Modeling, Rigging and Animating Vehicles in Maya by Jahirul Amin
English | Audio: aac, 44100 Hz, stereo (eng)
MP4 | Video: h264, yuv420p, 1280x720, 30.00 fps(r) (eng) | 4.54 GB
Genre: Video Training
This tutorial will run through modeling a classic car, I namely a Sunbeam Rapier Mark IV, while focusing on hard-surlaoe modelling techniques.
Throughout the process were going to stick to basic modelling theories such as using quads and achieving evenly spaced faces. The latter enables sculpting in Mudbox or ZBrush if you need to, while also reducing the risk of stretching textures. There will also be an insistence on creating plenty of bevelled edges. This is in order to stick closely to real-world examples and avoid a flat CG version of reality. I also used an Oxford Diecast model to have a physical reference, as well as numerous images and videos Ive found online to help me piece the model together. The more information you gather, the less guesswork you have to do inside Maya. To briefly explain the process, well first draw over the reference to get a basic topology before hitting CG. This is mainly preparatory work that will stand you in good stead later on. In this tutorial the draw-overs provide the image planes in Maya and act as a rough guide as you block out the model. The further we progress, the more we have to rely on our wits and intuition to get a good edge flow. Just as with a drawing or painting, well block out the major forms to provide a solid foundation before going anywhere near finer detail. The elements of the car are all modelled separately, as they would be in the real world, which makes it easier to rig for animation if needed. The good news here is that you only have to model half a car, as you can mirror it over. One piece of advice that Ill leave you with is not to be afraid to abandon ship. By this I mean that if something isnt working, dont be scared of scrapping it, putting the kettle on and starting again. The time lost trying to rework and tweak a section thats got off to a bad start can be huge and soul-destroying, whereas second-time-around edits can be quicker.
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