《Maya制作绝地战机教程》Simply Maya The Complete Jedi Starfighter Project

本教程是由SimplyMaya机构出品的Maya制作绝地战机教程，时长：9小时24分，教程使用软件：Maya Photoshop，大小：1.6GB，MP4视频格式，共19章节，语言：英语。

Maya 是目前世界上最为优秀的三维动画的制作软件之一，主要是为了影视应用而研发的，所以在出世后不久就在《精灵鼠小弟》、《恐龙》等这些大片中一展身手。除了影视方面的应用外Maya在三维动画制作，影视广告设计，多媒体制作甚至游戏制作领域都有很出色的表现。初识Maya 是目前世界上最为优秀的三维动画的制作软件之一，它是Alias|Wavefront公司在人人素材论坛1998年才推出的三维制作软件。虽然相对于其他老牌三维制作软件来说Maya还是一个新生儿，但Maya凭借其强大的功能，友好的用户界面和丰富的视觉效果，一经推出就引起了动画和影视界的广泛关注，成为顶级的三维动画制作软件。

Simply Maya The Complete Jedi Starfighter Project
This complete project covers the modeling and texturing of the Jedi Starfighter. The model is made from polygons and NURBS and where we need to bring out extra detail we convert to subdivisions. By using the three different geometry types available in Maya you’ll learn how to get the best results in the fastest way during the modeling process.

Working with polygons we extrude edges and faces, we put the split poly and the cut faces tools to practical use, and also we go over how the sculpt geometry tool can help you get better results when creating curved shapes. Modeling with NURBS we create lofted surfaces, use the EP curve tool and work with simple path extrusions. Using NURBS primitives we insert isoparms and manipulate CV’s.

When the model’s finished we move on to texturing the space vehicle. The first four parts cover the UV mapping and during this process we will work in Maya’s UV Texture Editor to lay out flat UV’s and which we’ll align and sew together to create our complete final UV map. The reason for laying out UV’s on our polygon model is to prevent stretching in our textures that we’ll paint in Photoshop during the next four parts of this tutorial.

In Photoshop we start with laying down some base paint for our metallic surfaces and layering our work to be able to blend between different layers and get increased variation and higher level of detail in our color map. Gradually we build up our textures and bring back the maps to Maya for test rendering as we go along to see what kind of changes we need to make to achieve rr-sc.com a more realistic result. We work with different brush types and sizes to add finer details like scratches and other little damage to the metallic surface and use the smudge tool to get smooth transitions. We also look at some of the line tools in Photoshop and how they can be useful when creating color maps before merging our layers.

Based on our color map we then create a bump map to add to the weathered metallic look and adjust the bump settings on the material to get very slight subtle variations in the surface depth. We also work with some of Maya’s 2d procedural noise textures to break things up further.

Our final model does not need a spec map, but to show you what it is and how it’s used we create one towards the end of the final part and explain some typical scenarios where a spec map would be essential for a texture map to work with the lighting in a scene.

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