Autodesk Maya 2017 Motion Graphics Webinar - Dec 2016

so before we go into the webinar in more detail today I just wanted to give a quick overview to the sorts of things that you can use the procedural Nash network for when dealing with motion graphics and also other parts of Maya as well where it comes into its own so an example of this would be using mash as a modeling tool for example so this goes far beyond just traditional motion graphics this chain maille scene here that we're seeing was done with Nash and this forest environment as well which is a very dense environment with a lot of detail in there with all done using mesh networks to deal with very large numbers of instances what's new to my 2017 in terms of the mesh network and the way we deal with these different behaviors is the ability to actually be able to use the new mesh editor which is a new feature in my 2017 and this allows you to be able to change the order in which your behaviors are being evaluated with a simple layering system you can turn these on and off you can mute you can change the order in which these behaviors are being evaluated so it really does give you a lot of flexibility which previously in my 2016 extension to you would have had to have done using the node editor so an example here of mesh behavior would be a signal node for example this is just a way to add some basic noise to your instances so this is 14 noise in this case and we're just changing it to apply it to either the position or the scale or both so you have a lot of control over how these is being dealt with you can change the type of noise being used so we're switching it to Brownian motion so you have huge amounts of control over how you will Network behaves so another example of my behaviors is the strength node so this essentially gives to you the ability to be able to completely mute your mesh network and your behavior so you're scaling down or behaviors in your mash network to essentially zero to where the instances began before you started adding behaviors other parts of mash that are very impressive are the ability to be able to take your mash behaviors and use it to drive any other part of mine that you can think of so this is done via the mass breakout node and this is the ability to take those behaviors and connect it to things like extrude in this case or perhaps you could drive the joint rotation of a character by your mash behaviors so here we're taking audio and we're using it to drive a mash Network which in turn drives the extrude operator on your model so here's just a further example of using audio to drive behaviors in mash so the other side to mash that we'll be covering in more detail further on this presentation is the use of full of objects so any behaviors that you have in mush you can actually have a nice fall off and this can be driven by any number of influences whether it's an implicit series we saw there or there scares or meshes and we'll cover this in more detail shortly so we can use objects with colored textures to drive either shaders in mash or color nodes in that so here we're actually able to drive an Arnold shader with the color of the mesh that is driving the instances the 3d type tool is also at a big overhaul in 1970 and this gives us much much cleaner 3d text so this will deal with the loss of the intersection problems that you would have had in previous versions so now we have a lot of control over how the 3d type is created so one of the key strengths of mesh is its ease of use so it has a fantastic UI that's very self-explanatory all of the icons are linked to the behaviors that they actually carry out and execute so for instance the audio node yes that's very obvious it has a nice kind of graphic equaliser icon to go with that so it's very easy for people to pick up a lens of what we're seeing here all lives in the waiter which essentially is your menu for picking and choosing your baby is like using mash there's also utility notes as well for things like exploding a mesh and adding trails and that sort of thing so additional utilities there worth mentioning for mesh are the inclusion of things like a blender for Moe or jiggle to for wear so there's lots of additional things that you can do in mash that sit well outside of the traditional motion graphics workflow so one new feature of motion graphics in mind that we haven't mentioned is the introduction of something we call the SVT node now this is a very simple means for you to be able to import vector graphics into your Maya scene so the way this works is you simply open up your adobe illustrator session or your vector graphics session you can copy and paste directly from adobe illustrator into maya now fire the SVG node so here we're seeing some vector graphics and saying m in and then the my logo and we're able to bring this directly into Maya as a 3d object so this is perfect being able to bring in things like logos from your clients and any vector graphics that you've generated in Adobe Illustrator so really it's just about ease of workflow and simple functionality so here just by adding a couple of billion operators we were able to get the items from Adobe Illustrator into Maya and then be able to build the scene that we saw there in those initial videos very quickly and easily so let's take an in-depth look at some of the functionality of mash and how we can generate some pretty interesting effects and very simply in a very efficient manner so we've got the scene here we've got a couple of items in there already we've got the little keep there we saw at the beginning and we're going to set up a mash Network and in doing this we have the heart of the mash Network which is your distribute node and this just determines how many instances you have it defaults to linear so it's just got ten instances being created this and we would run it in mesh mode which means you can actually generate a single mesh even though we put ten instances here so you've got lots of controls all these sliders that you see me pulling around here they're all animatable functions so we've switched the distribute node to a radial mode so we can adjust the quantity of instances here we can ramp this up say 5,000 so we can have very large number we still have great performance and we can then go in and start tweaking the values so the angle for instance we can change the set offset value here we can change the radius and as I said all of these values are animatable so you can use these to generate some pretty interesting effects there's also a grid mode so you can very easily populate a grid in all directions that doesn't just have to be two-dimensional and then in the scene here we're actually going to be using a separate mesh as an influence for how we play sees instances in the scene so by doing this we simply drag and drop fear that we've got here in the scene to our input mesh within the distribute date so if we ramp up the quantity to 5000 you'll see that they've scattered themselves all over so we're in scatter mode currently we can switch it by vertex so if we then adjust the number of instances that it's done by point order so you get a nice ordered distribution of the vertices we can do this as a random order as well so you can do it by random vertex so now you'll see that they're appearing in a random order all over that sphere we can also slide the mesh as well so this will this will basically put an instance per vertice on the mesh we can also do it by a box or place so this essentially is filling the volume of the object so if we hide the sphere we can treat it as actually filled that whole volume inside the sphere with the instances so we go back to our mesh network now we're going to switch this back to random versity we're going to start playing around with some other settings in mash through it add as a visibility node here we're actually going to use a texture and to drive where these instances are appearing on the sphere so we've got this map of the world here as a specular map and you see here that it's changed out which of those instances are actually visible it's not quite looking right at the moment and this is simply because we need to adjust the map projections at the moment it's just in the y axis if we middle click and drag this sphere over as a map helper this will actually match the UV of the sphere so now we see that the world actually looks correct as we orbit around it so finally I just want to add a bit of spinning to this so I can add a transform node and mash and I've got a locator in the scene which you already have some animation on it so I can drag and drop this locator over to the controller null input of that transform node if we do this and then hit play you'll see that it inherits the animation of that locator so now that we've done that we can start have some fun with this so we can go in and add things like some noise to there switch generates a very simple particle style effect and again this is all running in real time in the viewport there's lots of different options available to us with the signal mode we can loop the noise we can add Brownian motion so delete to that node and we're going to now go in and add some audio as a driver we're just going to bring in a WAV file and then we're going to apply this as a driver for the scale of our instances so we're going to really ramp up the values so we can actually see the effect happening and then under the frequency graph settings we have the number of bands or channels that are being driven by the audio so the more bands that we have in terms of quantity this will drive more effects as we hit play now we'll see that the scale of the instance is essentially giving us a very interesting looking graphic equaliser effect on the spinning globe so if we want to make the scene look a little bit more interesting something to point out in the content browser you can actually load some mash presets from our examples tab in the content browser so this helps you learn how much works and you can load in some predetermined examples and so you can use it as a starting point or to help beef up some of your animation in your scene so here we're just adding some extra mash networks that we already have to just add a bit more substance to this example here we're just going to loop the timing of this so it populates our entire scene and then if we play this through now you see we've got something quite interesting looking so because the mass networks all lied it's very easy for us to switch out these objects so you can do this in both instance mode and you can also do it in mesh mode so if we see here we've added another sphere there and we can switch it out instead of the cube so we hit play now see that that scale effect is working on the stairs instead of the flat cubes that we had before and if we change it from spectrum to average on my audience we get this very interesting kind of spiky hedgehog effect on our planet I've got a nice video here which is put together for us by the mainframe team for the release of my 2016 extension to now the spinning cube at the beginning of this video I want to do so Cassandra as to how quickly and easily we can generate this kind of complex and effects using the mesh network so here's the spinning cube I wanted to replicate in my er today now this is an example that was put together by Ian waters for our NAB presentation and I just thought was a great case study for how quickly and easily you can generate this kind of effects in mesh so here we're just duplicating a little pyramid that we've gotten the scene and using the distribute node in mash we're actually using the grid settings so we've just got a 14 by 14 panel of these pyramids and now we're going to start adding some behaviours to this we're going to add an offset node to this and I'd actually like to offset the rotation so as you see there it's flipped all of those pyramids by 180 degrees and now we're applying a fall-off object to this so as we drag this fall-off object through the panel we can see that it's driving that rotation effect so I'm going to set some keys on this so that as we scrub through the timeline we can see that effect happening so the next stage for this I'd like to add another offset object to the translation so we're going to scoop all those pyramids up a little bit and why and with this second fall-off object we're going to be able to also drive the effect of those and the reason I'm not using that same first full of object will become apparent shortly so basically with the second full of object I'd actually like to change the profile of the wave as it goes through so we can do this using the fall-off ramp so as you see here as I move those spline curves it's actually changing the profile so that now we're getting more of a ripple effect going through there so finally I want to make this disappear so the way I can do this is to use the strengths node which essentially just mutes the entire network and the effect of this will be essentially making it disappear into thin air so we'll create another fall-off object for this and as we move this full of object through there it'll actually make it vanish you so finally now that we've got one side of the cube done we basically want to populate all the sides of the cube so we can do this by using another object in our scene so I've got just a simple cube and the beauty of mash is you can actually create a mash Network of a mesh network so as long as you're in mesh mode you can actually do this very quickly and easily so you see here we've duplicated those sides of the cube there's a couple of different modes here that we can do so if we go back to our distribute node you're in linear at the moment if we switch this to mesh we can then simply middle click and drag that cube in our scene into the input mesh and you'll see that the size of the cube will start to attach themselves but it still doesn't quite look how we want it to so reason for this is there's a couple of different modes we can do it by vertex but what we want is the face center so that now will adhere perfectly to the size of those cubes and finally we want to add a little bit of spin to this so the way we can do this is to go back to our mesh network and we can add a transform node so I've got a locator in the scene which already has a little bit of animation on there we can simply middle click drag and drops that's now locator over as a controller now so will inherit the animation of that locator so as we scrub through the timeline now we'll see a little bit of a spin on there as well we have something that looks fairly similar to what we saw in the original video so I'm just going to roll that video again just so we can see the finished article obviously animated much nicer than I can do because animations on my day job but really it was just to illustrate how quickly and easily you can generate intersections English we've already looked a little bit at fall-off and and how useful they are in the mass universe I wanted to delve in a little bit further and show how they could be used for things like animating a robotic face for example so I've got a couple of bits here in the scene for my robot face I've got a couple of nerds curves which I've got some animation on so they're just some shape keys to just be able to add some emotion to our robot so these are going to be the drivers for the fall-off objects and we'll see how these will come together now also the little cube in my scene called pixel so what I'd like to do is basically create a screen effect on the robot so I'm going to use the mesh network to distribute these using the grid settings so we're just going to populate that face with all these pixels so from here what I'd like to do is actually use these NURBS curves as a driver for the facial animation of our robot so to do this I'm going to use the color node and I'm going to apply those curves as a fall-off object so to do this you would first create a couple of basic fall-off objects I'm going to add a background color of black and a foreground color of blue so it'll be the full of objects that are driving where that blue color sits on our pixels so we create a couple of empty full of objects and then this is where we can drag and drop our NURBS curves as a connected object so it uses the shape of those NURBS curves to drive when a fall-off object sets so by default we would get a spherical implicit object which can be animated and transformed but we're going to drag and drop these nerds curves over to our in shape of the fall-off object so you can see it's already having a bit of influence there we're actually going to use the custom-shape radio so this is essentially the fall-off from the care which is why it was so much bigger than our campsite begin with and we're going to apply to fall off objects for one for each each curve to drive the effect of that color so you'll see here if I select a NURBS curves and move them a bit closer to the robots face you'll see that they will have an influence on which pixels are essentially lit up or cubes in this case so now if we go back to our shape edits that we can start to see that as we animate the shape keys of those NURBS curves they're having an effect now on the fall-off so we get quite a cute little robot animation so what's nice again the cosmic is procedural and it's all live link you can actually go in and simply scale down the size of that cube or pixel and we can create essentially a higher resolution look for our robot face so we scale these down we're just going to obviously bump up the quantity so that looks more like a little screen and if we go back to our shape editor now we can see the animated effect of those eyes so we can hide those curves and then you can see the effect that they're having and what's nice is we're still able to transfer them so in theory you could rig these curves up as you wanted to have a really direct kind of sculpting feel to creating those character poses on the eyes and we can also go and have a bit of fun so if we wanted to also exaggerate the effect we can add an offset on the scale for example so if we look at this from the side now you'll see that as well as lighting up those colors we can reuse those fall-off objects to drive our scale effect so those pixels will essentially look like they're kind of jumping out from the screen a little bit so you can see as we animate the expressions it's not only changing the color it's also changing the scale so once you've set up these photo objects you can reuse them in as many different mesh nodes as you wish there's a few other effects that we can do if we want to go back to the color node for example in our mash Network we can use that random hue again so it keeps the overall blue shade that we're looking at we can change the background color if we want to can also change the random view of this so if you want to make it look a little bit more static effect on those eyes you can do this way easily as well to create quite a nice little robot feel now one of the strengths of mash is because we are generating a proxy mesh here so this isn't just instances this generates a single mesh we can actually deform this so whether this is with a rig or in this case I'm going to use a bender format just to show the effects very quickly and easily so we're applying this to our box and also applying it to our grid mesh network so you can see you can add some fun and it's keeping all those pixels lives you can still animate the effect even though we started bending it so we can have those eyes moving around so it just shows how quickly you can generate some quite complex effects using the powerful off objects in - so not only is it a motion graphics tool it's fantastic for character words like this one example I wanted to look at here was how to use mash as a basic locking system so here we've got three fish both sharing the same animation cycle at the moment we're going to use the flight node in mash to be able to generate a flocking behavior with with the school of fish so what we'd like to do here is actually take these fish which a moment are just kind of floating around in space and have them follow an object so we've actually got a locator in the scene which is for a motion passed to tribe itself around this curve and we're going to actually use this to influence the flight nodes we can simply drag and drop the locator as an attractor object in the flight node and you'll see that now those fish are actually following where that locator is going in space so something we can do then within the flight node is to start adjusting all sorts of different settings in terms of how separated the fish are from each other the speed we can vary the velocity of each one but what we'd like to do now is actually take these three fish and actually give them an ID using the ID node in mesh so this will allow us to actually have three different varieties of fish as opposed to just taking the first of our selection when we set up the mesh network so in doing this we can also add a random feed value here which allows us to change you know exactly how many of each type of fish we have showing and once we have this we can actually use the time node in mesh to be able to vary the timings of each cycle and the velocity of each cycle so if we go and actually adjust a number of start and end values we had for each cycle we can see that suddenly these fish will have different cycles running at different start and end points and we can give them different time scales as well so if we just the random time scale value then some will be moving fastest and when we move so even though they will started off with the same animation cycle so it's an incredibly powerful way to be able to get variety into your animation whether it's for a school of fish in this case or it could be a fleet of spaceships here's our finished school of fish just following the locator around the scene with lots of variety in there in terms of the animation another usage for the time mode is for something like this where we started off with just a single eyeball over the enclosing as you can see we've been able to add all sorts of offset values here in terms of timing and speed and so you can generate a large scene of objects or different timings very quickly and easily using the play modes in mash [Music] I wanted to cover some of the resources available before we switch over to the main same guys explained so there's a few places you can go to get some examples we've got the creative market and this is essentially a place where you can download a lot of the scenes that we've seen in these marketing videos and you can see how they've been built and when what nodes have been used in the mash network to actually apply that so these are all available as free downloads and as well as that we've also got an excellent Vimeo channel and provided by the main vein team well they've got a huge number of videos that en has put together and over the development of mash over the last couple of years so a lot of stuff I've shown today like the the school of fish example there he's got a much more detailed tutorial on that as well and we've also been putting together a new website actually as part of our motion graphics drive as motion graphics autodesk.com and this will also link you back to some of the Vimeo channels and tutorials but it's a great starting point for getting to learn some of this stuff so we're we are you know upping the number of resources available we'll be putting this webinar up on our meet the experts landing page after today and then eventually we'll be looking at other other channels usually able to download this content as well but that will be the starting point for that I believe we reached that time where I'll be switching over to the mainframe guys now are you guys here Chris and Ian yeah hello hello did you want to do some webcam ourselves so we can see a face or you have it enabled oh there we are I'll move over when I say where we are here so yeah this is Christian Ian all the way from Manchester today yeah and I was actually going to plant a question to get things going I was facing and you could tell us a bit about the advantages of the repro mesh to the mesh mode for mash this is the pure instance mode and then some of the benefits of that and I believe I've stopped sharing this picture if you do wish to share anything to show it to you you're able to drive yeah I mean that there so mash was originally built on the back of the being sir and part of us joining forces you know when we join forces with you guys at Autodesk and one of the first things we wanted to do is try and enable things like and they're bringing the color now and bring in time node which sort of allowing you to then you know just showing that school of fish to upset you know Olympic animation that you're bringing in or caches or bringing in portal just animation itself obviously opened up a huge amount of sort of flexibility and possibilities in there as well and as you touched on this then around deforming everything repro inari pro-social as nesting reposing on reproach and what else well yes actively and you want to you to repro when you can so the bitter bunch of the refill is that when you have millions and millions of polygons you can flow the theme down so obviously if you've got huge amounts of mesh and infancy is faster so we know scenes where people have to four billion polygons going to mash but using the instance on your side you couldn't do that with the repro node so it kind of just depends on the kind of things you're trying to do and but for a lot of motion graphics work the repro node is definitely the place to start off with it's Wyatt are basalt and then if you if you suffer with performance then switch over Z so it's really it's all very densely populated and seems that the PDS there are the advantages the repro are because as you mentioned yes I think we would you know the way that we operate with Nash mainframe except if if you're not going to use time or color you don't need them easy because it's just it's lighter and better coordination and so in defamations right yeah so you can also mix them though so and in one of the examples they if you start off with a repro mesh if you want to put that inside under the mash network that doesn't must never be put inside can be in in so you could so yes you can mix the two of them like that and then get the best more to get the best of both worlds then okay and then I Ryan commute you're able to change halfway if you decide oh actually I wanted to add an instance image or or not is that was that assumption yes and I think I think we're going to show you how I might see ourselves and you seem either yes yeah we can see that and and just the guys are loading this up if there are any questions on the floor please feel free to type them into the chat window and we can try and fit in as many as we can in the allotted time yeah sure object created a know very quickly just selected irnos incorrect the mash network there and you've got the options here as your default that's like I'm some infant sir at the moment so we have this interesting Morgan you're not using the mass redditor you need to use a magic this again this is something that was brought in in 2015 and you know one of the things that was happening is as your network get more and more complex and you're adding several mass networks your outline and getting you know potentially getting quite clogged up and in related things not necessarily next to each other in that list so the mass editor here is a really cool tool for managing your networks basically so you know for example if I create another one here so now we've got we've got mash to there which is both so Spears and so you can just sort of you can quickly turn on a lot of X and you can just really start to either troubleshoot or start to art I Rachel your work however you like to do it but the other thing worth noting is you can as you say you can get to the instance from here or you could then switch geometry type by this little menu on this side this also lives up here there is selector later maybe let the one supposed to do it in over here but it's over here as well but you can just do switch geometry type and now we switched over to a repro as you can see here and I can be icon tells you which one you've got when you will be able to open so that if it's two keys then it's very pro and then it is two checker boards and it's the intercessor right so inside tips and tricks now we we now can't live without the machete so I think it's um it's been one of those sort of under undercover features really but you know that organization others they want to get into really quite complex network and organizing your scene becomes reborn yeah derald recent videos very good you're getting organizing everything with this thing great yeah no it's definitely going to improve the workflow certainly like you said not having control through trying to find your mash networks just because they're all available yeah it's a quick-fire way to launch the different networks there's some good other little things in here while we're there so we can you know we can rename this to this and it's automatically naming all your Associated nodes as well and then also duplicate mash network through the right-click menu as well whenever that works yeah no I said kazumi guys compete a little chat window at the bottom we've got a couple of questions coming up now I think the first one was can you show any examples of how to use the PI salad or is that a bit of a beach to sit in Oh am i what definitely is on and yes I can show you an example of I can load it okay life groupings okay so is the titan mode and i'm what this is yeah that can go okay so the Python oh can call any my RM can call any my scripts or you can just import the plot here you can do import miles of the MDF and then you can you call any my command as you would normally so you can get information about your C and then use it to you actually smile whatever that kind of thing I tried to give an example something to do and so if I had a few seconds I could go get some script okay but if you do so we can out I hold on a second so I think if we do and think think about the commands I can't remember which is what it is look no that's Malcolm and they're working it one run like a number oh maybe and okay I don't know really so what we can do is instead of seeing that position here if we do you out rotation and then we do the x-axis and then we do it something like and we say if we just a frame here and then hit we hit the playback all of our objects will rotate as it's very high pressure situation airy and I think you've done very well where see me - good question it's likely idea that the pipes are now is built because we were getting so many requests with very very specific things that people wanted to do new and it was come amended as a way to try and prevent too much feature below really within mash you know very specific controls that are only good for very specific things and what quite a note does is we could think it's really awesome example you know have some of the copy intention there now and people through but yeah what is thousand just opened it up to you know if if you are might you know twice and minded then you can probably work your way through and get mash doing what you want for them yeah so we we Vimeo channel hem you in for - tutorials correct so we've got then you've got a video there and I think I go through very different kinds of Fibonacci distributions so I'm a Cuban actually spiral and there and then this is crazy amazing and effective that I made as well and scripts are all available to download there so I what the link it to the script is definitely on my youtube channel yeah and down here as well but now it might vary but it's this business yeah and now I'm post in the chat anybody wants to watch our yeah so the same videos on YouTube as well and if it's not the Python scripts on here and they're definitely there and it just you can use that copy and paste them in turns good then I think care one of the other questions I saw a second ago was it's gone up a bit to you hi there was about a let's just enlarge this window slightly I can she go scroll up so the other question was can you tell us a little bit about how the pivot works with mesh yeah so this is this is quite interesting and it's a difficult problem just because of the way that well Myron itself work so here we go so I scale the key book I create a mash Network and then I'll just place them out slightly and I scale these up in the y-axis you see the scaling from the center of the of the key and what if I want to go from the bottom of the cube there's a few ways you could go about this so I'm just going to isolate to let the cube isolate the other key now as you can see as you can see the pivot point is right in the middle of the key here now what you can't do what's insular on the laptop I know earlier okay so which ones that CC so what you can't do is just move the pivot point and then then have mash act on that subtly that breaks everything breaks all the internal maps so and this is a department to thing that we kind of inherited edges because we use departments so what you have to do is when you do the pivot point you then I just make sure this is at the bottom it really is what you have to do then is go in and bake the tiller point so this is a new feature I think in 2017 again and what this does is if I hear about the end the translator the pivot point is now the bottom of the mesh with the translate down at zero so now if I hit control one I'm going to turn on isolate select to see that there now is getting from the bottom so that's the better way it works now the other thing you think you pay attention to here is that and another way to do this dial use is grouping as the grouping these mesh that's going into mass here and then compute call it and just call out the mesh three and then you can offset this as a position of the mesh anywhere right and then on the instance if we would serve as the mesh group to that and then remove that the cube can be offset anywhere basically it's like here because as the objects on this is the group this is the world center so then you can effectively use that as your pivot so you can kind of do to pivot backwards by doing that so couple of ways to go about it and yes effectively if you change the pivot point you have to bake it to get mashed pay attention to it so it's actually it's the same for n particles as well things imagine are confusing it's just if you haven't thought of where you think it it's really important you said something oh yes yeah yeah absolutely and so I think I can help with this one and so the next question is how can you convert animated mashed Olympics so I've certainly used Olympic with the repro mesh as so we've managed to actually get it into flame and through the Olympic input in flame which has been quite fun so some of these effects we've been able to do with the leap Ramesh we've been able to pull through two other packages as well and if you guys got any tips on cashing stuff out from mash hmm yeah I mean I think it you know it's what your key again is Mitchell we've written north lies further eater to see if you're cashing stuff out on the offensive side of things as long as you've got a week that's obviously repro just a limited our ability means that you can bake instances to objects using one of utilities such as utility that I think is actually called stations projects so you get quite a much network and then it's loving diseases in our culture and then and you go bacon into object and that will create an object you hit Baker's frame yeah that's something and then you basically get real objects for all of your m4v objects in your mash Network they'll all could use marketing and and you can then Atlantic those out so and then create these see how much lightweight mesh so that's for next year so we bacon really going on on our individual yeah so that's how you get in otherwise it's a repro meshed and you can just em yes they just go straight to Alembic and it's just a real masters with anything and yeah this is probably an interesting one what do you feel is your most impressive smash creation nearing creation and yeah interesting I think it I think them become you can't I can't talk about it okay I think is one of your most impressive but sadly that is future facing and today in terms of 2017 2017 creations what would you say is one of your favorites the wreath Pro is really I mean through has been pretty liberating good but that you know just be able to put mash Network into a mash Network for a start that means you've a level of complexity you can get user quickly like a big ever keep demo ve you did earlier and there are just a few bits of fun in mashed like the flight mode it's just a bit of fun really and but that's always good to play around with what says the most impressive creation easy question I don't know is the question development related or creative really yeah you know to elaborate on the you say development or creative for pieces I mean is an example of enough is a small bit in on mash real actually I wouldn't say the most impressive thing but it was and it was something we put together for a brand called dar dar and we were actually building the tools to create that as you know it was in development no Ian with developing stuff and we have guys in your vision you know I wanted to do this I want to do that and yeah I mean that's that kind of part how mash has grown up but you know that was a releasing process and we actually we actively sold a client brief both creatively and from another side all that sent on so you can see what we've done it was require and cheating for us internally map I'm going to say mathematically about it just because it's how powerful they are in fact though in every single mode like full of objects just being able to control anything with a map is yet create the total amounts of freedom blue yeah that's that's one of my favorite things definitely I'm just going to bring your real life again just so captured as any that come to mind a couple of people were saying back to your Vimeo page unless we can play it straight off with the ID have you got it's one of the screen back John spring back and I mean we can bring it up straight off of the dance if you want but well I can well this may be a bit chubby we'll see a couple of points that symbol mentioned earlier earlier one about the screws be done with the place the node now cryptid that I think it was viewed the the height of them with controlling the rotation was that right yeah the to be linked up so yeah it was it and that was a map was driving the height so literally a annoys Matt you know troubling through and then yeah in Ian's help me out with the Python and it was very very simple script we should probably post it up there so I think I think Carla's question about this the kind of bubbling up ground here now I'm going to say will then then one of the animators that main strength is this and because of the way it looks I'm going to say it's by proc and what do you think I think it might be feel good for this presentation that's like I think it's then an arrow being meshed but I'm not I couldn't like I didn't do it but the other thing it could be at suppose is as the texture deformer with a very high resolution measure but all all the real image smoothing turns on so actually you love that performance my favorite the former in my adjust speech but get beautiful things very very quickly but and yeah I think I think d-detective de forma with a noise and then moving and all by fraud but well we can turn liar yes all my yeah so you can see sir I think I said that's probably of something to sell you know we're not you know we're not actually wedded using mash here it's obviously freed up a lot of time for it but yeah we kind of use it conventional tools you've got going on and while as well fix it well I think we've got five five minutes left so if there's time for one more question to have beat now or forever hold your peace oh here you go everyone slicing madly at once there he's the fastest type that I'd like to know is it Matthew or Christian okay just like thine yeah so the way the way that I will approach something like that well of course there is a matter the ability to sort of paint effects you can actually hang things or paint effects using mash by just dragging a effective but and something I mean growing things like trees and things actually it is quite complex because of the nature of branching and omitting things and I Oh be tempted to do something like use end particles and have n particles split but you can connect n particles to a mash network and then you could add a trails know to kind of draw the mesh as though being as though as the in particles are moving and splitting you would then be drawing a trails mesh behind it and I think that I've seen some pretty cool stuff done and in that line it kind of kind of like yet branching organic look and at first doing it out of the box we mash I think it's definitely possible in the earlier days what we did was we had known and mash called the replicator and you can duplicate point of it oh yeah II thought I called have been macho second you can duplicate points like so all week we're off there are we looking all the other objections then dot so and yeah you can replicate you can duplicate points what i think i did was i merged of replicating network and oh my word I can't account under but but going with them parcels and connecting smashed or what you can do is down here you've got utilities it's they set up and particles initialization mash not that one connect and particles to match that one so if you select n particles and a mash network you can hook them up together and then use mash to draw trails behind the weather in tackles are going and then using some turbulence that conceals in the particle you can create kind of like interesting looking organic structures look yeah I mean but that without these I'll frame at I'll go that you can use end particles for things like fall-off would Cullen age and things like that to get like a spattering effect and so right yes yeah absolutely and so just first reading Andy's question I'm a City fan but definitely full Cindy not my tradition is very good oh yeah I'm okay one last one last one and then we will have to wrap things up and the I usually really simple is yes so and I think it says it down here below I'm gonna hurt there's more info so there is a little tutorial here while sake étoile it's more of a stream of consciousness here and so yeah the international mass network was a small if you imagine a sphere and just having us deliver a bastard and then using an offset mode I'll set a normal rotation we then created and I called it this cliche which for me is this thing where is it when are we were on Lee favorite there you go everyone's favorite motion graphic mostly that thing so the imagine using excessive work that eating a trip note to you to jump them rotation but effectively this is made of lots of almost like figure back in my arm and armadillo kind of opening up and then we've distributed some some spheres on for the first one and then use the I think we've repro the repro or we might have replicated it I can't remember and then effectively you just you're just keeping adding another repo to another repro so you then you've got this you put the eyeball in and then you take that whole whole kind of a group in to another match Network you just reach it on to a grid ie this grid here you have maybe some random rotation and scale random scale and then using the time those swaps at the time of each animation and you get that kind of really crazy just very effective it looks in complex it's made up of very very simple it it's playing but it's likely a key tutorial it on the yeah on the surface it looks like something really complicated but really setup is yeah minute yeah well I mean that's why I deliberately didn't speed up to that video either just because it is that quick and easy to do you know you didn't want to share any any smoke and mirrors just want to share in real time really to show that really just that the benefits of mesh are just how quick it is to generate these kind of effects yeah exactly and it's really it's all it's an open ending book Oh playing lots opening so just before we kind of wrap things up I just wanted to point out to anyone who hasn't really seen it there are a lot of web links in the bottom left of the screen and which away we've got an infinity loops going on yeah that we've got a lot of web links in the bottom side the screen I can actually make this window a little bit bigger so you can see them all and these will cover a lot of the topics that we talked about today so we mentioned create creative market obviously you guys have got that fantastic Vimeo channel and and then there's also the drive with the motion graphics website that we and made lies now on the Autodesk website and so I think that's all we've got time for today in terms of questions and with anything you guys would like to add as a closer was what you do yeah yeah one of the highlights for us was doing this is and you know as a motion graphics to yourself it's seeing the work of people producing so were ya send it our way we love seeing it makes us feel woman not me actually and then just for anyone who wants to stay on to an additional five minutes I was just going to cover a little bit about some of your support options samaya so not motion graphics related just support in general and then how you get help if you need it but in terms of the motion graphic side of things and having our special guest Christian being with us today very special thanks to you guys for taking the time to give us a real good insight into the sort of things we can do and and putting you on the spot there in particular with that Python example and I think you kept very well yeah one other way that great alright I'll say goodbye to the mainframe team and I'm just going to do a quick five minutes of where you can find support if you need it for my psychology thanks guys is still on I'm just going to load up a couple of quick slides just to say how you can get some help if you require it so we've got a few options available so I'm sure a lot of you have heard of the knowledge Network at water desk so there's a few different options available to you within the knowledge network we have the community side of it so the the forums are excellent because obviously a lot of problems and solutions have already been derived within the forum's so so this is a good starting point for you to be able to get some answers the other way to get support is actually through your account login so where you would go to deal with your licenses a number of seats you can actually launch a support a specific support case if you really feel like you need help and you can't find the answers through the knowledge network you can actually get two accounts login as well this is definitely worth worth knowing about as a way to get assistance is required so as we mentioned before there's the community side of this so it's it is a lot of dev guides and support guys from Autodesk are on these forums as well so the nice thing is that you know you'll get answers from us internally but you'll also be getting answers from the community in terms of artists and and that's what makes it a useful tool is that we've got this huge knowledge base between if you think of all the people using Maya around the world and then you know if a ticket is not getting solved within the forum it'll get escalated and to help you get on your way and then weave so for advanced support customers we have the ability to actually you get support on the phone so if your if your package that you're paying for includes advance support you'll be able to contact us and you can also schedule a call as well where this if you know what time of day you're going to be free and you want to set aside some time we can actually call you and this can all be done through your accounts by setting up advance support where this would be available also on the knowledge to autodesk.com and this is where you can go to schedule a call but but it is down to what level of support you're actually paying for okay so that was just a sort of five minutes showing you the oxygen so we talked about the community we talked about being up being able to get to support through your account login and just the general knowledge network is where we have a lot of this stuff available and all of these links are down there with the web links on the bottom left of the screen here so do you feel free to copy and paste some of these links I'll leave these up for a little bit so people can can view this stuff and thank you very much for taking the time to log in today I know everyone's very busy and do let us know what you thought about the presentation and I hope it was obvious to everyone you

Channel: MAYA IN 5

Views: 52,815

Keywords:

Id: 0bAsjPcBzDE

Length: 59min 51sec (3591 seconds)

Published: Thu Jan 12 2017