PLayback Shotcut in mAya

Hello friends.
Maya timeline playback shortcut is: ALT+v

Thanks to my friend Rishi for showing me this shotcut.

Delete Undeleteable, unwanted Camera

import maya.cmds as mc
cameras=mc.ls(sl=1)
for cam in cameras:
mc.camera (cam, e=1, startupCamera=0)
mc.delete(cam)

What location Maya's auto save goes to?

C:\Users\LoginNAme\AppData\Local\Temp

Removal of Student Version File Pop-UP

Save your MAya file as Maya Ascii file, and open it with a text editor. Find and delete this line:

fileInfo “license” “student”;

It should be somewhere in the top 15 lines

Deleting of Non Deleteable NODES

lockNode -lock off prefix_side;

camera -e -startupCamera false side;

1) run these commands.
2) delete the Object or camera.

Changing Orientation Of joint Manually in MAYA

How to change Orientation in Maya Manually:-
1) Hit F8 ( component Mode)
2)Hit question mark sign on top.
3)Select bone.
4)Rotate the orientation.

Change Controllers Shape on Rigged Character in MAYA

#ctrPar
#parents the shape of the controller and keeps it on the same place
#by Daria Eremina
#17.02.2010
#DESCRITION
####################
#Create new ctrl on the top of old one with exact position.
#Now select the shape of new Ctrl by selecting New Controller and then hitting down #arrow.
#Run the script
#Go to hypergraph: Hirarchy, Turn on Shapes from display inside hyper graph.
# Delete the old Shape.
#TO RUN SCRIPT COPY PASTE BELOW 3 LINES IN PYTHON EDITOR AND RUN.
######################################################################
#import maya.cmds as de
#reload (cp)
#ctrPar();
######################################################################
#sel the shape of pretty ctr, sel the working ctr

#get the position of the cvs of the pretty ctr
#de.parent(r=1,s=1)
#get the new pos of all vrts of the pretty ctr
#snap them to the preveus positions
import maya.cmds as de
def ctrPar():
selected=de.ls(sl=1)
prettyCtrShape=selected[0]
workingCtr=selected[1]
#get cvs of the pretty ctr
prettyCvs=de.ls(prettyCtrShape+'.cv[*]', flatten=1)
#get position of cvs of the pretty ctr
allOldCvPos=[]
for cv in prettyCvs:
oldPos= de.xform(cv, q=1,worldSpace=1, t=1)
allOldCvPos.append(oldPos)
#parent shape to the working ctr
de.parent(prettyCtrShape, workingCtr,r=1, s=1)
#get new cvs
newCvs=de.ls(prettyCtrShape+'.cv[*]', flatten=1)
print allOldCvPos
print newCvs
#change their position
for cvNum in range(len(allOldCvPos)):
de.xform(newCvs[cvNum], worldSpace=1, t=allOldCvPos[cvNum])
#delete old ctr
if de.objExists(selected[1]+'Shape'):
de.delete(selected[1]+'Shape')
else:
print selected[1]+'Shape'+' doesnt exist'

Transfering animation from one rig to another similar Rig in one click.

1) Reference in new rig along with broken rig.
2) Intall script called "nwTrnsfrAnim" ( Download from Creativecrash.com if you donot have it)
3) Run nwTrnsfrAnimUI; in script editor
4) select the Broken rig called source.
5) select new rig called destination.
6) Hit Tranfer its done.

Why i cannnot save my Maya file as *.ma?

'File contains unknown nodes or data'
Some people happens to run into a problem when trying to save a Maya Binary (.MB) file to Maya ASCII (.MA) file. An error message would pop up mentioning, 'File contains unknown nodes or data. To preserve this information, the current file type cannot be changed.'

In this case, you can write this MEL script to look for the 'unknown' node(s):

ls -type unknown;

A list of unknown node(s) will be generated.
You can delete them by typing:

delete `ls -type unknown`;

By deleting the unknown nodes, the problem should be solved. =]

UPDATED 12.01.2010 :
Thank you to Ariel for adding extra info.
If it says "Cannot delete locked node", make sure you get the name of that node and select it, and then type:

lockNode -l 0;
Then type again:

ls -type unknown;
delete `ls -type unknown`;

That should do it.

Posted by Wai Keat Wong at 9:00 PM
Labels: Maya, MEL


Thanks to my friend Leigh Ausiello for forwarding me this link.

Making your own shot mask (frame counter) By:Ziv Ariel

Making your own shot mask (frame counter)
First of all, I would like to personally thank a friend from AM who send me this - Tobias Von Burkersroda, for making a great effort to bring this tutorial to life, and for letting me post it here.


1. Create a Shot Mask in an empty file



2. Create Text ( Create --> Text Options)



3. Write '0123456789'



4. Select Poly



5. Click on the Arrow ans select your favorite text type



6. Select the created poly numbers



7. Delete the history (Edit --> Delete by Type --> History)



8.Delete the created curves



9. Select all numbers and center the pivot ( Modify --> Center Pivot)



10. Create a Locator



11. Snap all numbers to the Locator



12. Rename the numbers the same way like the numbers of the original Shot Mask




13. Pose them where you want them to be



14. Delete the original Shot Mask number



15. In the outliner move the numbers to the group where the original numbers had been.



16. Move the time Slider. First of three parts done :)



17. Delete the 'AM:digit_2' and 'AM:digit_3'



18. Duplicate 'AM:digit_1' two times and rename the copies to AM:digit_2' and 'AM:digit_3



19. move all the 3 AM:digit_x groups



20. If you have crated a cam, delete it and save the file



21. Go to your scene and import the frame counter and parent it under your Shot Cam



22. DONE ;)

Zero out selected ctrls

// Zeros out all Visible/Keyable Attributes On Selected Object(s)
// Author: Jay Grenier, 2010
// Last Update: May 6th, 2010
// Notes: Source script, select object, hit button. Or, make a shelf button that calls jgZeroOutAttrsDo For help email jay@jaygrenier.com


// **********************************************************
// Zeros out all Visible/Keyable Attributes On Select Object(s)
global proc jgZeroOutAttrsDo () {

// Get Selected
string $sel[] = `ls -sl` ;

// Loop
for($item in $sel) {

// Get All Attributes
string $attrs[] = `listAttr -v -k -s $item` ;

// Zero Out (Not Visibility or Scale)
for ($attr in $attrs) {
if($attr != "visibility" && $attr != "scaleX" && $attr != "scaleY" && $attr != "scaleZ") {

string $path = ($item+"."+$attr) ;
if(!`getAttr -l $path`) setAttr ($item+"."+$attr) 0 ;

}

}

}

}


// **********************************************************
// Zero Out GUI
global proc jgZeroOutAttrs () {

// Delete and Prefs
if (`window -exists jgZeroOutWin`) {
deleteUI jgZeroOutWin;
windowPref -removeAll jgZeroOutWin ;
}

//Define basic window specs
window
-w 100
-rtf true
-t ""
jgZeroOutWin ;

columnLayout
-adjustableColumn true
-rowSpacing 6
-columnOffset both 6;

button
-h 30
-bgc .75 .905 1
-l "Zero Out"
-c "jgZeroOutAttrsDo ;" ;

showWindow jgZeroOutWin ;

} jgZeroOutAttrs ;

MAYA Luminanace Depth Pass

1) Luminance Depth layer Render in Maya Software.
2) color could be mental ray or other.
3) Batch render afterward.

To see in after effect:-

1) Apply Camera lens blur effect on your rendered image sequence layer in after effect.
2) Open Lens blur option , in blur Map Select the depth layer.
3) it is done.

pOLISHING aNIMATION

IMPORTANT STEPS TO CONSIDER WHILE ANIMATING

Window 7 Short cut Keys [ Usefull if you are Animating in Maya with your own customization]

Win + D = Show Desktop,
Win + M = Minimize all windows,
Win + E = Launch Win Explorer ,

Win + R = Run Command,
Win + Shift + M = Maximize all windows,
Win + L = Lock OS,

Alt + Tab = Shift between Windows,
Alt + Shift + Tab = Shift between Windows (Reverse Order),
Alt + Space bar + N = Minimize current window,

Alt + F4 = Close Current Window,
Alt + Spacebar + X = Maximize,
Alt + Spacebar + R = Restore,



Ctrl+Esc = Start Menu,
Ctrl + Shift + Esc = Show Task Manager,

Hollywood Camera Work

Hello guys, i just came across these amazing videos. Lots and Lots of information how to move camera through scenes.

If you are Academy Art Student you can get it from Library.
http://www.hollywoodcamerawork.us/

Vue Tutorials

Check out Vue here

James Baxter Podcast

Awesome Information related to Animation.

How to Make You Tube Window POp Up

eg: http://www.youtube.com/watch_popup?v=5S2dP6AmNnU




if you link is: http://www.youtube.com/watch?v=5S2dP6AmNnU
insert _popup option between watch &?

Posted by Jean Dennis on SPUNGELLA

http://academyanimation.blogspot.com/2007/10/keys-to-getting-job-by-pamela-k.html

Rendering Wireframe in MAYA BY:AYan Ray's Blog

It does not tessellate your objects. It can be applied to multiple objects without having to do new UV Snapshots. It can render in smooth shaded. It is quick and easy. And it uses the power of mental ray, and can look sweet if you do it right.

Process

1. Assuming you have something to render, create a new material (can be anything that has a shader group – lambert, blinn, phong, etc.). In this example, I will be creating a lambert.
2. Call the new material WireFrameMTRL and the shading group WireFrameSG. Who doesn’t like being a little organized ;) ?
Note: If you clicked somewhere else and can’t get to the shading group easily, you can just go to the Hypershade and find the tab Shading Groups to find it.
3. Go to the newly created lambert’s shading group WireFrameSG.
4. Open the mental ray -> Contours tab.
Note: If it isn’t there, you need to enable mental ray in your plug-ins Manager. Mental ray is called “Mayatomr.dll” so find it and load it.
5. Click Enable Contour Rendering.
6. Set the color to something you’d like. I like white.
7. Set the width to something like 0.2 – 1.0. This setting is the absolute width of the wire frame lines. You can comeback and play with this later.
8. Apply the material to the object.
9. Open Render Settings
10. Select render using Mental Ray (if it’s not there, go see the note for #4).
11. Find the Contours Tab (it is under the features tab in 2009)
12. Select Enable Contour Rendering
13. Open the Draw By Property Difference Tab
14. Select Around All Poly Faces
15. Render!

If you are Freaking out " Oh my God my rig doesnot have skelton"

Then run this two lines in python you will see everything that is Hidden.

import maya.cmds as mc
mc.showHidden( all=True )

Graph Editor Value Operator

To increase all keys by 2%
formula is :[ *=1.2 or /=2 or +=2 or -=3]

Reordering Deformers in MaYa [ Blendshape Prob]

import maya.cmds as maya
maya.reorderDeformers('Blendshape_name','SkinCluster_name','Mesh_name')

Breakdown CAMERON FIELDING

This is Animation done by Cameron Fielding And i love the feel of Weight.

Turok Creature Reel by Cameron Fielding

CamAnimation08 from Cameron Fielding on Vimeo.

Turok Work Flow

http://fliponline.blogspot.com/2008/02/turok-animation-workflow.html

Quantum Love Week07 Started Curves clean Up

Recuriter Digital Domain

Lighting In Maya

Maya Lighting

MAYA Passes

Rendering Maya Passes

How to Set Maya Render Passes in After Effects

Click on the link to read.

Free Sound Effects

Hello.
I find this website have really cool sound effects, Check Out free stuff

MEL Scripts

Hello guys here is the link for some useful mel scripts.

Click here: http://www.bohdon.com/scripts/?page=maya

Video Editing Golden Rules

Of course, rules were made to be broken and creative editors take extreme artistic license. But, if you are new to the craft of video editing, learn these rules and consider them a foundation from which to develop your skills.
1. B-Roll

B-roll refers to video footage that sets the scene, reveals details, or generally enhances the story. For example, at a school play, besides shooting the play, you could get b-roll of the outside of the school, the program, faces of audience members, cast members hiding in the wings, or costume details.

These clips can be used to cover any cuts, or smooth trasitions from one scene to another.

2. Don't Jump

A jump cut occurs when you have two consecutive shots with the exact same camera set up, but a difference in the subject. It happens most often when editing interviews, and you want to cut out some words or phrases that the subject says.

If you leave the remaining shots side-by-side, the audience will be jarred by the slight repositioning of the subject. Instead, cover the cut with some b-roll, or use a fade.

3. Stay on Your Plane

When shooting, imagine that there is a horizontal line between you and your subjects. Now, stay on your side of the line. By observing a 180-degree plane, you keep a perspective that is more natural for the audience.

If you’re editing footage that disobeys this rule, try using b-roll between cuts. This way, the change in perspective won’t be as abrupt, if it’s noticeable at all.


4. 45 Degrees
When editing together a scene shot from multiple camera angles, always try to use shots that are looking at the subject from at least a difference of 45 degrees. Otherwise, the shots are too similar and appear almost like a jump cut to the audience.

5. Cut on Motion
Motion distracts the eye from noticing editing cuts. So, when cutting from one image to another, always try to do it when the subject is in motion. For example, cutting from a turning head to an opening door, is much smoother than cutting from a still head to a door about to be opened.

6. Change Focal Lengths
When you have two shots of the same subject, it’s easy to cut between close and wide angles. So, when shooting an interview, or a lengthy event such as a wedding, it’s a good idea to occasionally change focal lengths. A wide shot and a medium close up can be cut together, allowing you to edit parts out and change the order of shots without obvious jump cuts.

7. Cut on Similar Elements

There’s a cut in Apocalypse Now from a rotating ceiling fan to a helicopter. The scenes change dramatically, but the visually similar elements make for a smooth, creative cut.

You can do the same thing in your videos. Cut from a flower on a wedding cake to the groom’s boutenier, or tilt up to the blue sky from one scene and then down from the sky to a different scene.

8. Wipe

At weddings, I love it when people walk in front of the camera. They are apologetic, but unless it happened during the vows or the first dance, I am grateful for the wipe they gave me to use during editing.

When the frame fills up with one element (such as the back of a black suit jacket), it makes it easy to cut to a completely different scene without jarring the audience. You can set wipes up yourself during shooting, or just take advantage when they happen naturally.


9. Match the Scene

The beauty of editing is that you can take footage shots out of order or at separate times, and cut them together so that they appear as one continuous scene. To do this effectively, though, the elements in the shots should match up.

For example, a subject who exits frame right should enter the next shot frame left. Otherwise, it appears they turned around and are walking in the other direction. Or, if the subject is holding something in one shot, don't cut directly to a shot of them empty-handed.

If you don't have the right shots to make matched edits, insert some b-roll in between.

10. Motivate Yourself

Ultimately, every cut should be motivated. There should be a reason that you want to switch from one shot or camera angle to another. Sometimes that motivation is a simple as, “the camera shook,” or “someone walked in front of the camera.”

Ideally, though, your motivations for cutting should be to advance the narrative storytelling of your video.