
· Production on Head Construction:
Finished Head with ear hole Due by beginning of class
LECTURE DEMO on:
-building EAR, sample here
(you must be logged in first to yourCSULA portal first for the links to work)
-building EYE, samples here
(you must be logged in first to yourCSULA portal first for the links to work)
Attaching the Ear and the Eye
HOMEWORK: watch parts 14-17!!
HOMEWORK: modeling and lighting a variety of simple forms.
prt2(interface) prt3(sculpting tools) prt4(stencils) prt5(sculpt layers) prt6(VctrDsplMaps) prt7(MaterialsPtlrs) prt8(OnTargetPrsnt) prt9(PaintingTex) prt10(MltplPntLyrs) prt11(AdjstngPntLyrs) prt12(P-TEX) prt13(MudboxPhotoshp) prt 14(MapExtrction) prt 15(TrsfrDtlBtwnMshs) prt16(PoseTools) prt 17(ntegration)
"..let's go ahead and.."
this special topic will by demonstrated for interested students:
· Toon Shaders, Ramp Shaders, vector Renders, and otherwise 2D-shaders
· Basic Character Rigging: getting your model into different poses
REMAINDER OF CLASS: WORK ON PROJECT#3
Fri, Nov 3
DEMONSTRATION : Detailing the finished HEAD (bald) and beginning HAIR and LASHES
-building HAIR, sample here
(you must be logged in first to yourCSULA portal first for the links to work)
-building EYE-LASHES, and transparency maps, sample here
(you must be logged in first to yourCSULA portal first for the links to work)
DEMONSTRATION : UV TEXTURING HEAD, Color Map, Bump Map, Specular Map,
DEMONSTRATION : Detailing the HAIR and LASHES
DEMONSTRATION : RENDER TEST of Head, LIGHTING, SKIN SHADERS, MENTAL-RAY
DEMONSTRATION : EXAMPLE of ALTER-EGO modification examples here
-polishing HAIR, sample here
(you must be logged in first to yourCSULA portal first for the links to work)
-Hair and follical systems
Review of Mudbox with Maya:
IMPORTING and EXPORTING work between MAYA and MUDBOX EXTRACTING DISPLACEMENT and NORMAL MAPS in MUDBOX EXTRACTING DISPLACEMENTS maps: EXTRACT a 32FP bit EXR (OpenEXR 32bit, FloatingPoint RGBA, 8.exr) put it on the SHADING GROUP of you materialSGnode (eg:Blinn) render with MENTAL RAY |
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REMAINDER OF CLASS: WORK ON PROJECT#3
Fri, Nov 10
VETERANS DAY -NO CLASS
continue to work at home duing the week on:
PROJECT#3
Fri, Nov 17
DEMONSTRATION : Final RENDER TEST of Head, LIGHTING, and ENVIRONMENT
DEMONSTRATION : CREATING an ENVIRONMENT to give atmosphere
DEMONSTRATION : Layering Renders to FINAL COMPOSITE
· Lighting, surfacing and Modeling of Environmental assets
COMPOSITING an Alpha Channel Render of Head INTO environment
· Review of how to put together everything in the Final!
LAST MEETING BEFORE FINAL
REMAINDER OF CLASS: WORK ON PROJECT#3
Fri, Nov 24
FALL RECESS (Thanksgiving) -no class
Fri,
Dec 1
WORK ON YOUR OWN, USE ENTIRE CLASS AS LAB-TIME
FINALS WEEK December 5th-9th(week 16)
PROJECT#3 is DUE
Present on FINALS DAY:
Digital Modeling FINAL:
Friday, Dec 8th 3:40pm-5:40pm, FA225
ASSESSMENT PROCEDURES
ATTENDANCE
Attendance is mandatory. Any absences not excused by a note from a doctor or a dean will negatively affect your participation grade (see participation below). I will take roll during every class. If you have an illness or family emergency that prevents you from attending class, you need to contact me as soon as possible (e-mail is usually the surest way). If you are late for class, it is your responsibility to make sure I don't have you recorded as absent. If you miss a class for any reason, whether excused or unexcused, it is your responsibility to contact someone from class to find out what you missed (do this before the next class meeting). You are also responsible for getting copies of any handout that was given out in your absence. After your second unexcused absence, any additional absence will knock 30 points off of your final grade (see Grade Scale below for the points scale for this class).
PARTICIPATION
Your participation will be evaluated using the following criteria:
-Doing the reading assignments before we discuss them.
-Active participation in all small-group work.
-Speaking in class discussions.
-Listening (in the active sense).
Your participation grade will be negatively affected by any of the following (this is a short list):
-Leaving on your electronic devices. All laptops, cell phones, pagers, and other electronic devices should be turned off and put away during class. This includes earphones and earpieces.
-Coming to class late and/or leaving class early.
-Failure to do the howmework on time.
-Absences.
-Talking about non-course-related subjects during group activities.
- Talking during video screenings and/or while someone else has the floor.CLASS POLICIES
The learning curve in Maya is steep, missing even one class is enough to put you significantly behind. Regular class attendance in mandatory. Class attendance is also part of your class participation grade. Arriving on time is equally important. You would be fired in a job you do not show up on time for. The expectation here is similar. You will be considered absent one class period for every three tardies. (more than five minutes late)
Missing 5 classes, consecutively or not) is an AUTOMATIC FAILURE for the class.
Expect to spend from three to six hours a week on your working outside of class. Lab hours will be available and posted by the end of the first week.
Students are responsible for any material missed due to tardiness or absence. Readings, and assignments, and projects are expected at the beginning of class on their due dates.
Late submissions will be lowered one grade per class day late.
student may be able to re-submit any assignment for an improvement grade. The policies are specific to each assignment. Check specific project descriptions for more details.
METHOD OF EVALUATION
Homework assignments will be given points based on accurate completion of assigned readings, assignments and tutorials.
The Midterm and the Final project will graded based on these criteria:
*Quality and GEOMETRY
*Quality of LIGHTING
*Qaulity of the SURFACES
*Creativity and Content
Each given an equal weight of 20%, to compose your grade for each project
It is, of course, the responsibility of each to ensure his/her work in completed an handed in on due dates (see below)
Critical review of your work will provide the source most assessments. Participation grade includes the extent and quality of the participation in the critiques, presentation of projects and positive interaction with classmates and professional approach toward the class. Students requiring any kind of special assistance should speak with the instructor at their earliest
ASSIGNMENTS
Attendance %5
Homework/Participation %10
Project #1 Virtual Mobile %15
Project#2 Animals % 25
Final Project: Alter Ego % 45
GRADE SCALE: A 90%-100%B 80%-89%C 70%-79%D 60%-69%F Below 60%
MAKE UP WORK
Late assignments, or absences due only to emergency or illness may be granted leniency only per the instructor's discretion.
Extra Credit:
Students may be able to re-submit any assignment for an improvement points as long as that assignment was turned in the original due date. The policies are specific to each assignment. Check specific project descriptions for more details.
Other opportunities for extra credit are possible involving visiting realted exhibits, films, museums, specific research, attending relevant shows or conferences, or related study, etc. Such points are limited and per the instructor's discretion
ALL ASSIGMENTS ARE DUE AT THE BEGINNING OF CLASS. ORANGE type is used to designate a DUE DATE, BLUE is used to indicate an assignment or proceedure. (PINK is used for special alerts.)