Maya 2019 Beginners Course

1. Introduction : - Hi , everyone. Welcome to Maya. 2019 Beginner scores. My name is Vito, and I'm going to be your instructor throughout this course. This course is designed for those with no prior experience in Myer Ortrie D. Modeling in general, Not only you'll learn Meyer, but he will be introduced to fundamentals of treaty modelling, which will help you work with any three D modeling applications. This in depth my occurs is designed to help you get a solid understanding off the core features found in Miami and help you to easier transition into this very powerful program. During the course of these lessons, you'll have a chance to learn about different aspects of mine. In the first portion of this course, you'll get familiar with the fundamental skills that you'll need in order to begin moving around and working in mild. From there, you'll move into exploring some off the modeling features found in Mayan. From there, you go through the entire process of creating materials and textures. Then you'll see the process of UV unwrapping, and finally you'll discover how to add lice, shadows and how to render your final animated sequence. This course is designed for Neumeier users. So its goal is to help you form some really good habits and work, those allowing you to see entire start to finish pipeline. And by the end of this course you'll be at a point where you can feel very comfortable using the software, So let's go ahead and get started. 2. Interface Tour: higher one. And welcome to Maya 2019 Beginner's course. In this Vince video, we will be touring the interface of Maya 2019. Now, when you first launch Maya for a new user, my interface looks quite confusing and complex, but that is in the case as you'll find out in this video. Now, in this video, we will be going through some of the major parts of the interface, breaking them down into different sections so that you can easily understand the interface of Maya. And then as we progress through the course, you learn everything step by step in more detail. So let's start with Stop Area here. You'll notice that we have these menus here, so we have our file menu. We have the edit menu and so on. Now this second here is called Many Bar, and I want you to remember these names here. So this area here is called Mini Bar said, littering the coast. When I say have been much menu, you'll know that I'm talking about this menu and you'll simply click here. So we have our menu bar located along the top here. Below this, we have her main toolbar which gives us access to some of the frequently used tools. So this allows us to quickly access the tools that we will be using frequently on the left of farm into a bar. We have something called menu sense. This allows us to change their menus here on the top. So, for example, if you're working with animation, we can select animation and again see how our menus changes here to appropriate animation minis. For now, we'll go back to modeling Menu said. That blood is we have something called Shelf and we have a number of thes shells here, so we have our surfaces shelves. We have a polymer poly modeling we have sculpting and so on. Now we can also create our custom shelves here, and that will be located here. And then we can add some of the tools that we will be using, so that will give us more easy access to the tools that will be frequently using throughout our workflow. Below this, we have something called V Pote. Now there are different names for this area. You can call it a perspective you and you can call it V puts three d view so I will be coming in view. Put. So here we have our view put. This is a three D view and this is the area where we will be spending most of her time working with their three D objects and then on the left of this we have our tools. So we have a selectable, for example move, rotate and skilled hosts locating here. Below that, we have some control buttons here for our view pools and then on the vital we have something called Channel Box Channel box gives us more detail, looked at our model, and it allows us to access properties of her three D objects. And then we have something called modeling took it and then build this. We have a tribute and a true which gives us more in debt, looked at our models and we can enable or disable these penalty. We can see that these has tapped here and we can switch between them using left most button . Now we can click on these burdens here, and you can see how that disappears from here. So it disables that panel. For example, let's say that I want to disable this panel I can click here and it disables that. Now if I want to bring back the channel box, I can click on this button here, and I could tell that enables it. We have some additional menus. For example, we have a tool settings here. Now you can access your tool settings, but either clicking on this button here or by simply by clicking on one of the tool and you can see how that opens up the same menu, so we'll go ahead and close this. Below this, we have something called a range slider and also the time slider. So these air for animating and then at the very bottom Here we have something called Status Line. It tells us about different tools that we will be using. For example, when I have her my cursor over this tool here, you can see it tells me that it's a select and then on the far right here on the bottom of her interface, we have some playback controls, so these are some of the major parts of interface. Let's recap what we being looking at? So here on the top, we have our menu, our Miller, this we have our main toolbar. And then on the left of it, we have our modeling menu sets below this we have a shelf. And then here on the central for interface, we have our peoples on the left of her interface. We have our tools, and some have you put controls on the right. Here we have a channel box and attribute edition. And then towards the bottom, we have a range and time sliders. And then here on the far right, we have some playback controls. So these are some of the major parts of the interface that I want you to remember. And then as we progress, we will be looking at these different parts in more detail. 3. Maya Projects: When working in Maya, we use something called Maya projects. Now the Maya projects will allow us to organize their projects in Maya. The way it works is that it will create a folder for him, and then within that folder it creates some folders, and then these folders have known names. Now, when you're working in mind, you will be using a lot off different files. For example, you will be using images you'll be using audio files and so on. So and the project structure will allow you to store these files into those known folders. It's a later when you need to move your project to a new computer or you're working with someone. You'll simply move that folder and all of your files will move on to that new location. Now, if you don't use the project structure than a minor, uses something called seen files. So these are the main files that sort of stores Air three D model. Now, if you move just that file, then you'll have missing things. For example, your textures, your images or maybe you're sounds are missing, so those kind of things can happen. So it's always a good idea to start with Maya projects. Now you can see that we have this three D world. It's sort of imaginary world within Maya. And when we create things, we saved them into a final cold scene file. So let's see how Project works. Let's jump into the file menu and then towards the bottom, you'll notice that we have this project section. Now in this section, we have Project Window and said Project now the first option. Let's click on the project window here, and this will open up this dialogue. Kim. Now our current project is default and this is the location where this project is saved. Now we can click on this new button here, and then we can type in the name here for a new project and begin select The directory where this project is going to be saved in this case is understood rife. My documents, my projects. Now, if I want to change this directory, I can simply click on this icon here and select a different directory. Below this, we have different names for our folders. Now you can change these name, but typically and the different names who worked just fine Now we have our seen files. Now my will go ahead and create a full in cold scenes. For this We have are rendered images folder, which is going to be called images. We have our source images and so on. Now, if we click on accept here, a new project will be created, and it will set up as a project in my Now, if you already have a project, anyone to said that, then you can go into the file menu and then towards the bottom, you can click on Set Project, and this will open up this directory. Now you'll have to navigate to the folder where your my projects are stored and you'll have your project folder. So in this case we have a default project. You can simply select that and click on set. Now your project is set, and whenever you go to the file menu and then click on open seen, it will open up the scene's folder so you can see that our default project and then this seems formidable, automatically open. So if you have files here, you can open them. And when you're working on your finals, anyone to save them. You'll go to the file menu and the new click on Save Your Seen As or Save Scene, and you can see it will take you to the default direction and then Scene's folder so you can type in the name here and then save your scene. So that's how the my projects would work. In the next video. We'll go ahead and set up our exercise files. 4. Exercise Files: you can download the exercise files for this course in the resources section of this video . When you download the exercise file, you'll get a filed similar to this one here. Now it's a zit fund that you can extract now. If you're using a Mac, you can simply double click on this file to extract it on a windows. You'll have to right click and then select extract all from this context menu. Now I have a program called WINDROW. You can also use something called seven Zip so you can use these programs to extract your exercise files. Once you have your exercise funds extracted, you'll notice that it's a my A project, and we know what my project is. So we'll go ahead and set this up into Maya. Okay, so within Maya, I'm gonna go ahead and click on the file menu Now. From here, we can go down to the Project section and select Said Project. And you can see that when we have this style log opened up, and from this end I look, you'll have to navigate to the director where you have your projects file saved. In this case, I have my files downloaded at my desk tops. I'm gonna go ahead and select that here and then you'll have to select that folder. So I'm gonna go out and highlight it, and I'm gonna click on Said Project. Now that our Maya project is set up, we can go into the file menu and select open scene and you'll notice and that we have our scenes final showing up here. Now, the way this for these files will work is that we have and these files added to the different folders. Now, one thing that I would like to point out here is that you might see more files over time because thes exercise files will be updated over time. Now, the way you will use these files is quite simple. At the beginning, off every lesson, I will tell you to open the file that I'm gonna be using throughout that lesson. So, for example, if I'm using this fall, I'm gonna go and select it and click on Epic at the beginning off every tutorial. So, once I had this file open for some reason, if I have forgot now, it's very unlikely that's gonna happen. But if it happens, you'll notice the file at the top here, so you'll notice that on this title bar we have our folders, so I'm using scenes roomed out m a file. You can also check exercise fans up here. So again, if we go back here, we can go to are open Scene's folder here, and you can see that we have our scene's folder. Now, if we go back, we have all of these folders here. So you'll we will be using funds from thirst images. And we will be using a lot of these filters yet. And I will be adding more and more files over time to these folders to these might look different when you're watching and these lessons. So, for example, and later when you go into the scene's folder, you might see more files here. Don't get confused at the beginning, off every tutorial, I will be telling you what filed to open up, and if I for some reason I forgot to mention that he can always check that up here 5. Maya Workspaces: works piece in Maya allows us to customize or Maya interface. It's located here on the top, right corner under workspace dropped on many. You'll notice that we have a number of choices to pick from, and these are sort of pre since then begin use to quickly customizer interface. So these air built into Maya, for example, by default were using something called Maya Classic. Now, if we're doing something like modeling and we don't want to be, get distracted by all of these different panels. We can select something like modeling standard, and you can see how it get rid off our time slider and rain slider. So those animation tools and now not available to us, But at the same time, we have some extra space to work with. Now if we're doing something, for example, if we know a lot of hard keys, we can go to something like modeling expert and it for get rid of everything, and we can use their hard case. And we have this really big area to work working Maya. Now, if we're using or working with rendering, we can go to the rendering a man a man because you have that changes, and this course I will be using my A classic interface. And later in the course, we will be looking at how we can even customize some of the panels, for example, how you can disable it or enable certain panels and how you can save them under your work species. 6. How to Customize Maya Interface: Maya is a very customizable application, and in this read it will go ahead and look at some of the options that we have for customizing the interface. Now, to get to the interface settings, we can go to the Windows menu and then under setting preferences, preferences, this will open up this time log. Within this dialogue, you'll notice that we have our interface highlighted. And then we have our interface options. Now, the first option here is just our menu set secretly, we're using our modeling men. Use it. Balutis. We have our main menu work that we can show or hide this. So if we click here, you'll notice that our many by disappears and we can also disabled this within our panels. So this will give us some extra space at work with if you want to. We have things like show a panel toolbar because you have that disappears from here and we can enable that is well here. Now, below this, we have re why elements now if we get into this and we don't need something, for example, if we're not animating are objects, then it makes sense to hide Arvin Slider and times lighter because this will give us extra real state to work with so we can disable those here and concerned That gives us some extra space to work with. And we can also disable our come online if we want to. And then below here we have and this option panel configurations. Now, when we're saving files, Maya saves Are you, I, Liam to the final if we enabled assumption. So if you have a specifically and that works best for that particular scene, you can go ahead and save that as well below this may have something called help Many. Now, this is helpful in cases where you're working with different options. So now this will be good for you when you're learning. But as you learn this, it can get distracting. So, for example, if I click here in the report and then I use the hot key for key on my keyboard, you can see that it gives me this sort of highlight, telling me that while frame is turned on each time when I'm gonna change the mood here using four or five kids, you can tell that gets it. It can be a little bit distracting. So I'm gonna go ahead and disable that here and then if I click bank here in a bill or switch between these and using my heart keeps, you can see that this money is no longer popping it. Another thing that is very important is pop up help. Now, I would recommend keeping this on because you can learn a name off the things. For example, when you hover your cursor over certain things, you can see how this yellow hell bar comes up. And this telly's is you the name off that particular thing. For example, if I hover my cursor over this tool here, you can see that this is moved toe, so this can be very helpful. And it also tells you the hard case of for example, in this case, we have our heart, kid W So these are some of the options that you can go ahead and enable or disable. In this case, I will leave everything on so that we have our classic interface. What? You're happy. You can simply click on safe, but in here And if you have your interface set up, you can go ahead and save that as a new workspace. So you know what workspaces are? You can go ahead and click on safe current workspace as, and then you can type in the name here for your workspace, and it will be saved. 7. How to Create Primitives: when we saw modeling three D objects in mire, we usually start with something called Primitives. Now primitives are basic shapes like cube sphere come in and so on. The ship's allows us to create the object that we're looking for. So we have tools available to us Admire that allows us to transform these simple chips into the final three D object. That can be a car, a character or anything like that. Now, to create this, we have one of two. Always in my the first, we would be using the create many. So if we click on the create many, you can see that we have different type of primitives. So we have nervous primitives. We have political primitives and these air the one that you'll be using the most. So in mire we have thes daughter lines above each off the menu. We can click here. This will tear this many often We can move this around on her in trapeze. I can see by default. We have these primitives here so we can click on one of the primitives and you can see and that's created within our Pridie view. And I'm gonna go out and president lead key. To delete this primitive, I can click on the Q permit of any concern that's created. Now I'm gonna go ahead and delete it towards the bottom. You'll notice that we have this check box. That's his interactive creation. Now, if you enable this check Mark and then you click on this fear to here you can see that it doesn't create anything. Now we have to create it Interactive, live within our three TV put. So we have to help her car service in RV pert and we can left click and hold here and drag out And you can see that I'm able to create this interactive lee as I'm dragging my cursor now with appropriate size again the release, my click and you can see we have a sphere created. I'm gonna go ahead and press delete to delete this. Now, if I click on the Cube here again, I have to repeat the process I can left licking hold and Van Gogh to create the base, Release my clicker And then again, press left, click and hold and drag up and release Mike Lee. And you can see I have this cube created. I'm gonna go ahead and press delete, so I would recommend trying out some of these shapes. For example, this cylinder shape left licking, hold drag out to create the radius release of click left, click and hold and drag up to create the height. And Felice, I'm gonna go ahead and press delete key. We have things like home, so same process. We can create a tourist left licking hold and ragout to create the radius. Released the click and because he had this created Let's try that one more time left clicking, holding drag out. We have a plane, so we have a lot of options to play around with now I would recommend creating some of these objects and creating them. So once you have more than one object, you can simply select them to delete them, just like I did here. So, for example, you have multiple objects you can left, click and hold on, drag out to create a select them and probability to delete them. Now I would recommend here checking out some of these shapes, and as we progress you, it will make more sense when we used these shapes to create beautiful objects. Now, I'm gonna go ahead and close and this menu here and you'll notice that we have this shelf here. So this is for applicable modeling. So all of this options we saw within our create menu are sort of mirror down here for easy access. Now, from here, I can click on this cube. I can, and you can see that I have that tool selected. I can left. Look and hold ragout. Release my click here, left click and holding drag up. And you can say I can do the same thing now I can do this either in the modeling shelf here where I can use the create menu to select the tool so I can use the cylinder to from here. And then when I need against, like the Cohen told going to hear, and then I can create something like here. So that's how we create basic primitives in Miami. 8. Navigation in Maya: navigation in Maya is very important because you'll be using it all the time. Navigation allows us to navigate within this three D view. Put in Maya. Now there are hard. He's for this and you'll need to remember these. And when you first start to use these tools, you might find them a little bit difficult. But when you use them for a little bit, it will become your second nature and you won't even have to, like, think about when you're using these honkies. So all you need is a little bit practice, and you'll be really good at it. Now to look at these tools, we will create a very simple cube, and we know how to do that. So I'm gonna go ahead and click on this cube to here on the political modeling shelf, and we can a good and create a very simple keep. I can see this cube is created within a three D view and to navigate around this, we will hold on, hold key on the windows and option key on the Mac, and then we have to hold on left mouse button and because how our culture changes and we can sort of move your cursor and you can see we're able to rotate our view. This is called orbiting a review. Now if we want to pay interview around, for example, A. I want to sort of central this object on my people. For that we have to hold on bulky and then hold on middle mouse button and you can see our cursor changes and we can sort of pain. Our view said this allows the souping up and down, left and right, and that if you want to zoom in and out now, if we use our mouths, gold will, you can see we're able to zoom in and out. But it's more off incremental to resume now. If you want a smooth zoom, then you'll have to hold on all turkey and then route a right mouse button. And it is how our culture changes again. And then you can drag your mouse left to right or upper up and down, and it does have that allows us to zoom in on our object. So once you have these three tools, you'll be able to navigate to any part of here vapour, for example, let's say that I want to view that edge of my object. I can simply wrote it might be just a bit here. I can sort of move up here and then I can use my school well to zoom in, so to orbit, hold on Elke option on a Mac and then left mouse button, and then we can arbiter view. If you want to pay interview, we can hold on Elke. Or that would be option on a Mac and then middle. Most burden. And we can pay interview around something like here. And then, if you want to zoom in and out, we can either use our mouths, girl, real or region. Hold on Elke and then right mouse button, and we can zoom in and out. So that ultimately will be option key on a Mac if you're using a Mac. So these are three hard keys that allows us to navigate toe any space within Maya. Now we have another heart key, and that is F key on your keyboard. This allows us to frame are currently selected object within our view. So if I press f key here, you can see on that sort of frames my object. So if I move my view out off something like here, I can sit quickly, press f key and he could down That sort of zooms in on this object. Now, if I have nothing selected, I can press f key, and it will soon everything that I have within my seat. So I have more than one object. It feels that everything within my view now to give an example, let's create another object here. You can see that it's out of my view. But if I d select everything by clicking on this empty area and press F key, you can see how that allows me to see both arms sex. I can click on this one press F key, and you can see on that quickly zooms in on this object. Aiken decent, like this one press F key because it allows me to see both objects and neck until, like this one and press f key, and that I can use my cult or option keys and then left months but into orbit around lt or option key on a Mac and then middle mouse button to pain around key on a windows or option key on a Mac and then right must burn to zoom in and out. So these air, few hard keys that I would like a YouTube practice so that it becomes your second nature. And you don't even have to, like, think about thes when using. So this will save you a lot of time, and it will help you navigate to any part of your object when you're working on it. 9. Selecting Objects: selection in Myer is very important because we will be using it all the time. So let's go ahead and look at some of the selection. Math is that we have in Maya now. To look at this, we will create some basic objects. So let's use our political modeling shelf to create some basic objects. Now that we have some basic objects created, let's go through some selection methods now to select an object again. Simply left, click on an object, and it will be selected to de select an object. You can click on this empty area within your V pert anywhere you see an empty area and your object will be selected. Now, when you select an object, you'll notice that we get this sort of green highlight. Now this tells us that this object is selected and we can select multiple objects. If we hold on shift key on your keyboard and click on the next object, you can see. As I'm clicking on more objects, I'm adding the and those objects to my selection now. One thing that you'll need to keep in mind is that when you click on an object, you'll notice that in the green. Highlights moves to the next object and then we have these white highlights on her previous optics. Now this tells us that this object is selected last, so it will be helpful for later because we will be using searching tooth where selection order is very important in mire for this tools to work. So we will be leaving others to a tools later in the course. Now, when you have ah selection like this year, so you have multiple object selected and he would like to de select an object. You can hold on control key and then you can click on an object and he gets how that gets de selected. Now if I hold on shift, he click on that object, it will be selected. I can hold on control and de selected these optics. So that's how we select single object and then de selected and how we can select multiple optics and then de select them Now If you would like to quickly select multiple objects, then you can use something called selection box. So if you hold on left most button and drag out, you have something called selection box. You can sort of draw this box over your objects, and when you release your click, everything will be selected that touches this bunks. Now you don't have to take your object all the way into this box. Even if your objects of touches sort of edge of your object, it will be selected so you can quickly select multiple objects. Now we can use this in conduction with shifty. So if you select single object, you can hold on, shift key and then select other objects again. You can de select if you hold on control key and the selecting opting. Now this is helpful, but sometimes what happens is that this sort of box a shape is not ideal for selecting a lot off in a lot of cases. So where your box second isn't working, you can use something called lasso tool. It's located below our selection two, and it allows us to draw custom shapes Now to select an object, you have to simply left, click and hold, and then you can draw a shape, and that will allow you to select your object again. You can use this in conduction with shift key so you can add to your selection something like here. Let's say that we have these two object that we would like to select weaken Simply draw sort of shape here. And it allows us to select these two objects. We can go other way round. So, for example, maybe we want to make these two objects or maybe these one. So it really makes it easy to select these objects again. We can left click out to de select everything this was back towards, so that control. Now, if you look along the top here we have this select menu. This allows us to do certain things. For example, if you want to select everything quickly, you can use this all function and it will select everything again. We can go back into this menu de select all and it will de select everything. Then you can also select certain objects by type so you can go here and then, for example, you can go to geometry and it'll select your journey to tripe. So, for example, if you have lights and those sort of things, you can also select this here and then we have inverse options, so it allows you to inverse your selection. For example, if I select this object and now I went to inverse the selection, I can go back into the select menu, click on in verse and you can see how everything else gets elected and this object gets de selected so our selection gets in versed, and then we have some additional options, like grow and shrink. Now these a bit more advanced, and we will be using its nature. It will make more sense to use thes options on sub level object. So that's how we quickly use some of the selection tools. One other thing that I would like to point out here is that if you use hard keys for switching between your tools, it will make your work a lot easier. Now, just to give an example. Here we have our tools. So these are some off the main tools that we will be using. Now, if you place your left hand on sort of this upper, the, uh, left a portion off your keyboard. So the keys Q and W E. And are these keys will allow you to quickly street between all of these tools here. So the Cuchi will allow you to ST to the selectable, and then you can use W key to use the move toe iki to wrote it Anarchy to a scale. So if you're using the hard case, you can criticize between these tools. But if you're using the menu here, then let's say that I have this object selected and I'll have to go to this to here, and then I will come back here and do the thing that I'm doing and then I'll have to go back to this tools. It will be a lot of time consuming. You can see that if you do this like 100 times when you're working, it will consume a lot of fear times it's going back and forth to select your tool. Now, if you're using Hot Kiss, a lesser that I'm trying to change the size of my object. I can just press are key, and you can say I have my skill to I can move my object using that moved toe so W Key will allow me to access this tool e for wrote it and Q first lacto. So this will really make it easy for you to go between different tools 10. Move Rotate & Scale Objects in Maya: all right in this media, we will be taking a look at move rooted and scale tools in mild. To begin, we will open up an exercise fund, So let's go ahead and click on the file menu and selective unseen. Now we'll select room that Emmy fall and select open. We may get this warning that says, And do you want to save changes to your currency? In this case, we will select unsafe. This will open up this scene here. Let's orbiter view just to meet here so we can see her objects. So something like here now, to move an object we can use their move to And then we have a rotation and scale tools. All of these tools are located here on our toolbar. We can either use the toolbar or we can use hard case and w form the move to be for the rotate to and are for the scale tool. Now, one thing that I would like to wind out here is that when you use one of these tools, you can still induce all of those things that you can do with your select and a lot so select tools so For example, if I left click here, you can see that my object is selected and I also have this manipulator that allows me to move my object again. I can left click and holding drag out to make a box election. So all those selection math is that we've seen in the previous video will apply here. So let's begin by selecting an object here. When we select an object, you'll notice that we get these arrows and it allows us to move our object. Now we can left click and hold on one of the arrow and it allows us to move our object in that specific direction so we can move our object this way. And then this week, American press control Z or that would be command Z on a Mac two under the last change. So if you keep pressing these gives, you can go a few steps back. Now, one thing that I would like you to keep in mind is that in mire, we have two different court in the systems, one of which is our three d world coordinate system which can be located here on the bottom are for report so we have these three different axes here X, y and Z. So these are the axes off our world where we can move our object. But we also have coordinate for issue off our object in our scene. And we're gonna go ahead and look at that that in a moment so you can see that I'm able to move my object in any direction using these arrows. Now, if I left, click and hold here in the middle and then try to move it. You can see that it allows me to move my object in sort of free form, a movement I can with my object anywhere. Next. We have these tiles here. Now, these titles are called planes, and this allows us to move our object at two direction in two directions at once. So if I left, click and hold here on the screen Acsi you can see that it highlights these to access. It allows me to move my object on the ground so it allows me to move my object along X and Z axes. Now, if I want to move my object in these two directions, I can left like and hold here Now I can move my object up and down, which is going to be our y acsi. And then we have our exact seeing this way. Now, if I just orbiting us to be here, you can see we have this one here so we can left, click and hold. And now we can move our object up and down a using the Y axis. And then we have our Z acsi, and then we can use thes every points here, and the central one is a free form. Now, it doesn't make a lot of sense in the three d view, but if you press space bar key, you will jump into something called core quality. Or you can use this button here, and then you can hover your cursor over one of the vapors. And if you press space bar again, you'll zoom. Internet report. Now here. I'm gonna go ahead and use my mouse scroll wheel to zoom in so we can use still honor for navigation controls, except that we can't orbit in this view. Now, here you'll notice that in that center point will allow you to easily organize your optics . So here we have our couch. We can move it around using the central point. Now, without using these restricted single axes controls, we can move this freely, something like maybe here and then you can press space bar again. And then we condemn back into a three D view again, if I go back to something like this side of you, like in this space into this one, something like here. And then I can left, click and hold here and sort of drag this town until it touches the ground. I can space back out, like in space back in here. And you can tell that allowed me to easily move my object. No, If I select this object here, you'll notice that my arrows are falling the object so I can move my object easily into this direction. Now, if I double click on the tool, it will open up the tool settings and you can see that we have her access. Orientation now is currently set to object. You know, you're might be different. If we've used Maya, you can just simply click here and then we have world. And if I select that, you can see how that is how these area changes here. So it means that when we move an object, you can see that I'm not able to move it in to the object direction because I'm using my world co ordinate system. But if I go back toe object, I'm not using my obstacles in the system. And it allows me to our organ, to my manipulator properly, to my object. This can be useful. We will be using it all the time. So we'll be switching between these. So there are some additional ones. We will be taking a look and there's later in the course for now, we'll go ahead and select to world here, and we're gonna go in and close out of the tool settings. So this is our move tool, and it allows us to move her objects. Now if we press IKI, it will allow us to access the rotator. Let's look at our culture. I'm gonna press f key here to zoom in on this camp couch and you'll notice that we have a very similar manipulator toe are move a manipulator. We can simply left, look and hold on one of the axes and then we can rotate or object along that axis. So maybe something like here and then we also have the center point. If we click and hold here, it allows us to wrote it are objects off in free form so we can rotate this in any direction. And finally we have this answering It allows us to wrote it are objects towards our view. So if I wrote it here, you can see how it allows me to root it along. My view Now, if I orbit my view, just submit here. You can see how that moves here and I can orbit this way. So if I move here and then I can sort of wrote it this way to these air off the active that allow me is to right. It's my object. Let's quickly fix on an object something like here and the room. Maybe you touched down here. So something like him again. If we typically care on the tools we have something called rooted center. It's currently set to default. So if I select murder one object and then I try to wrote it, that object you can see each object is rotating along its own co ordinate system. But we have different options here. For example, if we go something like selection now, it will wrote it around my selection. Something like here. Teoh. This will make more sense when we have Ah, a scenario where we need this hole. So we will be looking at these later in the course. And finally we have our skilled who? Something to go ahead and press are key to access the tomb again. We have very similar gizmo here. So I'm gonna go ahead and left, click and hold in the central point and I'm gonna dry. You can see it allows me to skill my object up and down uniformly. And then I can also do the same thing in one direction. So something like maybe here and the male to have these planes here. So it allows us to change our object size in two directions at once. Something like here. They usually you'll want to use the central point to uniformly scale your objects up and down. So these are three different tools that we will be using all the time to manipulator objects so you can use thes as your selection tools and also as your move wrote it and skill tools in my 11. Pivot Point: in Meyer. When we're working with optics, we have something called pivot point Pivot Point is a center off her object. So let's go ahead and look at how it works. So let's go ahead and click on the file menu and then select open scene and we will go ahead and open up our room dot Emmy. So I've simply there were clicked on their file and I can select Don't see if here on this dialogue and it will open up the scene file. I'm gonna go ahead and zoom out just a bit here. Now I'm going to select the door here. I'm gonna press f key on my keyboard to zoom in, and then I can orbit my view. So here we have the store. And if I use my rotor two, I'm gonna go ahead and press the key on my keyboard and you can see that I have this routine too. I can see that this manipulator that appears on our screen is in the center off harder. So current pivot point for this object Is the center off the subject? Now, if I want to open this door, I can use this point here. But when I do this, you can see that I'm getting sort of weird average here because that's not something that I want. I want to open this store in one direction. I'm gonna go ahead and press control Z here. So that's our favorite point. Now, if I use the move tool, he conceived more clearly. So this is our pivot. Now we can modify the spirit point if we press Dickie on our key boat, you can see that are manipulator changes a little bit. And we can move our pivot point that you can see that this will not one of your optic, but instead you're pivot point. Once you have your pivot point set up, you can press Dickie again and then you have your regular manipulator back. Now here. I'm gonna press iki again to activate the rotator and let's trying to open the door and you can see that now it's working the way it should. I'm gonna go ahead and press control seat. So that's how we can modify our pivot point quickly. Another way would be simply holding down the deaky and it will change your paper points out off here And then you can move your pivot point. And when you release the leaky, it will go back. Sure, Regular manipulator. Now, if we have an object where the period point off your object is modified and you want to quickly move that period point with center off your object, you can simply go to the modify menu and then you have center pivot option. Here you can simply left click here, and you can see how a pivot point moves back to center off our object. And this is very important for rotations and a lot of scenarios where we can we will need to modify our pivot point. And what if the example was this tour care? So that's how we can quickly and easily modify pivot points in Maya. 12. Channel Box: There are times in Meyer when we want to move our objects more precisely. So far we've been looking at the move tool. It allows us to move on object, but it's not precise. So let's begin by clicking on the follow menu and then selective, unseen. And then we will simply directly care on this dining room said dot m e file. We will not save the current file and this will open up this scene. Find here now if I select this table here and then used to move to I can move this table. But he can see that it's not precise, so I can go ahead and press control Z here. Now if you look into the Channel Boxer, we have some values. So we have our translate values X y and Z axes. We have eroded values, skill and visibility. Let's begin with the translate values. Now I can simply click on this box here, and then I can type in any value that I want. So, for example, let's say that I want to translate my object 10 units. I can simply type in 10 here and then I can press enter and you can see how my object meals here. Let's type in a little bit bigger number so we can go ahead and use 50. You can tell that moves now. This infant box will accept positive and negative numbers so extraction you can see that this area is pointing this way. It means that our object will move into this direction. But if I want to move it on the other direction, then I will have to use the negative number. I can type in negative 50 and then I can press enter and you can have that moves there. So this year will be the origin off a three d world which located here on the center offer . Freed agreed that greatest bit tiny in the scene. But I'll try to zoom in in here. You can see that and this is agree. So this is the origin off a three d world. So that's where our objectives, when everything is answerer and then we have the rotation value. So, for example, if I use the rotate to L. A and I try to wrote it, my object, you can see that I'm not able to precisely rotate the object Now, if I look here, you can see that I'm modifying the value for the rooted Z Acsi. I consider the click here and let's say that I want to rotate this 90 degrees. I can type that number in here, and that would be something like here where I can type in negative 90 which will go the other way around. I can also go something like negative 45 degrees. I can go zero and then 45 degrees, so it's very precise in terms of movement. Let's is your this out here. And then we have a skill values. So again we can change one of the value Boxer. If I type in something like to, you can do that here Now we can select more than one box at once. So, for example, if I left click and hold and then drag out, you can see you'll notice that I'm able to select more than one box and then I can release my click and that I can type in a value so that would be more useful for our scale values, where we would want to scale up our object more uniformly so I can go ahead and select all of these boxes here. And when I released my click, I can type in something like maybe three and then press interest and you can see that my table skills up again I can go back and type in one here to reset the skill. Another thing that we can do is with our object selected. We can click on one of the value here, and then we move a cursor back into a report, will hold down the middle mouse button, and then if we drag a left and right, you can see how that value changes. So in this case, I'm changing my translate value. But if I select something like maybe wrote it, I can left looking hold instead of rotate my object. You can write it multiple or access multiple values at once so you can left, click and hold and then drag out to something like maybe here or something like here. And then you can hold on middle most better and dragged up and down, and you can see that allows you to us. Kill your objects up and down so you can see that Channel box allows us to precisely move are objects, so it has some off the basic values and then it also allows us to control some advanced values that are located. Below are inputs and we will also be looking at a tribute editor which will give us even more control over how are objects are constructed. 13. Freeze Transformations: recent transformation and freeze transformations are both very helpful commands for resetting our objects transformation to its default positions in Maya. Now here you'll notice that I'm using my dining room said dot m e file so you can go ahead and open this up from the exercise files was we have this file. Let's like this table here now you'll notice in the channel. Mark Sanford. You have everything set up as euro, so it means that this object is currently at its origin. Now, if I move my object, you can see these values changes here. Now if I want to quickly reset my object, I can go ahead and select these values here and that I can type in zero and then press enter and it will go back to its origin. Now, if I want to do this more quickly, I can move my objects of for example. Let's say that it's here and I want to quickly reset my object. I can use what is called visa transformation. It's located under modify menu, and then we have reset transformation. I can quickly click here and you can see that it moves my object back to its origin. One little bug with this is that it will also move your pivot point to the origin off your three d world. Now, you can quickly fix this by going back to the modify menu and they're selecting center pivot. So that will fix that for you. And there are also cases where we need to set a new origin for object. To do this, we can move our object to the new origin. So I said that I want to said this new place as origin of this object and then I can go back to modify many. And then we have this option here. Freeze, transformation notice. When I click on this in the channel box, you can see one and click on it. Everything goes back to zero. And now if I try to move my object and then I used the option research transformation, you can see my object moves to this new location. But still we have that book. Where are a pivot point Moves back to the origin weaken quickly. Fix that by using central paper here. So these are two very powerful and tools for working with objects in Mina also may have another tool called mass transformation. So if I select one of the object here, I can go to match here and then you can see we have a magic transformation here, so it allows us to quickly move one object to the location off other one. Now, to use this, we have to select our objects. Now this is where we can. We have to select our objects in correct order. And that's where I was talking about. You need to make sure that you so like your optics and correct order. So let's say that I want to move this chair to the location of this table. I will select my cheer first, and then I will hold on shift key and click on the table and later So my table will be the last selected object. Now you can go back to the modify menu mass transformation, and then we have match all it. It means vantage, full match, everything translation, rotation and scale. In this case, I just want to move my objects and that will be the translation. I can simply click here and you can see that my object moves from there to here. And from here I can just like my object instead of allying this like something like maybe here exit quickly allows me to do that. You can a match scale off your objects of, for example, if I use my scale tool to scale this chair up. And then I went to align everything with this one. I can go ahead and quickly select all of my objects, and then I can go to actually have to select this one. And then I can go to modify menu, mass transformation, scaling, and you can see everything scales up to the size of this object. So this will quickly allow you to repeat the process. If you do this for individual objects, you can see that it will take a lot of time. So this will save you a lot of time. And then you can sort of move your optics and you can see have a bigger size for years, chairs very easily. So that's how we can use freeze, transformation, recent transformation and also match transformation 14. Attribute Editor: attributes editor in Maya allows us to find tuner optics and has a lot of parameters for controlling. How are optics are constructed Now, to look at this, we will go ahead and open up the dining table. Daughter may fall. You can do that using the file menu, open scene and then dining table dot m a file. We're not going to see if the current files it'll have been a this file up here. Now, from here, I'm gonna go ahead and select this object and you'll notice that we have a channel bunks. But the channel box offers these limited numbers of parameters here. Now, one thing that even do here is you can change the name of your object If you want, you can click on this area and that you can change the name here. Now if I switch to the attribute and it's right here, you can see that we have these nodes along the top here. So these times are called nodes and it consists of these multiple murders here. So in each object, we have our basic transformation note. It allows us to transform erotic So we have a very similar options to our channel box. So translate, rotate skill and then some additional options. And then we have the shape Newt is. It tells us how this object was constructed and whether the subject is a smooth object and then some additional rendering settings and those sort of things. And these a bit advanced. We will be looking at this later in the course, and then away from here on, we will have news that will depend on how this object was constructed. So we will also see news for the materials. In this case, you can see that this object is constructed and we have this material here. So if I used these arrows to school, you can see that I have this tabletop material. Now, if I use one of the slider here, it allows me to change the color quickly. I can go back here and then we have the texture for the leg off the table. So we can also change that here if we want to. Now, if we create a default shape here and you'll notice that it's a little bit different. So if we select this one here, you can see that both offers our transformation nude. And then we have the shape note for each of our object on how the subject were constructed and then from there own. We have different notes here. So we have initial shading group in this case, and then here we can see that we have a standard that will depend on how your object was constructed, but it will give you a lot of control over your objects. Now, this will make more sense when we're using materials lights in those sort of things. But I just wanted to give you an overview off the attribute editor. Now, using the attribute editor, you can do all sort of things. For example, you can change the translation off your object. If I would have been one of the value here or I can type in the negative sort of rally here maybe 100. So something like that you can rotate your objects if you want to. So for example, 45 degrees maybe so all those things can happen here, and then we have some additional options. For example, if we click on the rendering shell fear and then we apply a new material, you can see how that object changes. But to control the parameters of this material, we can use their attribute editor. Now I can change the color here, and then we have additional parameters. 15. Duplicate Objects: Now, as we work in Mayan, there will be time when we want to create a copy of an object. Or maybe you want to do to get an object. So let's go ahead and look how it works. Now we will begin by opening up a scene so we'll go to file many select oak unseen, and then we will open up dining room set dot m a file. So here we have this sense, sort of cheers. So let's go ahead and select some of these chairs and then delete them now to create a copy of an object. We can simply select our object, and then we can go to the edit menu and then we have duplicate here. You can also use the heart he controlled deep. I'm going to click on it now. You'll notice that nothing happens within RV port. But if we activate our move toe and then sort of moves, move our object, you'll notice that we indeed have a copy created something like here now is good for creating a single A single copy. You can also create a copy in a another way. That's what that will be holding down shift key and then sort of dragging from one of the axes. And you can see how it allows us to create a new copy of an object so I can repeat the process to create more copies. But if I want to create or sort of create multiple copies, and then I also want them to be spaced evenly and there's another two in Mile that will make it a lot easier than using this tool. So I'm gonna go and select these objects, and I'm gonna delete them and let's elect in this chair that said that I want to create additional five copies of this chip. And to do this, I can go to the edit menu. And then we have this option here called In Biblical Special. I can click on the settings, but in here and this will open up the sayings. Now we have some options along the top here, so the job me to type comp your instance. We'll be coming back at these in a moment. Below this, we have our translation rotate and skill values. My no. When you see them, you might see something like 00 and then 11 for all of these families now have to these, well, you just a bit. And then you might see, like number of copies one. So the way it works is that now we have to tell Maya and what actually we want. So in this case, let's say that I want to create copies of this year owned the site. So that's our XXI. And then it's on the negative side. So here we have our translate X, y and Z axes. In this case, we want to modify the X value so under X axis will type in negative and maybe we want to, for example, 30 units away from this first copy. So now what will happen is that my will create a new copy of this object and that will be spaced 30 units away from original object. And then we can increase the number of copies. So let's go with something like maybe three additional copies, so that will be total of four chairs. Let's click on duplicate Special, and you can see that my created three additional chairs with 20 units and gap between them evenly, so it makes it a lot easier now I'm gonna go ahead and press control Z here, too, under the last step, and then we can go back to edit menu and then don't look it special. Now we can also tweak other options. For example, let's say that I want to also wrote it my object along the X axis, so that would be something like this sort of flirtation. And I can also use a negative rotation if I want to. So let's say that I want to wrote it my object by 30 degree after each copy so I can go ahead and click on Biblical Special, and you can see that each copy is rotated my 30 degrees. So we have that last year completely rotated. Let's delete them by pressing the delete he selector object, go to edit menu duplicate special. We can also increase the scale. So let's say that I want to increase my skill about three ah three units for each copy. I can do like a special, and you can see that we have our object. Let's go ahead and press control Z here, and we will sort of change the value just a bit. So let's say that I want this to be 1.5 and then 1.51 point five for all of these, and then I can disable or actually remove the rotation. And I can increase the spacing. So something like maybe negative 50 and the duplicate special so you can see that each object is skilled up by 1.5 units, so we have our first copy of second, and then you can see how it goes on. If I select this object and then go back to duplicate special, you'll notice that up until now we've been creating what is called copy. Let's treat this two instance and then create duplicate special. So here we can see that we have very similar objects now the difference between copy and instances that when you create a copy, it's a separate object. So if you move, if you change anything about this object, for example, if you apply material and anything like that, it will be separate for each object. And, for instance, it's a copy of your original object is This can be very useful for creating a big air environment. For example, if you have a city where you have similar buildings at different locations. You can use an instance it will save you. A lot of computing resource is because it will create a sort of original copy off your object. Now each instance have its own transformation. So, for example, you can move your objects. If you move your object to something like here, you can also rotate your object. You can scale your object down if you want to. You can say I made all of these changes to these instances here. But if I select my original copy and then I go into something called some object mode and I don't have to worry about this, we will get into this later. In the purpose of this point is to give you idea of difference between copy and instance. So here, if I go to something like faces and then I select, for example, this part of my chair, and if I make any modification to this, you can tell that sort of applies to all of the's cheers because these instances of my object, so this is original object. If I selected, you can sound that's being selected on all of my optics. If I make any modification here begins on that applies to all of my objects. So that's the power of instance. You can create a single building, and then it was You make any change of that building, it will be applied to all of your objects, and it will also save you. A lot of computing resource is because a single object is being showed multiple times. Whereas if I go to something like this object and try to make a change here, you can see that it's only being applied to this object because these are all individual objects, whereas in these are just showing multiple times. So it's a single object. So that's the power of duplicate special. I hope it makes sense now. We will be using it later in the course, so it will make even more sense. 16. Duplicate Challenge: all right. It's a challenge time now. I want you to create a clock similar to this one. I've created this very basic Lachenmeyer. Now this clock is created using basic political cube and then duplicate Special. Now, I will also give you a hint. I've moved in the default pivot, so you'll know to figure out where you need to move the pivot point to easily create this clock so you can go ahead and pause the video and then create a clock like this in my, um And then when you come back, I will show you how you can easily create something like this. All right, so I hope you did create the clock. Now, here's how you can quickly create this clock. So we'll go ahead and select everything here, and I'm gonna go ahead and to lead them. Now, I've just moved my view to cough up to the top so that again easily view. And then I've used to the cube tool here to create a very basic sort of cube, something like here. So once we have this cube created, we can use our move tool to sort of move this up. Now I'm gonna go ahead and move the pivot point down here something like maybe here and then I'm gonna also move my object just a bit up here. What? This object is moving up here. You can see, then if I just wrote it my object. Each time when I wrote it, I will be able to create something very similar. So I'm gonna go in and for us controls a couple of times and let's go to edit menu Duplicate Special. And here are the settings. You can see that I want to rotate my object along the Y axis. So I've been a self added 30 units or actually 30 degrees to wrote it along the Y axis have created number of copies to something like 12. And then if I click on duplicate Special, you can see any from very easily created this clock. Now, from here, I can select one of thes sort of cubes. I can press control de to create a copy instead of moving down here, and then I can also move it up. So I will just use my white translate here, So I'm gonna select that instead of move that up here and then I can use the skill to sort of skill this up just of it. Also, I will move my pivot point back to sort of this edge here, and then it will move my clock down here again. I'm using my skill to sort of scale this up just a bit. Once I have this created, I can duplicate this one more time and then using the rotate tool, you can go ahead and wrote it. My object whips so like the green axes here. So something like me be here. And then I can just add some final tweaks, like moving and and then maybe re sizing so that we have a smaller sort of here, and then you can make some final adjustments like tweaking this just to give an idea on how you can quickly use sort of the two something like here, and then he can use the rotator tool to sort off rotate your clock. Now we can add some final adjustments like re sizing and all those sort of fun stuff, but it should give you an idea. You can see how easily it is to create an object like this using some of the tools. You can also scale your objects in the Y axis and that it looks good. Something like here should do the trick. And then we can also wrote it something like here. It still needs a little bit of work, but just to give an idea, consume it. It was quite easy to create this, and it also gives you sort of fun challenge to complete. 17. Snap Objects: as we work in Maya, there will be time when we need to precisely move on objects quickly. So for that we can use something called snapping. So let's go ahead and create some objects and that will demonstrate how it works. So let's go ahead and click on this plane here, and we will create of plain done here and also hear your aerial noticed that we have this poli plane. You can click on it to expend these settings, and then I want you to select these boxes here and then type in something like maybe 10 and press enter so it will at some of these lines on your objects. And then you can also click on this shading menu and select wire frame on sheeted. Now, some of these things I've showed you are a bit advanced, but I will get into more detail on these later in the course. Also, we will create some other objects of, for example, that's created Cube and also maybe a cylinder, something like you. Now if we use our move tool now, using this sort of central point, you can see that our object sort of freely muse Now snapping settings are located here on our mental arm. Now we can toggle the settings by simply left clicking on it, so it toggles between own enough. So in this case, I'll click on it to talk a little. And then if I left looking, hold here in this set of CenterPoint and move this. You can see him sort of snaps to these great points. So if I zoom in here, you'll notice that we have these intersections on our great. So it's sort of snap studies, and it allows me precisely, move my object. You'll notice that our object is below our great. That's because we snap using our pivot point. Now if I want my object to be above the ground or this great, I consider move this up or I can modify the pivot point so I can press the D key. And then I can move my paired point down here. And if you'll notice that even my period point is snapping, I can quickly toggle this off and I can adjust the pivot point. Let's move this sort of bottom off my object and that I can talk about a my snapping and then I can move my object and it'll snap to the group ground. And if I duplicate this by pressing control D, I can quickly and easily as sort of a line my objects. So let's that I want to create an additional copies and I want to see a line this year. You can see it makes it a lot easier. So they said, I want to align this one with this one I consider off. Move this something like here, and you can see these are aligned. You can use multiple snapping points at once so you can click on another one here and you can see both of these air toggled on. Let's talk about this one off and talking this one on here. It's his snap. Your point and points are located on sort of these corners of her object that the reason we added these lines so that we can snap to this object now it will make more sense when we use something called subject mid. But when you have idea on how this will work later, when we use those tools and you can combine both of these tools and it will make more sense . So let's say that I want to quickly move my object and align it to this point here. I can go ahead and select my object, and then I get sort of move this. Any conservative snaps to this point, I can snap it here. And then I can maybe disabled the snapping instead of move this up here and move it. Something like here. I can also moving down here. So there are a lot of uses of this. This is one of the simple use less selection for cube and toddlers and have two points on, and we can move our object very quickly. And it does he have it sort of snaps to these points on our object in this object here, so it will snap with these different intersections. I can also said it from the center point and sort of move this to the point I want to ready quickly. So let's say that I want to move those objects here quickly and can go in and select it and sort of move it. Let's repeat the process here for this one. Maybe you can see how easily it allowed me to move three objects and then line them perfectly. So if I use something like the move to without using the snapping, so let's move our objects, you can see that it went somewhere else. Now, if I want to quickly move them, I will have to like, very precisely move my objects using the move toe or I have to use the channel box, for example. We're using her A Z axes here, I think so. Let's go ahead and type in something like maybe 12 actually negative trove. And then I have to repeat the process for each of my object without using the snapping sequences. Snapping can save you a lot of time, and there are other uses of snapping to, So there are a number of thes snap ings along the top Here. We will be using these later in the course just to give an idea. You can talk of them on and off here, and then you saw some of the uses, like snapped a great and snap to point 18. What is Hotbox and Marking Menu: Maya has a lot of functionality, but sometimes it's hidden behind hard case. In this video, we'll talk about two different menus. These air called hard box and marking menu. To give you an idea. Let's go ahead and create. It's Ah, let's go ahead and open up a scene so we will go to the file menu and click on open scene and we will open up our room dot I'm a file. Okay, so we have a file opened up now to access the first menu, we have to hold on space marquee, and it gives us some of this money here. This is called Heart Box. It gives us access to some off the menus along the top here, but it's very quickly and intuitive because it gives you access just under your mouth. For example, if you want to quickly use some off the commands or menus, maybe I want to use Biblical special. I can select an object, hold on space, keep edit menu. So I have two left, click and hold, and then under duplicate special, I can click on the settings and it opens up here. You can see it makes it a bit quicker if you want to. Now, if you hold on space Berkey it gives us all of the menu. Not only the modeling menu said, but it also gives us in the shooting view. It also gives us are particles. So all of these men you stand, begin switch from here are under our marking many here. So if we press and hold space bar, it gives us access to all of these pennies. Now you can go ahead and click on and this haunt box control here. So left, click and hold. It shows you more of these options. Here. You can hide all here because everything is hidden. You can again click and hold and click on shore all it shows you everything. You can customize this menu to your liking. For example, if I don't need the rigging tool so I can go here and then it's here. We have this option here that says a show I'd rigging. I can release my clicker and you can see that disappears again. Left, click and hold here while holding down the space bar key. You can move your cursor to the point, so let's say that I want to disable the show modeling menu and then I can sort of move my cursor here and then release here. We also have an option to show only a certain money. For example, if I go to the rendering, I can collect onshore rendering on the and you can see it only shows me the rendering menu . I'm gonna go ahead and click on shore all to reset this menu. Now another menu is called marking menu. And if we right click and hold within RV put it shows up along the top. You know, we have something called suburbs It mood. So these are different modes for editing part of our object. So by default were using something called optic made. It means that we want toe it our entire object. But if we get into one of the some articulate, it allows us to edit passive for object. Below this, we have some additional options. For example, we can quickly select select all these select and then we have some additional options for , for example, adding materials and those sort of things. We will be using these different commands throughout the course. But I just wanted to sort of introduce you to these two men. Ease because we will be using them later in the course. So this is the marking menu. If you hold down right mouse button, and then if you hold on Space Marquis, you will get to the heart box. Now you're marking. Menu might look different because it depends on what kind of object you have selected. So it's a context sensitive many. It will change depending on what type of object you've selected. So, for example, if I zoom out just a bit here and then de select everything my click and hold, you can see that I only get this complete tool and select all option. And if I have an object selected and then right, click and hold, you can see that I get this menu here. It will change depending on what kind of object you have selected. 19. How 3D Objects are constructed: Okay, So in this video, we will talk about the fundamentals of three D object, for example, how three D object is created. So let's go ahead and look at this. Now, if we user tube to to create a cuba than a Miocene, something like you. I'm gonna go out on this control de here to create a copy of this cube. I'm gonna move this on the side here. Let's like the original cube and then here own our channel bunks. Let's left click on this Pawlicki one. And then so, like all of these boxes here for subdivision with height and depth and add something like maybe five. Now, if we go ahead and select both of these objects and then we can go to this mesh menu and select combined now, you don't have 40 above the combined yet. Okay, So if I click on this object and selected, you'll notice that on this object I have a lot more lines than this one. So here we have, like 123 and four lines on this one here. You can see that we have, ah, lot more lines. So let's go back to with the basics. Okay, so the way our three D object is created, it's quite simple. We have something called Were takes or were to see these air both same things, just different names. So we have these things called worse disease. Now, these two sort of points create something called an edge. Now is a line that you see on the three D object. So true vortices will connect a single edge. And then if we combine these edges, for example, three or more inches will create something called a polygon or face. Once this polygon is created, it is the surface that we see on and sort of displays as our object. No, to understand this better. Let's go back to my own. So here in the Maya, you'll notice that we have both objects. So this one has a lot more detail. So through these edges are called details. In this case, you can see we have a lot more detail here compared to this object. So the weight will work. Is that if we right, click and hold here and get into one of the editing mood. So we have a word text mitt. You can see that we can edit these points that I was talking about the war disease, and here you can see that we have a lot less and detail, and then we have her edges. So it allows us to highlight and select these edges and work with them. And then finally we have our faces or polygons we can highlight in select them. So you'll notice that on this subject, If we don't have enough detail, we select this point part. And if we want to move this some using the move toe, I can only added this part of my object. If I compare this to this other object, I can select this part and then I can move this. And you could say it allows me to sort of create this smoother shape. So the way we will create our object is that we will start with a very busy cube and then we will add more detail as beneath this for our object. So, for example, if I'm creating a car for a game, I will start with a very busy cube, and then we'll start adding details, lady, and to get a smoother and realistic shape. But something to keep in mind is that we have something called High Polly, so if you add a lot more detail, you'll get a very realistic shape, but it will require a lot of computing power. So if you're creating a car for a game and imagine you have, like 10 or 15 cars in your game, your game might run slow because you have a lot of models. So there will be, for example, houses around the roads and sort of things. All of these three objects will be created in a similar fashion. Now for that, you have to balance between realistic looking objects, system murder and realistic looking. At the same time, keeping your detail level at this will make more sense. Men be actually go ahead and create objects. But this was just to give you an idea on how our three D optics is constructed, and then how we can modify it. So, for example, we have just using a simple moved home, and you can see how it allows us to sort of change the shape of our object. Later we'll be looking at some advanced tools, and it will allow us to completely transform the way our objects looking Maya 20. What is Outliner: organizing or seen will be a very put in part for us as we learn Maya, because we want to easily and quickly access are optics as we learn Maya, because later, when we're working with bigger scenes, for example, when you have a lot of objects and if in type of fancies inner scene, we want to quickly and easily access them, renamed them all those sort of things. So we have a lot of tools in my and so in this entire section we will go through all of those tunes. Let's begin with a panel called Out Liner. Now we can access out liner by either going into the windows menu and then selecting out liner here where we can use this button here to talk about this on and off out Liner will give you an outline off your entire scene. So it tells you everything that you have in your scene unless you've been ever seen. So we will go to the file menu, select open scene and let's hope in our room door M a file. Now you can see when I opened up this scene, you can see that outline a change of it. So we have on offer objects listed here, and things we can do here includes selecting ah are objects in the scene. So it's very easy and quick way to selector objects. For example. Let's say that I want to select this kitchen object. Or maybe I want to select this dining set and then when I have her my cursor over to the veep, it here and then I can press f g here and he gets have it frames onto that object and I can start working here. Now we have something called groups here. As you can see, we have these plus symbols next world groups. We can click on these to expend our groups within groups we can at objects. Second, see that we have our dining sets, waste a group within that we have our dining table parts and then we have another group of for our chairs. So if we open this up, we have chairs within this group, so it really help us organize their scene. And we can also select multiple objects here. So, for example, if we have one off the object selected, we can hold down control key and click on other objects, and we can select them. We can also use a different hard case of. For example, if I select this top chair, I can hold on shifty. Click on this spotlight, and you can see that you'll select everything in between, so it also allows you to quickly select optics. For example, if I'm within this cheer, I can select the first year Hold on shift G click on the last one, and all of these cheers will be selected. We can also rename our objects so we can double click your own the name, and it allows us to rename thes objects and then you have some additional options. For example, we can search for a specific object. So, for example, if I'm looking for lights, I can sort of start typing in light and you can see that it gives me my spotlights, and then we have a default light, and then I can select my lights if I want to. In this case, I'll close out of the search. You'll also notice that we have these sort off great out Aikens or sort of labels for these cameras. That is because it tells us that these objects are hidden, so these objects are within our scene but not visible. So these air hidden. We'll be looking at how we can show and hide objects later in the course. We can also click on the show menu, and it allows us to show searching type off objects. So, for example, we can show only the political objects, and you can see how it sort of narrows that list down. We can go back here. We can also include something like, Maybe lights. So if you're working with these two time off objects, was were happy with their result, and then later we can go back to the object menu, clear blue and then under disclaiming, and we have some options like we can enable the shapes better here. It gives us plus similar to every object. And then if we expend one off the object, you can see that it shows us the shape notes. If we selected, it's in the shape note for a three D object where we have our basic note, which tells us that our transformations of, for example move, rotate and skill, and then we have the shape note So it tells you what the actual geometry of for three D object is. This is something that is not good for what we're learning now. It will make more sense as we progress through the course. So for now we will go ahead and disable this. So that's out liner. It can be quickly access to using this building here and then using this, you can access all if your ass is that you have currently within your scene, so it will list lights. You're pretty objects. Any kind of object that you have in your scene will be listed here, and it also helps you select your objects quickly and you can also rename them and organize them in groups. 21. What is hierarchy: All right, So now let's dive little be deeper into on Kleiner and let's see how hierarchies help us organize are seen even further. So let's go ahead and open up our exercise file. We will go to the file menu. So, like they have been seen an open room dot m. A file was this. Filers opened up, and we have our outlined ER enabled. We can go ahead and select our dining set, and then we can press F key on their keyboard to zoom in on this dining set, and then we can start for a bit of you just a bit here. Now the hierarchies will allow you to quickly sort of join your optics together. It's can be helpful for assembling mechanical objects, car characters and all those sort of things. So in this case, you can see that we have this dining table here and it consists of three different pounds. We have the top of the table. We have two different legs for the table itself. So we have the part down here. Let's orbit on if you just a bit. So here we have the first leg and then we have the 2nd 1 here and then we have the double at top of the table. Now it is something that we will usually want to move together. So to in order for us to move it together, we will need to create something called hierarchy. Let's open this dining set up and you can see we have three different parts here in this. Yes, I want my legs to move along with the top top of the table. So to create a hierarchy, I have to simply hold on middle mouse button. And then if I move my cursor, you'll notice that I get this devil line now. A double line means that I'm creating a hierarchy, and I'm moving that object into this top table. If I release my click here against you, have that moves in here. So now it's a child off the table top, and then the tabletop itself is called parent. Now, if you hold on middle mouse button and then sort of moves and you get this sort of single line, it means that you're just rearranging the object. You're creating a hierarchy, so let's go ahead and move that as well. So once that we've in. We can simply left click on the object and you can see how it selects the legs also with the table, and then we can use their move to two of the object. And then, if we need to edit something recon, always click on the leg again, so you will need to double click. So first click will select the table itself, and then you can click on the object, or you can use your out liner to expand and then select the individual part. Now you can also use this for the cheers. So, for example, if we go ahead and select these chairs here and then we can move them so middle click and hold and dragged under the dining table set. Here, you can use multiple objects just like we did with the cheers. And now everything is child off tabletop. So begin select the tabletop and everything will be selected. And then when we need to just individual optics, we can simply click again on them, and then we will be able to adjust individual objects, maybe something like here, and then we can click again here and manipulate our objects. So you can also rotate something like Maybe here you can see how it makes it very easy for us to organize our objects. You can also remove objects from the hierarchies, for example. Let's say that I want to remove at this chair. I can go ahead and select this so that I know what year it is. So here it is. I'm gonna go ahead and hold on middle, multiple in and sort of drank this out off the dining table, and now you can see that it's not part of this dining set. I can go ahead and use the move tool because you that it will stay there said. This is one of the way of how we can organize their seen. There are other ways. For example, we can use something called Groups, and so that's what we'll be looking out in the next video 22. How to Group Objects: we can dive a little bit deeper into hierarchies. Now we've seen how we can use hierarchies. But there's another way of creating hierarchies, and it's called grouping objects. Let's go out and have been ever exercise file. So we'll go to the file menu ape unseen and will open up the room that I may file again with our outline. Or we will select our dining set and we'll press F key on the keyboard to zoom in here. Now we have seen that we can create hierarchies, and it makes sense to create hierarchies for objects like these, because everything will be child off the table top because these air logically connected objects. But creating groups for your object will be more better or suitable for objects that aunt logically connected. So it's sort of allows you to create arbitrary list off objects. So let's go ahead and select something like maybe our table here. So this other one, let's press F key on their keyboard to zoom in here. Now you'll notice that these objects aren't ideologically connected because we don't want anyone off the object to be at the top level or as a parent off these other optics, so we have this, furniture said. Now it will make more sense to use groups here. Now you've seen that under dining set. When we create hierarchy, for example, if I quickly go ahead and sonic on the legs of the table and then move them under top table , we can see So we have this main note over the parent. So the parent object is our table top, so we can see that within that we have the child off the table top, so the legs. But in this case, we want to have these objects at the same level. So that's where we can use groups. And to create a group is quite simple. We can select our objects, and then we can go to the edit menu and then under hierarchy, you'll notice we have this group command. We can also use the hard key control G what that would be. Come on, G on a Mac. Let's click on the group and you'll notice that in our outline, er we have this new I can hear, and then we have Group one. We can double click on the name here, and you're gonna go with something like furniture and then press enter origin here. And then if we expand this within that, you'll notice that we have all of three objects. Now groups are created and the orange off origin off our three d won't. So if I activate the move to your notice that it's on the origin. So here's our great end here that our group origin and the group will basically serve as this empty continued for your objects. So if we move this object, you can see how it moves everything with it. We can use ah, modify pivot options so we can put the D key and then we can move the period point to a different location and then President Lee Keegan And now if we move our objects, you can have it moves them. And we can also use the rotate tool to rotate these if we want to Another, a case for using groups would be something like our lights. You can see we have these lights. We don't want either of these to be parent or child off each other so we can select them and then you can go to edit menu and group these objects and you can see again. We have pivot at the origin here. So to fix this, we will just sort of zoom out and you can see we have lights up here. We'll go to modify and then we will go to center payment and against have it sort of centers. The pivot point for bit of her are these objects, and then we can use the modified primitive for 12 and then we can manipulate our lights so we can even voted these lights if we want to. So that's how we can group are objects now, if you want to. UN group these objects is quite simple. We can go to the edit menu, and then if we select one group, you can see how it removes that group, and we have our objects at a normal level. We can also remove a group by simply selecting our objects from the group and then using the middle mouse button instead of drank and dragging our objects out into the outsider. So let's drank then, right up here and you can see that we have this empty group and we can move this so it's just basic container you can see here. So if we selected and then president like, it will be deleted. So that's a week in group and out group objects in my 23. How to Hide and Show Objects: when we will be working with bigger scenes in mind where we have many objects. There will be time when we will need to hide searching parts of that scene and focus on on Lee the objects that we're working with. So let's go ahead and look at an option called Hide and sure in Maya. So let's go ahead and open up our exercise file file menu have been seen. Room got a May fall and then we'll select sensitive with the scene opened up. Let's say that I want you want to work on maybe sort of this room here and these objects air destructing me, distracting me so I can easily hide these objects by simply selecting them and then under display menu. We have two different menus. You hide and show that's good and click on these older lines here so that we have these menus under easy access. Let's move them on the side here, something like here. So we have treated on many issues. Let's begin with a hiding one. Now, with our object selected, we can go and select something like heights election, or we can use the honky control edge. So if I click here, you can see how that object disappears. Now this object is no dilated. It's just made invisible in tow are seen. We can assure this Arctic by going back to the display menu and then under sure, we have show lost hidden, and it gets how that brings that object back. Now, if we have your object selected, you can select multiple ones, and then you can click on Heidi selection and you can see these objects or disappeared disappeared. And you said, Let's say that you also hide in their object. So let's go and hide selection. Now, if you go here and click on show loss hidden, it will only bring this optic back. As you bring these other objects, you'll go to your aunt liner and you'll notice that we have our mood couch and mature so we can select them. And then we can click on sure selection and against how that brings them back. We have some additional options. For example. We can hide everything. We can show everything we can select surgeon parts and hide them. So, for example, let's say that I want to hide only the light. So if we just Dumela, just wait here and then we can go to hide lights, and it does have that hides the lights. We can bring light back by clicking here, and that brings light bags. Your alternate is when we bring everything back. It also brings sort of these giant views. And these are our perspective. View puts. So these air, the default cameras that we're using to manipulate within a three deviant so we can select them again here, and then we can go back and hide the selection. We also have some additional options. For example, if we have these objects selected, we can go and click on hide un selected objects so it will hide everything except these two objects and then begin bring these back so it allows you to easily hide and show surgeon object. So, for example, let's go back to the first instance. I can go ahead. It's like these objects, and then I can go hide selection, and you can see now that I'm free to work on this room here because I can easily work. And when I'm done working, I can bring my objects back by clicking on shore, last in it, and so that really makes it easy toe work on certain parts off your seen in Maya 24. What are Layers: another great way to organize our seniors by using were cold layers. So it's going to look at how it's gonna work. Now we'll begin by opening up our scene so we'll go to the file menu so, like, shape unseen. And unless you've been at the room door M a final with this file opened up, this panel can be found here on the bottom, right off our screen. And then here we have some of the menus. Now it can be useful for isolating certain parts of her scene, for example, to say that I'm working on these couch and sort of table set area. And then when I try using my marquee selection, it selects everything on sort of this behind area. So I have this building structure being selected and some of the cabinets and those of things. Now I can create layers and then at each part of my scene to defend leaders, for example, you can see that I have my structure grouped in my outline er so I can go ahead and select that. And then if I click on options menu here, actually, there's many. It is a create empty layer and then we also have created here from selected So we can do either of these s O. In this case, we will click on create clear from selected so it creates a new earlier. Now, if I just zoom out a little bit here, something like here. Now all of these items that have selected and then added to the layer Now these air added on this layer and you can see I have this re button next to my earlier. I can quickly click on it and it will sort of hide everything that was on this layer. And then I can again toggle this on and my objects are visible again. And then we also have the second button. It allows us to do something called a template so that you can see that it serves trends are objects into a wire frame. Now I can click on this button again, and then it says something called Are so our means render. Now we can see our objects, but these are not selectable. So now if I try making selection gives you that I'm not able to select the building structure. So this way it really makes it easy for me, and then I can double click on the letter itself. And then I can rename this to something like Maybe building. And I can also add a different color if I want to and click on Safe, and I consider that shows me my lair and then I can create another lesser Let's try creating them till here. And then we can maybe name this TV cabinet. Or maybe we just call it a TV, something like here and then to add objects, we have to simply select those objects. We can either select them on outline er or er three d view, and then we can right click on our earlier and then we have this option at selected objects . So when we do this, we can easily talk about objects on enough, and we can also use the render motive free 12 and then we can freely work on this without accidentally selecting anything in the background. And then when we're done, we can switch back to the normal mode and we will be able to select our optics. Now, if you want to remove objects from lira is quite simple, we can select our optics and then right click remove selected objects. Eso it removes those objects from this Lear and then you can see that it doesn't affect your objects. So that's how there's help US organizer seen even further. We can create different layers for different parts overseen and then we can easily enable or disable visibility where we can also toggle between template and Orender mode. 25. What are Selection Masks: we'll begin my opening ever seen. So we'll go to the file menu open seen, and then we will open up a room dot m a phone with this follow up Annapolis, zoom out. So here you will notice that we have a lot of different type of objects. For example, we have alliance. We have our political objects and those sort of things. Now, usually, when we use our marking selection, it selects everything. But if we use selection months, which are located here on our main toolbar so if we click here on this button, it will expand those. But in here forward the selection mosques By default, everything is turned on. We can select everything in her scene. But if we click here on the stone pointing arrow, it is all objects off when we click on it. And now we try selecting objects. You can see that we're not able to select our optics. That is because we've turned off everything. Now we can turn everything back on here, or we can turn off everything or and then we have these balance for individual parts. So, for example, let's say that I want to turn off everything except three D objects. And now when I make my selection, you can see that I'm not able to select the lights. But I can select my objects. Now if I click here on the three d Aiken, you know, within three D, we have sub categories, like surfaces. We have our police services planes, so we can only select the police surfaces. I say that I also want to select my lighting, so that would be under our rendering. So if we call a Kerrigan, see, we have lights, cameras, textures. In this case, let's turn on everything. And now if I try making selection, we are able to select our lights so we can isolate or objects to a surgeon category. And then we can only select those category objects. So we have these curves. We can only enable these, so it's another great way to stay organized end. For example, if you have a large scene with a lot of optics, you can turn off everything and then, for example, you only want to select your political objects. You can quickly turn that on, and then marking selection will allow you to select your objects. If you only want to select your lights, you can straight to the lights mode. And then he will only select your light, something like it. 26. What is Hypergraph: Now, in addition to Outline er, we have many other ways to organizer seen in mild. One of the important one includes hyper graph. So let's go ahead and take a look at how it's gonna work. Let's open their seats will go to the file menu open seen, and then we will open up a room. Got MFR was This is opened. Let's go to the Windows menu and then under journal editors, we have hyper graph hierarchy and hyper golf connections. Let's begin with hyper graph hierarchy. So this will open up this floating window that we can move around and resize. Now it shows us everything that we have in their seen, just like our outlined. But the layout is bit different and just like any other people we can navigate between within this report over the Khyber graph hierarchy, using our standard Meyer controls. So old place middle mouse button will. I was to pain, and then Ulta plus right mouse button will allow us to zoom in and out if you're using a Mac that you can use option key and then middle masculine or right mouse button. So let's take a look at how it's gonna work now along the top. Here we have some controls. Now the fist button allows us to frame everything that we have in their seen off within our hyper graph window. And then the second button allows us to zoom on a specific note that we have selected. For example, let's say, selected this note here. I can click on this button and it will zoom on that note that I have selected. And then we also have this other burden. This allows us to zoom in on anything that is connected to our current note. For example, if I said like this note here and then click on this button is zooms in on all off the nerves that are connected to this particular note, and then we have another. Nor that shows everything that is connected below are currently selected node. So if I click here, you can see how that zooms in on these two notes here. Assume everything with interview, and in addition to this, you'll also notice that the layout of foreseen isn't exactly like that letter, because in Outlander we're moving from top to bottom, but within our hyper graph window, we're moving from left, right? So if I select the structure, you understand it's being selected here and then we have our cheer. You can see as I'm selecting, we're moving from left to right now. This is the standard or automatically out. But we can change is if we want to using this better here. So it allows us to toggle between freeform and automatically out. If we click here, then we will be able to place our objects in any order. We want to, for example, that say that I want to sort of move my objects like this. Let's move some of these objects. So let's say that I want something like here. Now I can toggle between automatic loud and my custom layout by simply toggling between the this better here. So that's how we use hyper graph to viewer seen. Now it's a little bit better of you if you look at this view. So if you're using out liner, it gives you a little bit more visual presentation of your seat. Now, if you have one off the note selected, for example, is going selector TV. Then you can use this button here. That's his input and output connections. So when you click on it, you can see how it sort of moves in. And it shows, knows for a single object. Now it's, Ah, hyper graph connections. You can either use this better, or you can go to the Windows Menu Journal editors, hyper graft connections, and you can see that both things at both Windows Air scene. So in this case, I'll close this window, and we will use the with this window here. Now, after selecting our TV, you can see we are able to see individual knows for our TV. So if I go and open up the attribute editor and then select one of the note, for example, TV, you can see that it shows me every single note of the TV. The same thing applies here against like the material and that I can treat the settings if I need to. And then I can select the different parts of my TV. So it's same as are out liner because begin select Allah for news on the top here, but it gives you again visual sort of representation or fear single object notes. So these are two different windows that can help you more visually. Look at your scene 27. Viewport Settings: V Po. It is very important part of Meyer because we're using it all the time. So let's go ahead and take a look at some of the settings it offers. Now, I have opened up the room, Got it, May file. You can go ahead and open that up, and then we will go ahead and look at this. How it's gonna work now. I'm gonna go ahead and zoom out a little bit here so that you can viewer seen more clearly . Now the first thing that we will be looking at is called Quality said, if you press space bar key on your keyboard, it will switch you to something called quad Abuse. It shows you your scene from four different angles, and those angles are listed on the bottom off off your view port. So we have a top you here and then we have a perspective report. We have friends, and then we have the sign of you and your cursor is very important in this. Be because when you have your culture over surgeon Viper and then press space bar again, you will doom back into that report so it allows you to quickly stressed between different angles or view your object from from four different angles. So if I press space bar here and then sort of Howard, my coaster over three D view, you can tell it allows me to quickly, then between different views, something like here. You can also use these buttons here, so we have our perspective. You put and then quality. But space Barkey makes it more efficient and quick. In addition to quality, we have these menus along the top of RV boats, and then we also have these, but it's not press space bar. You'll notice that we have these menus for each of Harvey per so we can change our report individually. Stuff we don't have to, like use same setting overall offer vapors. We can use individual settings for each report. There's them back into a three D view. Now the first menu of human you allows us to selector camera. We can undo change. For example, if I move my camera and then I say hopes I made a mistake. I need to go back. I can click here and then I can use under view change and that will take me a step back. We can also use the hot key if you want to, and then you can redo that, or you can use your default to you so it will make a move your camera back to the default location. We have framed selections. If you have an object selected, you can click on this to zoom in on that object frame. All will do everything that you have in your seen, and then we also have some additional camera settings and those sort of things. Next we have the shading menu. This is probably one of the important menus, and within this many we have a lot of different, most for viewing or optics. So we have this first murder called viral frame. It allows us to see the structure for objects. You can see that it allows us to see how our optics are constructed. We have this white frame. Next, we have smooth shade all so it's sort of smooches everything. And then we have smooth shade selected items. It means that everything else will be wire free except the objects, and that you have selected something like here. Next we have a flat should all and then we have flattered selected objects only, or you can use the bounding box. It sort of gives you an idea on how video objects are in your scene just to give yourself role size of your object. And it sort of displays thes bounding boxes around your objects. Now you can collect again here on the shooting menu and select smooching all now, in addition to these murders, you can also toggle on and off different things with these modes. So if I have my switch, it enabled I can use something called viral frame unshaded. So it means that I can see these wild frames on my objects and that this murder is very important. When you're modeling, you can talk all this back off. You can also enable something called X ray, so it allows you to see through your objects. And let's talk of this back off and then you have some other options. For example, hardware texting. You can toggle that off and it concealed. Those textures disappear. You can turn that back on here, so this is very important menu. Next we have the lighting menu by default were using something called a default in lighting and then we can also use the lights that we have in our scene so we can enable all light and then it will use the lights that we have in our seemed to light up our C. We can also use a use selected night. So if we have one off the light selected, let's like this one here and then we can toggle to this one and it will only display a selected light. Let's go back to use on lights and then we also have shadows here so we can toggle that off and you can see shadows disappear. We can toggle between on and off. Next we have the show menu. It allows us to hide search and controls from our people. For example, that said, I'm getting distracted by these lights view. I can talk the lights off here. You can see it. Lights is still working, but the controls for the lights disappeared. And then I can leaders from them and them back on. So we have a long list of objects you can go to polygonal objects, lights, cameras and a lot of things. Next we have a renderers by default we're using what is called Viper two point Orender, and we also have Arnold render. Now you will want to switch to Arnold if you're using interactive rendering and when you have your seen almost finishing, then you're looking on the materials and lightings you might want to ST to interactive or no vendor. Now you can also open settings for these renders, and then you can change things like some of the technicals parameter like motion blower, anti l using and those sort of things next we have and the panels menu. It allows us to switch between different views. So, for example, we have a perspective menu, and then we have a prospective camera, which we're currently looking through, and then we have a custom created camera. We can also create new cameras here, and then we also have our Ortho graphic views. So by default we have friends side and top, and we can also look into a scene from different angles. So if we click on one of the menu here, for example, top he contested off, moves us to the top few, and then we can switch back. To our perspective, you put something like you now, a lot of the functionality there for looked at and these menus are mirror down using these sort of balance here so rich and create cameras using these parents. Now, you can also hover your cursor over certain thing and then it will tell you the name. For example, we have a felon gate here and then we have a resolution gate so you can toggle between these on enough. You have your guys, you have your safe area for save action and safe text. And then you have some of those things in the shading menus, a wire frame, smooth, hated everything. And then we have used default material. So it turns everything off, and then it uses the default material that we have in our scene. And then we have some additional options like white frame, unshaded weaken, turn on off textures we control, or on and off lights. We can also use shadows here, and we can also on time they called ambient occlusion. And then we also have our emotion blower. Here's all of those things are listed here is can quickly toggle on them on enough. In addition to these, you can also use hard keys. So if you press for key on your keyboard, you'll enable the world framer you can press five key to smooth shit. Everything six will allow you to enable Harvey restructuring so 45 and six keys, and you can also use these. Now you can use these controls to configure each of your V boat, for example. Let's say that I want to keep this this way and maybe I'm working on this. People here, off the side people. Let's say that I want to view this in shaded view. I can go to shading menu, smooth here everything and contend that allows me to see my objects. Let's say that I'm not happy with the view. It's a side view. I can change this to a different panel. For example, Alta Graphic and I say that I want to read this from the right angle and you can sell it sort of changes my view, so that's how you can confidently reports. It offers a lot of settings. I would recommend playing around with some of setting so that you can get a little bit hanging off it 28. Sub-Object Mode: now in this chapter, we will begin working on. So if the tools that we can use model are three D objects now, before we dive into these tools, I want to take a moment and look at some of the selection math is that we can use and a new mode called Subject Mitt. You've already looked at this murder briefly, but now let's get a little bit deeper into it. So we will begin by creating a very simple political cube, something like here. Now when we create an object, we can get into something called Sabah Brick Made. It allows us to edit parts of for three D object. If I right click and hold here on this object, we get this menu here now with this menu we've seen, we have our fortresses. We have our edges and faces. Let's begin with vortices. Now we can use all for selection methods that we looked at. So simply left looking will select a worship. See, we can hold on shifty and select multiple where disease, if we want to, we can also use are marking selections and although set of tools. But there are some additional tools or techniques that you can use. So let's go ahead and take a look at this. Let's get back into her object mood, and then we will expand our public e one and let's add some detail here. So let's add about five segments, and then we will get back into the vortex mode. Now, if you want to select your word to seize in a line, for example, let's say that I want to select the's. Word is easier now rather than going one but one here I can use Ah, heart key. So if I select this one and then hold on shifty and double click here, you can see that it selects everything in between. And this will work for edges. So if you have your as selected, you can hold on shift key. Never click on here. And it has had selects everything in between again. It will work for faces safely Click here, hold on, shift DoubleClick. It selects everything in between. Now, if you want to select something called and group now, loop works by simply going through all around your objects, for example, we can see that we have the single edge, but When we look around our object, it's going all the way around. It's called an edge loop. Now, if we want to select this weaken, simply double click here and it gets heard. Selects that again. We can use a shift key and then click here. So it allows us to keep selecting these different edges. Something like here. Now, if you want to do same thing for the faces, you'll have to do this a little bit differently. So if we get back into the faces murder, let's like this face and then you'll have to select a distant face to this. So hold on shift. He double click here, and you can see that it allows you to do the same thing again. For the war disease, you'll have to select one of the word X and then hold on shift key. Double click on the Jason one, and you can see how it selects everything So we have this loop off. What is he selected? So these are some of the tricks, and then you can combine your heart key shift. Win it So, for example, he can hold on, shift he and add to your selection and then you can use your standard move and wrote it tools to manipulate your object. And I'm using control Z, or that would be commands the automatic to go a step back again. I'm using control key to de select these. And then maybe I want to manipulate only thes sort of policy against here. That allows me to do that. Now, if we right click and hold, we have our object mode, which allows us to move or manipulate our entire object. And then we have a robotics, Angie's and faces mode. And then these were some of the selection Matthews or tricks that we can use to efficiently select your three d object in Maya. 29. What is Soft Selection: many times when we were working with in Myer will want to keep our objects realistic and smooth. Self selection waited hours to do exactly that. Let's take a look at how it's gonna work so we will begin by creating this fear using the political modeling shelf. So let's create a sphere similar to this one here and then using our channel box, we will expand police fear, and then under that, we will change the subdivisions for axes and height. All that about 50. You can experiment with different number if you want to. Now from here, if I get into work export for editing my object and then try selecting my object now, one thing that I would like to point out here is that we have some settings for selection and that we haven't seen yet. So when I make selection here, if I wrote it my view, you'll notice that it's also selecting my object on the backside here. Now. That is because we have a setting to unanswerable double click here on our toolbar. It's it will open up our tool settings and then within this year, Notre stands under our selection settings. We have camera based selection, so if we turn this on, then it will only select those parts that are visible. Tow us. But if it's unchecked, then it will select both sides of our object. So in this case will enable this and then we'll close out of the tool settings that's trying that one more time. Now, if we rotate our view, he'll notice that we're only selecting in the part that is visible tour camera. So let's say that I've selected this part of my object, and now I want to change this or sort of transform this object. Now, if I activate the move to now, you'll notice Tant our movement Apple Eater is, ah, lying tour world, so we will double click again here. And then let's change our axes orientation to component, and this will align it to our component. Now, if I try moving this object, you'll notice that the deformation is quite rough and we have this art effect on our object . So that's not something that you'll want to do with organic object or, if you want to keep your object. Smith. Let's press control Z here, so this will take us a step back. Now we can enable something called soft selection. So let's double click again here on our move to and then you'll notice that we have self selection section. So let's click here to expand it, and then we can click here to enable it. Immediately, you'll notice that we have this sort of radiant apply tour object. Now this great, it will tell us how it's gonna affect your object. So we have this sort of fall off so this area will be affected more and then it will sort of fall off the effect off our movement on our object. Now we can change this radius using the slider here so we have our fall off radius. You can type in a value here where you can use this slider to increase or decrease this. What we have this set up. Let's close out off the tool settings and let's try moving our object. Now you can see that it's much smoother and we have a much better looking and deformation for our object that stress control Z here, and then we will open up the tool settings again here. Let's expand their self selection. We have some presets here for the curve. So how it's gonna affect this area? Let's click on this one here and try moving. The object against has changing the effect. We can try this one, maybe in 19. See that it's a little bit different so you can pillar so you can play around with these different settings or presets. You can also change the color of ingredient so you can treat in these settings here and then, if you want to. Recent, you can click on the reset button, and it will reset your settings. Also, if you want to inter actively change in the fall off radius, you can hold on, be key on your keyboard, and then if you left, click and hold and drag the select one off the point here and then left. Hold on. Be key on your keyboard and then left mouse button. So you have to click and hold and then drag, and it gets here. It allows you into it so it allows you to inter actively change the size off your self selection. Something like it. Okay, so that's off selection. Liston. Turn it off. For now, there's another setting called symmetry. So if you're working with symmetrical objects, you control this setting on, Let's click to expand it. Now, if we click here, you can see that we have off. And then we have Object X, y and Z axes, and then we also have Old X Y and Z axes. Now the real work is that you'll turn it on so we have turned it on for X axis for object. You can also find your symmetry settings along the time here so you can click here and then you can turn it on and off. Now if I hover Michael, so you'll notice that I'm sort of getting two points here. So if I said like one of the point, it will mirror on the other side. So if I make any changes to my object, you can tell that's being married automatically. So we're using symmetry now, along with it. I can also turn on self selection, and then we can maybe reduce effect here. Let's try and changing some of the settings. So if I try to move my updating until it affect both sides of my object, something like here 30. How to Use Combine and Separate: when we work in Meyer, there will be time when we need to combine multiple optics into a single object, so that's where we can use combined command. Let's take a look at how it's gonna work. Let's create some basic objects so you'll use the cube tool to create a cube. And then we will use control De or that when we command the on a Mac to duplicate an object , and then we will use our move tool to move that object. Now you can see that these are two separate objects, and we can see that within our out liner. Now, if I want to combine these objects is quite simple. I have to simply select these objects, and then I can click on the MASH menu, and then I have this command here for a combined Let's click here, and you'll notice that these objects are now highlighted green. So it means that it's a single object, and this is the last selected object also in the Ensign, and you'll notice that we have a new object selected. And then we have these group Aikens for our previous optics and these previous Aikens AGIs references to our model now if we want, we can delete these references by going to edit menu and delete my type and then history, and you'll notice that those references disappeared. Now we can start working on our object. It's a single object but still separate polygons so we can right click and hold and get into one of the subject mood, and we can work separately on our object. And then, if we want, begin still, go ahead and separate these objects so we can go back to the mesh menu and the new separate and you can see we get a new group and then within that we have our optics. If we select these objects and then sort of move these out off the group, we can select these objects and then delete the history if we want to remove this group here. So let's go ahead and click on Edit menu delete and by type history, and you can see those disappear. And then we have two separate optics. Now the period point has moved toe origin, so let's go back to modify menu central period, and that can fix that issue. So that's how we can use combined and separate commands in Maya 31. How to Use Boolean Tools: brilliance is a great set of tools that we can use to quickly create mechanical objects or quickly create shapes. So let's take a look at how it's gonna work. Let's create a simple que something like here, and then we will also create a cylinder. So something like here now bullying tool allows us to combine to optics and used a different objects as a cutter. Or maybe want to combine these objects. So it's it's a very fun tool. Let's say that I want to create a hammer. Now I'm gonna go ahead and activate the scale tool. I'm going to scale this cylinder down just a bit and then using the move tool, I will move this sort of into the center off my cube. Now I can use this cylinder as a cutting a tool for cutting a hole within this object. So the weight will work is that I will select my object first, and then I will hold on shifting and select my second objects So the cutter object will be selected last, and then I can click on the mesh menu and then under billions. We have three different commands here, so we have union difference and intersection. So let's click on union. It means that it will combine these 12 checks together. So let's click here, and it is how it combines those objects. Now, if repress control, see here or that would be commands. You know, Mac to go a step back. We can go back to the MASH menu billions, and then difference against how that creates a whole within our pretty object. Now this can be used to create very really fun shapes. So maybe I want to create a sort of cut here. So let's go ahead and create a shape similar to this one. Let's move it on the side here. Something like, You know, if I select both of these objects, ended this optic and then go under mesh menu brilliance difference, you concerned that creates that shape so it makes it really easy to create complex ships, and you can also use this for creating mechanical objects. And then finally we have intersex, so it means that it will only leave those areas that are intersecting. So let's go back to the mesh menu. Billions intersect, and against how that remains only the part that and that was intersecting. And then other object is removed, so these are two different commands. If you combine these, you can create some really beautiful looking shapes, or you can create mechanical ships quite easily. 32. Edge Loops: Okay, so now we will be taking a look at some of the tools that we will use most of the time. Now, these tools are commonly used across all different three D applications, So if you learn them here, you'll be able to use these tools in any pretty implication. You might seem some minor differences between the usage of the tool, but usually it's same in all different Freedy implications. So when we start working in Maya, you've noticed that we start with a very basic permitted. And then we trained that basic primitive into the shape that we want. So let's create a simple cube using the political modeling shelf. So when we create an object, something like here and now, usually we start by adding detail. So we and detail from our channel box. So let's say that I'm going for a car. So I'm creating a car and detailed list and five segments. You can see that these segments are at it across my object. Even if I don't need and the segments all across my object, I don't have that fine control over how I want to end this detail so I can go back and reset this and we have some tool. Socialists start by taking a look at those. The 1st 2 is called Inside Edge Loop. It allows us to add as groups to our object, and it's located under Meshal's. So if we click here, we can select insert as Luke two, and then we have to simply have a rare cursor over an edge, and then we can left, click and hold. And then if we move our mouse, you can see how we get this preview where this energy is going to be. Eso that's where this is going to be added so we can release it clicker and the edge loop will be added. No, I can go ahead and end or I can keep adding these edges. Now I'm gonna go ahead and press control Z or that would be commands you on a Mac to go few steps back. Now we're adding these details again, and you can see that we're able to add this detail. But it's sort of free form, and you can't exactly even this out between two edges. For that, we have to access the settings of this tool. So let's go back to match tools and then click on the setting sport and for inside edge loop. And then here we have multiple antelopes. We can click here and then we can change the number of and just everyone. In this case, I will go with something like one. And then if we have a better kisser of an edge over image and if you click, even sort of out of center. So let's say when I click and hold here, you can see how that edges added, exactly centred on my object is being added evenly between two objects. Now I can release my click, and that is that it hit. I can also add additional as just so if I want, I can go ahead and increase this number to something like three. And then if I left, click and hold. Even if I move my mouse, you can see that I'm not able to move and these edges and when I released you can see those engines are added. Okay, so I'll go ahead and reset the tool and then close out of the settings. Now we have another tool called Offset as loops. So if we go to Meshal's. We have ups offset as loop less activated the tool. And then, if we have workers, air over in it left, click and hold your notice that we get this preview. So this tool ands two different edges around my edge that I've selected. And now I can move my cursor and it sort of as that and thes edges if I released my click. So I have these two edges added even the around my edge again, if we click here, we have thes tools of Soviet looked and insert eyes loop and often as loop. We also have something called Slide it. It allows us to slider edges so we can select the tool and then making medically can hold on an edge and we can sort of move it. So, for example, let's say that I want to move this, that I have to simply dima click to select it. And then I have to hold on middle mouse button, and then if I move, my mouse begins helm able to move the edge. In addition to these, we also have another tool called Connect. It allows us to connect different parts of our model, so you can see that we're adding edge loops again. It gives a similar problem to the one that I just mentioned at the beginning off the editorial, and I don't have that control over Veer. I want this detail, even if I want to add it to a single face, I'm adding an entire edge loop now to fix the issue. We can get into the edges mode here and then using the selection tools, we can select her edges. And then if we go to the Meshal's, we have connect here. So let's click on it and you can tell that and adds edge between our two edges. And then I can hold on middle mouse button and I can move my cursor. You can see that changes the number of engines that I want to add. It allows me to quickly connect these edges, and then, from here on, I can use maybe a slight to If I want to sort of slide this, I can middle click and hold something like it, so it only allows you to connect between your edges. So if you don't want to add an entire ends loop, you can select two different ages, and then, if you use that, can connect command, so it allows you to connect those edges that you have selected. So let's say that I want to add and actually between these two and just so I can go ahead. It's like thes. And then I can goto my stools and then connect. And you can tell that edit here, and I can hold on middle mouse button if I want to increase or decrease teas, and I can also slide this and if I want to. So these are some of the tools that allows us to add detail toe our object, and it gives us that fine control over how and where we want that detail to be added. 33. Extrude Tool: Now we will be taking a look at one of the most used tool in any three D implication called Extreme. It allows us to extract surfaces. Also, I'd like to point out here that we will be using these tools on a simple cube in the next years off lessons. And then once we know these tools, we will use these tools to create a real world object. So let's begin by creating a simple cube and then we will add some details. So using the channel box, let's highlight, are with the height and depth segments. And then we will add about five segments and then we can get into the faces mood here. And let's say that I want to extrude this part of my object. I can simply highlight that part. And then if I click on edit mesh, we have our extrude command here. We can also use the heart King. That would be control e. Let's simply click here on the tool and you can see that we get and this manipulator. We also get this palette that we can move around and then we can change the thickness here so you can see that it allows us to start a new surface and then we have our after value, so it allows us to narrow and the answer for object. We can add additional divisions if we want to, and then we have something called key faces together and this will be more appropriate for edges. So it's like an example here. Let's say that we have about for polygon selected here will go back to edit mish extrude. Now, if we go to change extrusion your murder stats in these objects are joined together something like here. But if we go here and then left, click and hold and drag, you can see when we turn this off, Then each polygon is extruded separately so we don't have that joint between and this area . So let's go ahead and toggle this between on and off so you can see the difference also when you extrude something like here than if you select one of the face and use the move to you can see that these air separate objects not combined together, so this will be more appropriate for creating a spikes or those sort of things where you would want each face to be separate. So this is really powerful tool. You can select multiple faces and then you can extrude them. You can use the heart key control E. Now you can use this palette or you can also use in these sort of municipal leaders here. So that would be something like here. You can also use this scale manipulator here, so it allows you to narrow this down. You can sort of skill this up and down uniformly by just learning this tool. He can easily create sky scrappers within Maya. So all you need is a base object. And then you can start extruding faces and has some additional as loops and using the as loophole and you'll be able to achieve a skyscraper. 34. Extrude Along Path Tool: another very great tool, and that we can use is called extrude a longer path. So it allows us to extrude our object but a longer path for Let's see how it's gonna work now we will use a cylinder object here, so let's create a basic cylinder here. Now we'll go to our top, you're here and then we'll select These toughies is here, so we'll be creating a monkey using some of the tools that feel really learned So we can directly care on our selection tool, and we will make sure that camera basil like and it's turned on. Now, from here we can get into the faces mode, and then we can use our drag select to select these time faces. Now, if you go back to her perspective, you put, you'll notice that we're only selecting the top pot. Once we have this part selected, let's go ahead and use the extra tool to will go to the end of MASH menu and then use extrude, and then we can change the offset value here to give her among a little bit of thickness. Now you can treat the value as you like it. I'll go with something like 0.3 and then we can extrude this again here, and we can either drank from the air or we can use our local officers value. You can see where you can see those black faces down at the bottom. So once we have our man created something like here, we can add our handle and for adding handle. We can use extremely longer pat this very useful tool. So it's going to get back to our object mode, and then we will reset our object quickly here. So let's move this back to our origin and then using the move to will sort of move this above the ground now to create the handle. Your first add some edge loops. So let's go to our much tools in today's loop, and then we can add an edge loop about here and then another one down here so we will be extruding one of the face. Let's create a similar edges towards the bottom. Here. You can be more precise just for demonstration purposes. I'm going a little bit rough here. So once we have these ships created, less wished with one of her side view puts and then we can create a curve. Now occurs air found under our curves shelf so we can activate the curves, too. And then we can simply left click on the first point, and then we can left click and hold on the second point, and it allows us to move the curve. So once we're happy, we can. For example, let's say we leaver curve here, and then we can left click and hold on the next point and inside that allows us to wrote it and sort of rounder Curve, And then we can next click here and you can see we have a sort of circular handle sort of shape, and then you can press enter or that would be returned on a Mac to complete the shape you can also added this shape if you want to, they can my click and hold, and then you can use to control the worst X point, and you can use thes point to sort of change the shape if you want to. But I think this is just fine for demonstration. Let's go back to her perspective reboot, and we can orbiter view just a bit here now using the rotator will just rotate her face just a bit so that it's aligned with our curve. And then we can select her curves, and then you can hold on, shift key and select our three D object. And then we can Why click and hold and use the faces mode. Now make sure that you're right clicking and holding on your three d object, because if you right click and hold here on the curve, you'll get points editing settings rather than your face editing. So once you have that again that you'll notice than this face is selected. So once we have no. If you want to select a different face, you can hold on shifty and certainly do that. For example, you can dislike that face if you want to. With our face end curve selected. Let's go back toe, enter too much menu and then click on extrude and you'll notice that we have this sort of weird shape bandit here. That's because we don't have enough divisions here, so let's increase their divisions. The more divisions we had, the more a smoother the shape will be. So once we have this sort of shape. We can tweaks of the settings if we want to, for example, something like here, in this case, help wrest control Z. This increasing divisions again here invents voltage. And then we can just click out here. Now you understand this top part is connected toe Armonk. But the problem here is that we have the sort of bottom part. Now it's not attached to the mug itself. So that's what we will be doing in the next video so you can see that it's not a ties to this part off the object. Okay, so that's it. And we will continue in the next video, and we'll see how it's connected together. 35. Bridge Tool: Now we can use bridge tool to connect different the objects together. For example, one of the instance would be something like here. So you can see we have these two ponts and separated here. Now, if you want to connect these, we can use the bridge tomb. So to use the bridge to we have to make sure that we're in the faces murder and then we'll select the face here and then delete it. We'll repeat the process for the other side here. So what? We have holes on both sides. We can connect these using and the bridge tool. So let's right. Click and hold here and then switch to answers mode. Double click here on this edge to select in sort of this border here. And then it will hold down Shift key DoubleClick here against in that both sides are selected and then you click on edit mesh, and then we have the bridge tool here. So let's click on it and you can see how that connects to and this object together. And then we get some settings, like adding additional divisions. If you want to weaken Taper one off the ends off our bridge, and that's not something that we will do here. And then we have the twist. If we want to twist the bridge, something like here we have the directions if we want to switch the directions and those sort of things because it really makes it easy to connect our object and you can see we have the basic monks have created here. And we just used few tools like Xtreme Bridge and added, adding some edge ellipse so that allowed us to create this shape from a six cylinder said. We will be learning marshals, and then we will be using them to create more valuable objects, like surface in the sort of things. So that's how we use the brittle. You can use this on different kinds of optics, like connecting between two buildings if you want to create a bridge, so there's sort of a lot of things can happen. Using the bridge to 36. Bevel Tool: another great tool that we can use is called bevel. It allows us to round edges and also allows us to expand our previous edges and allows us to create new and new faces or polygons. So that's how it's gonna work now. If we create a very basic cube, you'll notice that we have these edges, but these are very sharp. But in real world we have the most off our objects with a rounded edges, so the bevel tool allows us to create that effect here. So let's get into one of the faces mode. And if we still like the Tar Facer and then you can go to edit mesh, and then we can use the bevel toe so you can see that it's sort of expensive that area, and we have a new face and it between our previous faces. And then we can use the fraction value to change the face size here, and then we can add additional segments to round that part of our object against. It allows us to sort of around that edge if we decrease the friction here. To be more precise, you can use something like 0.5 and you can see that will allow you to create that founded edge look, and then you can change the depth in depth. If you want to add sort of concave, rethink. If I can show you something like here, and then you get that we can move this back and we have 10 for on and off. So if you just want to add edges without smoothing the edge, you can also do that. Now you can use bevel tools for both faces and edges. So, for example, let's say that we use it here for the face, and then we can get into the edges mode and so, like this answer and then go back to edit mesh level. And you can see we have similar options available to us so we can increase the size here. And then we can add additional edges, and it allows it to that and do that. Now, if you get back to the object murder gets you, we have much smoother looking edges for our treaty object. If we compare this to the center so you can see that it's more rounded, we can treat the settings for liking, and then we can create 100 faces 37. Mirror and Merge Tools: in Meyer when we're working with symmetrical objects and we will usually work with a single side of then object once we're done with modeling and we will use a command called Mirror, and it allows us to copy that once I detail onto the other side. So that's how it's gonna work now if we users sphere to here to create a very basic sphere , and then we'll jump into one of our side view, we can directly care on our selection tool and make sure that camera based selection is turned off and then, using the faces mode a select one part of for object. And then we can delete this pot. Now, if you get back in toward three D View, they noticed that I have only single part of my object. So let's say that I'm working on a symmetrical object and I'm done with modeling face. And now I want to copy this and detail onto the other side. With my object selected, I can go to mesh menu and then select mirror. Nothing really happened here. That's because we need to ST tweaks and settings. So the first setting that we have here is for cutting geometry. Now, if you have geometry here, a year old enable this option. But if you don't have geometry, will turn that off and you can see that it fixes our issue. And then we have our axes position. So whether you want to mirror your object using the world co ordinate system or the object in this case will switch to object and then we have the offset value. It allows us to move our object again, see how that sort of offsets and connect our objects. And this is sort of center. Then we have our exit itself whether we want to use XXY or we want why XY and those sort of things safer enabled at we can offset that something like here. So let's go to Z. And so in this case, will goto accent and we can change the offset family. We also have our border here. So much border means that it will connect these two bottles together and then we also have something called bridge borders. It creates an interface between our object and then we also have do not merge. Sick means that these two objects will stay separate and not merge together. So if we leave, subject something like here you can see that it's a single optic, but these points are not connected. If we use word six points and then we can use these moment objects something like here. But if we use the most option than these parts will merge together now, if we have an object that is already separate like this and then you want to manage that and we can also do that. And it's done using a tool called merch or command, actually, so let's see how it's gonna work now, using the vortex points, we can move around for work, disease, and then we can sort of move them closer, and we can merge them. But you can see that if we move, our word is he's using the move to It's not gonna be very precise and easy will press control Z here. What? That would be command Z on a Mac now to more easily move these points. We can enable their snapping here so the point snapping will allow us to do that. Let's move this point, and when we move here, closer begins, and that sort of snaps there once we have to. Two of these were disease overlapping each other. We can simply use the drag selection to slight birth were theses. And then we can go to edit mesh. And then we have merchant so I can click here and we have emerged. Trash will show it's the distance. So if anything is further than this distant, it will be merged. And so we have a very lower number. It means that even if it's really close, it's still gonna merging these two points. And then we can de select these. And then if we recently one of the point using the move tool. Actually, let's turn off our snapping can press control Z here, and then if you move, you can see these two points or merge together something like here. Now, if we don't use the most command, then it would be it would be something like here. So let's select this point here, and we'll snap this one, too. Here and then If we turn this off the select everything and then recently one of the point and try moving it, you can see that it's still separate object, so it's not connected. The most combined command will allow us to merge these together so we can again go and user drag selection and then go to edit mesh, merge, and then we can again select using the move tool. If we try to move or object, you can sound that's merged, that this process is good. But the only issue with this is that it's a two step process. First, you have to use your tools to move your points together and then marched them. There's another tool called Target. Well, it does the same thing, but it makes it a lot easier now. We can take a look at their tool under Mitchell's, so its target melt. Here we can enable the tool, and then we can have real cursor on Went the point left, click and hold and then sort of drag, and you'll notice that we get this sort off line here and it tells us where we're gonna be merging and then we can release it. Click here, say, to remove that point and also murders that point. So let's repeat the process here. Dignity that makes it a lot quicker and easier now if we use the point talk here using the move tool. You can see that this point is indeed Merced, so you can go ahead and repeat the process. And now I'm just gonna demonstrate this on one or two points and I'm not gonna most entire object. Actually, let's get back to the tools here trying to melt. And then we can sort of drag this. We can light this one here, this one here and then we can drag against united makes it a lot easier and quicker. Now, we have this weird as created here because that was this object was catered for demonstration. When you're working on more realistic allergic, you will want to keep your aunties and apology. So that's how we use the target wealth merge and miracles in Maya. 38. Smooth Tool: when we were working in mind. There will be time when we would want to smooth out our objects. So let's see how it's gonna work. Then we will go to the file menu and select open scene, and then we'll open up smoothing example. Daughter may fall. You'll notice that we have these two simple objects here. Now, if we zoom in here on this cube object, you'll notice that it's very sharp. Object. Now we can go ahead and add detail and smoother sound using bevel and those other tools. But we have a January command in Myer. Cold, Smooth. It allows us to do that very easily and quickly. So if this object is selected, we go to the mesh minion, and then we click on the smooth optic option. Here you'll notice that our object is immediately smooth it out, and we have this palette, which allows us to increase divisions. Now you'll have to make sure that you don't interest very higher number here because if you and a lot of detail and your computer can handle that, you might crash your Meyer. So let's increase this by one amount here, so we have to here. You can see that as I'm increasing this, I'm adding more detail so it turns each face into four faces. So it means that we're adding Ah, lot of detail each time we increase the division here, solicit that with three division. If I click out here, you can see how smooth and my object Alex So we can use this tool to smooth out our objects , create organic objects. And we can also use this for cushions and those sort of things. So let's compare this object to this one here. Now you can see that it looks much smoother compared to the subject. 39. What is Subdivision Surfaces: another worry is way too smooth Outer R Texas by using mortars called some division surfaces. It's sort of taking that allows us to smooth out our objects while at the same time keeping a level of detail low. So let's see how it's gonna work Now, Here you'll notice that I'm using my smoothing example dot m a final from the previous video. You can go ahead and open this up if you don't have this opened. So here, if I select this object, you can see that it's sort of really rough object. Now we can use smooth command, but that actually changes are mesh. You can see that we have that object here with smoothing upside, and then we have this object here. Now we can use what is called subdivision surfaces, and to use this, we have to use hard key on their keyboard. So if we press one key on your keyboard, we'll see our actual mesh. We can press tricky on our keeper, and that will show us what is called Cage you. So it shows us this smoother model and then also shows us this outre cage so we can see our actual geometry and then compressed freaky, and that allows us to see that a smoother model only now you'll notice that our cage is a square object but are smoother. Model doesn't look like our original Arctic. That's because with when using subdivision surfaces, you'll have to make sure that your edges are applied correctly. That will change the curvature off your optics. Cela. See how we can fix this so that our object looks identical to the one that we have here in that cage. You or we can use insert edge loop tools. So let's go ahead and click on my stools and then select inside as loop. Now, if we add an edge here, you can see how that sort of moves that object back into place. So let's press control Z here. We'll go back to my stools and use offset as loop, and then you can just sort of zoom in here. So let's sort of drag this just a bit, and then we can advantage and you'll notice that the object sort of snaps back into its original place. So you have to add some additional edges in order to get the curvature that you are looking for something like here, and then we can repeat the process for this edge. Oops. So we need to add some tight edges. Let's repeat this process. Whoops. We can go ahead and first control Z if we make a mistake. So we need to be very precise here for adding that edge she can see after adding, Ah, few with you, A few of these edges. We have our object looking very similar to the cage view so we can go ahead and press three keys to only see the smoother model. And then if we go to our object mode and the select an object, you'll notice that now we have much with looking object with our object selected. If you press one key, your noticed that we have sort of this very rough object. And then if we press treaty, he can say the sort of smooth outside object. So this really allows us to quickly and easily smooth the Arab checks out. Now, there are a lot of renderers that support this pipeline so you can use of divisions functionality with your renderers. So it means that what you see here, you will see it in your final rendered image. So you'll have to look at the website off your particular render that he will be using to see whether subdivision surfaces are supported or not. You can see that we're not actually changing the geometry a lot off our object, but we're getting a messing with the looking model. 40. Smooth Objects with Edge Flow: when we started finding Afridi models in Maya. We usually do that by adding additional loops. Now, as we end thes as loops, we have a command called Edit Edge Flow, so that helps us with that. Let's see how it's gonna work so we'll go ahead and user poli modeling shelf. So let's create a tourist with their tourists who'll activated. Let's create a very basic tours here. So with this tourist created your noticed that we have this curvature of the tourists. So let's say that I want to add additional edge loop, maybe around here. So if I go to Meshal's in today's loop and then add an edge loop here, you can see that even after adding the energy loop, I have this foot flat sort off model because that s loop and didn't change the curvature of my object. I just added that detail in here. So that's where I can use edit edge flow. So let's go toe at it, mesh and then towards the bottom. Here we have at its edge flow. So when we click here, you can sound that sort of move. They rent and matches with the curvature here now using our channel box. We can click here on edit as flow, and this will give us this palette here. Now we can adjust the floor here, so we have between zero and one value so we can go in between this value. You can see how that allows me to edit that curvature. So it's really helpful when you're working with their model and you start to finding that model and then you need to match the curvature of your model. You can see by just using and it as float. We have much better looking object here. 41. Quad Draw Tool: another worry. Nice told in frickin use for modeling is called Quadra. It allows us to draw over measures and it can also be used for read polity. So let's take a look at how it's gonna work and then we'll use a sphere tool to create us fair. So I say that we want to use this fear and then we want to draw over this fear. So let's go to the shading many first and then we'll enable where Freeman she hated so that we can see the edges of her model. And then we have something called Live Up, Take Your So if we enable disciple snapping, it turns their object into what is called live object and that anything that we create will stick to this object and then we can go to the Match Tools menu. And then we have called Roto here. So those weapons settings here now, if you open settings, we can see this. We have keyboards slash march a mouth shortcuts. If you click here, this will give you all the shortcuts that you can use with this tomb. Now I would recommend keeping this on the side and then working with the two. So as you use the tool little when you and no, all the hard keys, so you sort of get the hang off it. You can then close this panel so it allows us to draw what is called darts or simply work disease. And then we can use those words disease degree, a geometry. So let's say that I want to create set off a shaped here like and simply left click and you concerned that we have this point here and then it can keep going on. And so if adding more points at once, I have these points set up, I can hold on shift key. And then, if I have or my cursor, you can say I get that preview If I click here that creates that geometry there. So we have that. And then if you want to add as loops, you can hold on control key, and you could tell that allows you to add as loops so you can left click to add in a loop. But if you want to add in his loop that is centered, you can hold on control King and then middle mouse button so something like here and you can see that will be centered. You can also look at some of the hard keys here. If you want to use thes, we can also extend some of the faces here. So, for example, if I hold on tacky, you can see that it says extrude. You can left, click and hold it and sort of drag this and it will extrude. And I can also hold on tacky. And then I can hold on middle mouse button. And if I drank, I will be creating sort of this entire sort of loop or a loop off different sort of surfaces. And we have sort of from bunk here that doesn't display this correctly. Now you'll notice that this new surface that we're creating is sticking to a previous objects. So if we add additional points here and then sort of connect these, you see how that's being connected down here. This press f k here to focus on our object and it gets out sort of that sneaks six tours a sphere surface so you can go ahead and try some of the tools away here. So we have a lot of hard keys. Here, you can use a shiftless left mouse button to create the geometry. You can relax your German tree and you can middle mouse button and left on Spanish. Drag your points, so if you want to modify them so a lot off hard keys are listed here, so it really makes it a lot easier. If you want to draw over surfaces, silicon, quickly add additional points and then sort of connect them. We can extend these surfaces, so if you want to extend a single face also, when you extend these surfaces, you'll notice that these surfaces sort of snaps and when you move them closer, so when you're releasing in town, that sort of snaps into place. So you keep moving that this can be really helpful if you have higher car detailed model. And he wanted to create a lower detail model off that object. You can use this tool, and that is called re, Topology said. This tool is really health food. For that, I would recommend playing around with the tools and using some of the hard keys that you can see here 42. Modeling Toolkit: When we die a little bit deeper into pardoning, we can use what is called modeling toolkit. It's louses to access the tools that we use frequently, more easily and quickly. So let's see how it's gonna work now to access the modeling toolkit. We have to enable it here so we can click on this button and it enables that now, starting here at the top, we have defense subject modes so we can quickly get her. What is his mode? Edges faces and then we can come back to our object mode. We can also use the multi component motivate. It allows us to select on three components so we can select edges faces and were to seize. Then we have some selection types that we can use. Below this we have options like symmetry, but we have our self selection and then we have some of the commands that we use frequently , like extrude, bevel, bridge and divisions. We also have recombined separate bullying as smooth. So all those tools that we use are listed here and then we also have multicultural target world Quadra connect. Now we've seen most of the tools that are listed here so it makes it a lot easier. Let's say that I want to extract some faces. I can quickly them to the face mode. And then with that fits selected, I can simply click on extruded, and I have extra. I can sort of extrude this and then maybe on a cut this area, and then I want a bridge so breast who is also vehicle here. I can add divisions. I can use the bullying tools so all those tools are really easy to access in one place, so it really makes it modeling a lot easier. I can enable the self selection if I want to. I can quickly access symmetry, and then I can quickly search to a different mode if I want to. So this really makes it a lot easier to model in Miami. I would recommend playing around with some of the tools here's and then you get a little bit of idea on how you can use the modeling, Toolkit said. That ticket and get little idea on switching back and forth here 43. Object History: when we saw morning in Maya. Typically we used multiple steps to model and that really object that were that we want to create. But my keeps track of these different commands that we used to model these objects, and it's called history. So let's see how it's gonna work and what we can do with it. So we'll create a very basic you within our scene. And then let's add some subdivisions here. So maybe about four, I should do the trick. So here we have this basic object and you'll notice that under our channel box, we have inputs. So the initial input is are probably keep. So this is the initial object that we've created. Unless it from here we go to the faces mode and then select some of these faces here. And then let's go toe mush menu actually added measure, and then we can go ahead and click on extrude and let's extrude this inwards. Now From here, we can go ahead and click on extrude again here, so we'll go to edit mesh extrude, and maybe we want to scale this down just a bit. This orbiter of you just a bit here so that we can see it more clearly. Should we have a very basic object? So we did some changes to our object. Let's go back to our object mode here. You'll notice that, understand? All box. We have something new. So we have our politics troops. It means that we had er initial object. Then we extruded that object and then we added and over extrude. So Maya is not remembering all of this history. Now, if we open our attribute adventure, you'll notice that we have our object initial shape note and then we also have our Polly Cube so we can go ahead and modify any of the property here. Now it will depend on a different type of commands that you use. You can modify some off the commands and then you cant modify some of them. So, for example, here we have our initial objects. So let's say that I wanted to increase the divisions. I can go ahead and increase that, but that sort of you can see ruins my object. It means that I can't modify my divisions here, and then I can increase that within height of my objects. You can see that I am able to changes now. Some off these command depends on the other one. So we have that extraordinary. If we increases, it sort of ruins that extrude. Then we have our first extrude so we can go ahead and change the number of divisions if we want to. Second see Hannah's sort of affecting this area, and then we have our second extrude so we can go ahead and change. That one is well, here we have options like E faces. Together, we can turn that on and off. Second, have that sort of changes the shape of for three D model. So as you work in my, you'll be building a lot of history. And then when you're done with your model a lot of the time, you don't need this history with your objects so you can delete this history. Let's see how it's gonna work. So you understand that we have our object and let's say that I am completely done with it, and I don't need this history anymore so we can go to edit menu and then we have to lead by type, and then we can select history and you'll notice all those types sort of disappeared, and we have just a single note for our object. Now, if you want to delete this for a single object, you can use this method if you have more than one object in your scene. And you want to do delete history for your entire scene, that you can go to edit menu and then and delete all my type and then again select history . Now it's usually a good practice to delete the history because it can amass Apple. A lot of fears of create a lot off Tangier, so these temple grow a lot more. And then, if he needs, for example, your material note, you'll have to go through on those notes. So by the time you're done with molding, you don't need to access the history all the time. But it really depends on your personal preference, whether you're going to keep the history or not. 44. Sculpting Tools: another great way to model in Maya is by using what is called sculpting, so it allows us to school for model. So we have a lot of tools and Meyer that allows us to do this. Let's see how it's gonna work. So if we go ahead and create a plane within Maya, you can do this for any objects. In this case, I'm creating just a simple plain will increase and divisions, because if we're working with sculpting, we need a lot of detail in our model. So let's go with something like maybe around 40 or maybe even 50. So now you can see we have a fine degree off detail on our model, and we can also move this just above the grits. We can see it more clearly. And then under Machel's, we have sculpting tools. Last year, this man, you often did move it on the side Here. Now we have these tools, and they're sort of work like a brush. You can click on the tool and it will be activated, and you can see that it's a giant brush so we can hold on. Be key on your keyboard, left click and hold and then drag to resize in the brush. More interactive Lee. We can also do the same thing, using the options for the tool. So we have our science here. We have strength and we can also use symmetry if we want to. We can use the phone off to sort of smooth out the effect. If we have pressure sensitive stylus, we can use that here and configure that here we also have something called Stamp. It allows us to add image, and that image will sort of service are brush. So let's close out of this and the way it works is that it's very simple. We're with our model. We can simply left, click and hold and then drag and it gets out. That sort of reshapes our model. Now the effect is quite high here. So let's go and change the strength. We'll go to our did Kris tanto about seven and let's press control Z here so that we removed that changes and I can see that it's more smoother. Once we have this sort of shape, we can use different brush, for example, smoothing brush, so it's sort of smoothed out that area Andrew Weaken sort of smooth this area to here so we can combine these different tools. For example, we can use a relaxed with this sort of relaxes that geometry. But for sculpting, you need a lot of detail. So you can see we have some of these jagged edges because we don't have enough detail in this area, and then we also have planned into Also, it allows us to sort of flash the area. We can use different tools like crap, so left, click, and hold into drag toe. What allows us to grant the area eso with a lot of thes tools you can actually hold on. And if in hard case of for example, if we hold on control key, we can do the opposite of what we're doing. So, for example, if we're sculpting sort up here, we can hold on control key and then click again and again. See, that sort of clip sits down. Let's first controls in here That's trying that on this area. So you see how that sort of moves that area in the opposite direction so we can go ahead and do something like here. Actually, for this we would be needing flighting to so we can get in Flint this area and then we can use the sculpting tool here, and we can sort of move that in words, and we can maybe use the smoother tool to sort of without these edges. Here, you can see how that allows us to sort of smooth this area. We can use the relaxed tool, and then we have a lot of other tools that I would recommend trying out so you can go ahead and play around with the different tools. So you get little hang if it how it's gonna work, so you can see where very easily sculpting this. Now you can work with, for example, character heads and a lot of things you can use sculpting tools with. 45. Reference Images: Okay. Now we will begin setting up reference images in Maya. Now we don't necessarily need reference images, but if we have them, it will make her work a bit easier. So let's jump into one off the repose here. So within a quad view, we can select the appropriate Vieux Port for importing our image. So let's say that I'm importing image for the front angle. I can go to the view menu here, and then we can go to image plane import image, and then it will open our source images folder. We can select the image so we have this chair front or a day. Paige. We can open this up and then we'll repeat the step here for the side view. So let's go to the View menu Amos Plane Import image. And then we'll select our side picture and then click on open. Now it's flipped, so we'll have fixed that. And then we'll also import one for the top few. So let's go back to view him explain import image. Sure, Tom Dodge a bank open up. Should we have three different images, you'll notice that now you have to make sure that all your images are same size because if you have your images off a different size, then you might end up with weird angles for your object, because it might look different from side and front angle to make sure that your images are all same size. Now we can select these image planes. We can also change some of the parameters. So let's select this one here and you can see that we have our width and height, so it's completely score image. You can go ahead and skill to somebody. You have to make sure that these are same values. And then we have some additional options, like our ex scale with. So we'll make sure that all our images are completely zero at zero. So we'll select all of the's, and then it's type in zero here, and this should move it to zero point and will also zero this one out and then have the depth. So everything else looks fine and we need to flip this one here. So if we select this and then sort of rotate this image, you can see how that sort of floated itself. Here. We can go ahead and I've been lying to degrees, actually negative 90 degrees. And that should fix her issue. Now we can keep these images here, or we can move them on the side here so that we don't interact with the images when we're modeling. So we can do either. Either way now also liked all of these images here. And then we can click on the lives menu here and create Leah from selected and will need rename this layer to something like a ref for reference. And then we can rendered thes so that we don't accidentally selectees while we're modeling . And now we can also enable what is called X ray. So we can go to the shading menu here and then click on X ray. Now, we don't see any effect of this, Bert. When we start modeling, we will see the effect of this. So let's go back here and enable extra for all of these peoples here. Okay, so our reference images are now completely set up. We will begin modeling in the next video 46. Modeling Sofa: all right. Now that we have a reference image is in place, we can start modeling. So let's jump into a quiet view and then zoom just a bit in here on the front Freeport and then using the Cube to weaken start sort of creating the base off our three d object. And then we'll sort of drank this in the side view put here and then, using some of her move and skill told within, sort of match it to the reference image. So we have the but that sort of basic outline completed here. Also, if we disabled ex remove that enable in the previous PDM, you'll notice that how are optic becomes epic and we can see the reference image. We did enable it in the previous video, but we didn't see the effect of it, so I wanted to show you that in here or it. So let's jump into her friend free vote here, and then we'll add about eight subdivisions for the with, and then we can start modeling. So if we jump into the word export here, it allows us to align our object to the reference image salt of dragger object also make sure that here, using drag, select Because if you just simply left click on one of the word X point, you'll only be moving the front side of your object. And then we'll have object and different on front and back sides, Civil sort of drags like these optics and then sort of flying in tow our reference image. And then we can select out of these points here, and then we can temporarily move our pivot point using Deke. And then you could have wrote it our object and move this into a place. So basically we have to align this object were reference image, and we can do that. Using vortices were takes mode, so we have to simply drag selectees. So this looks fine to me and then contract this one in here. So we have to move these points a little bit in the woods said. This will go something like here, and then we can drag this one. Let's trying this one. Do us to be done here, and then we can drag this one and let's drink this one in. So we have the basic ship sort of completed here and then We need to add some additional detail now to anti Israel. We have to go to these men use to access them off the tools that we use frequently. Now, rather than going to these menus, we can use the heart key. So if we hold on shift key and then right mouse button, it opens up these self tools that we use frequently. And we can access tools that better related to this particular motive. For example, if you hold on shift and then right mouse button, it opened up the tools, they're related to this particular mode. So the witnesses mode. Now, if we go ahead and switch to something like edges mode and then hold on shift key and then right mouse button, it opens up tools that are related to asthma. So from here we can select insert as Luke Tool, and then we can add some additional edges here. So something like here and then using the move toe and work X mode, we can sort of drag these points into place, so this will give us that round curvature towards the bottom here, and then we get to resume in here and let's select sort of thes points and then dragged them into place. And then this one in here. So we have the basic shape of are sort of s Sophia completed in here. Let's disable our reference images for a minute, and we can see the smoother model of this. So if you pressed freaky on their keeper, you can tell that sort of smooth your optic. But we have little bit of a problem here, so our object isn't keeping its trip. So we have to fix some as loops. Let's jump into edges mode holding shift key and then right mouse button, actually less liquid off the edge. And then, if you hold on shift and right click, we can access insert, and then we can simply left click and hold here and add image. Let's do the same thing here for the other side. And now if we press tricky, you can see that it keeps its shape and we can jump into the front people. That's enable our reference images. You can see that we're matching our object to the reference image. Let's have some final tweaks here, so we'll see the rounded object and impact into work explode and using the move to weaken sort of drag this into the place. Let's fix this top area. So we'll drank this point into the place, something like in here. And then we can drag this one. Now we'll add some additional details. Solis was back to eggs mode, and then you can hold on shift right mouse button instead as loophole and then and and has loop about here and then again using the move, tool and witnesses, we can sort of aligned this into place. Let's drag this one just a bit down here. So here we have a shape matching to our reference image. Now we did use reference image for modelling, sort of this part of our object because I wanted to show you how you can use reference. Emit, but we'll be using modelling arrest off the surfer with them on your offensive it so that we can have idea on how we can model without using reference image. So here we have this sort of side completed weaken marriage over to the other side later, So the start moving sort of this bacteria and we'll do it without reference image. So let's enable this object for live object so that you can draw over this object and then activate the Cube tool. And then we can sort of create an object something like here, and then we'll add some details. So let's add about five subdivisions for the with three subdivisions for the height and then two subdivisions for the with and death, actually, And so here we have this object, let's dump into one of the side view puts and then using the word takes more. What's the exit of this point groups? We have to disable life mode, and we can sort of drag this up here and drag this one out just a bit. It was something like here. And then consider drag this one out and this one out. And then if he smoothed this optic, you can see how we had the smoother shape. Now it depends on what kind of shape you're aiming for, so you can treat some of the things here. For example, we can go. It's something like in here and Peanut and his loop here to keep the shame off this object , And we can also add some additional detail if we want to. So we have that basic shape completed. List him back into one of her perspective. U boats. Can we have this sort of basic shape? And if we press three, this is the smoother one. And then we can align this object to this one here. Now we can use target Well, toe too Well, these edges together, but I think it will do without it. We conserve. Combine this object when we're done so we can go ahead and sort off matches the skill, the skill, the subject just a bit in here. And we considered drag this towards the bottom and we can move it closer. Now. We can also use ah or add in its loop here so that it matches to our object cultural sort of skill. This just to be down here on this taxi. And here we have that. So let's start aligning it, using the vortex mold weaken, sort of drag these points closer. And let's sort of trying this one to here, and then you can select the rest of these and sort of dragged them just to be done here and then places like this point and sort of trying it out towards this side. It's here. We have that. And we can sort of tweak some off these points in here. So we have that object matching done here. Okay, so we have sort of these points over parts completed. Okay? So we can add legs for the chair unless a select this part here and enable it for a live object and then using the cube to weaken, sort of create a cube down here. Let's drag it down. And then we control enough live object, and we can move it sort of closer. But here we can all to reset the petition if we want to. Because this bit right radio. And then we'll add some details so that we can keep the curvature of this cube. So if we use a rotate mode, you can see how that sort of messes up our object. So unless jump into her edges mode, hold on shift and right mouse button and insert an edge look, or actually less use offset as Luke too. And then we conserve. Add in edge loop here. Whips will have to add them in here something like here and working. Zoom in a little bit here, and then we can add another one about here. Let's sort of move closer to this edge, another one here. And then we can sort of Reuters your view and add another one about here. So now if you press three key, you can see how that sort of keeps the shape, and then we can have some additional edges. So let's hold on shift key and right mouse button insert as loophole, and we can add an edge loop about here. We can had one Q another one here. And then if we go back to our edges mode, move to and let's move this object so we can select this edge here, and then we can skillet down. Now we can scale it down on one off the axes, or we can do it for the both axes, so we can also do it this way. Now it depends on what kind of leg design you will be going for, so you can tweak some off these edges here to create the object. This was back to our normal mode in here. Let's use the tool and sit as loop, and we can add in his loop here to keep the curvature and another one up here. Let's move this object. And then we have, I think, a better looking object. Let's go back to answers mode. Using the move, it'll weaken. Select some of these, as is in here and sort of free, finer object. Now we're self completing the rough shape, and then you can go ahead and sort of modify the objects so you can add some final tweaks to the object. Weaken Just a little bit rotation in here. Or we can move this object a bit closer to this side here and now it sort of matches up. And then, using the top report, we can create a copy of this sort will press control de and will sort of move this into this back area. Oops, I'm gonna go ahead and press control. See here. So here we have sort of flex completed for our object and less mirror this object onto the other side. So let's like these ponds here and using the faces more, we can go ahead and select these places that we can do these individually. Or we can also combine these objects and then create a mirror object. So let's go ahead and select sort of these faces, and then we can go ahead and threats to. It's like these optics and go toe mesh menu and combined these and then you can go back to much menu, select mirror and cut your mystery off, and then we can change their access from Walter Object or we can keep it that way. We can change often, so we have a lot of options to play around with. Something like here will do the trick, and then we can just click out. So here we have this sort of sofa completed. Now we didn't create a mirror off these objects. We can do that separately, so or we can also use the top you put here to create a copy of this or duplicate keys and moved them into the place. So that would be something like here. And then we can also sort of refined thes one here, so let's like them groups. Actually, let's jump into the top few bush and sort of move them into place and finally will create a cushion. So let's go and it's like this object and enable it for a life object. And then we'll sort of drag over this object and we'll sort of kill this up a little bit. Nice bit rotated. So let's fix that. And we could turn off live object and then using as his mode, we can select all of these edges and then we'll bevel the edge and let's increase our segments here to about three. And and we can smooth this object and I think that looks OK. And then, using the scale tool, we can sort of skill this up just a bit so that it matches to our object. We can move this into the police. We can also use our top you put here. So it allows us to sort of flying it more accurately. That should do the trick and then, using the move to begin sort of move this into place. We can also skillet just a bit, and then we'll add some additional detail to this object. So hold on shift and right. Most parents actually less jumping to edges mode first and then select one off the edge whips. This bus controls the here, as is most selected off the edge Sometime we didn't get. We don't get this sort of menu if we don't select one off the edge. So let's go ahead and open options for they said has lived to and will use multiple eyes loops. And this at about five phase loops. And then we can add in age loop about here and then one this way and then using the faces mode and Select Tool actually moved to weaken serves to like these faces and sort of move them up just a bit. And then, using the word X motor, we can select one of the work takes Hold on shifted. Ever click here Deva click here again and then again. So it allows us to sex off these points and we can sort of skill them up. What sort of moved them after to create that bumpy fact? You can further tweak this by selecting an individual points instead of moving them up and down, so that will give you sort of question sort of effect. And then we can smooth this and pretend that applies here. I just added some quick points. We can add some final tweaks later on, So here we have that object sort of completed. We can compare it toe reference image. It's it looks a little bit different than the one we have in the reference image, because we didn't go all the way for similar design off the reference image bash we have mostly Ah, very similar looking object now for the legs and this sort of part. I wanted to go with a different design. So here we have this very basic onto created. Now we use the tools that we learned over the course off these tutorials. Now you have little bit idea on how you can use reference images and how you can model without reference in it, and some of the tools that we've been learning, like extrude, bevel and those sort of tools. 47. Maya Rendering Overview: when we complete modeling in my, um, we begin adding colors and textures. Toe are objects. See in this chapter, we will take a look at all the different tools we have for adding colors, texture and then you re mapping, so it will be a lot of fun stuff. But before we do that, I want to take a moment and show you some render settings. Now we can access render settings in one of two ways. The first we would be clicking on this button here and and it opens up our render settings . We can also go to the Windows menu and then arranging editors Render said a little open of the same window in this window. We have a render using drop down. We can click here, and then we have a number of friends or is to pick from, and we have my software hardware and vector renders. Now these aren't that great, so you'll usually want to use Arnold render because it's photo realistic render, and if you have any other renderers installed on your computer, you might see them here. So from here, when we select a render, we have this common tab now this common to have will stay same for on the renderers. It allows us to select the file name. It allows us to select the size of her image. So some basic settings that were related to our image. And then from here on, we have these tabs and that will be related to that particular render. For example, Now we have Arnold Renderers, System Aires. And if we go to something like my software, you can see that we have the common tab. But we only have my software. So if we go to hardware, you can see how that sort of switches. So it will change depending on what kind of friend early you're using and we'll be using Arnold render. It's built into Maya so it comes free with my So now that we have a render set up, we can open up what is called our render view. So if we have a record store on this, but in here it will say open render V, and then we have current frame. So if replicated, my will start rendering the current frame, and if we could care, this will just open up the window now in this window. We can see her image when we start rendering, and then you have some controls along the top here. So we're using Arnold Render, and then we have the same burden for arranging our current frame, and we can also render just a portion off our view. So, for example, if you're just editing lighting off your scene and you want to see the effect off a little bit of region now, we will go through this later in more detail. Now we can click here and it will start rendering, and you can see that it rendered. But we don't have anything in our since it's completely black because we have no lighting objects or anything like that. So now that we have our render setups, rendering is the process of converting a three D scene into a 20 image so that we can see on our monitor that will get a lot deeper into rendering adding materials and those sort of stuff throughout this section 48. Maya Basic Materials: we use materials in Mayer to define the character, often object surface. Now that surface can be either smooth or bumpy and how that surface interacts with light, or what is the diffuse color off that surface. So all these different parameters are controlled through material. Now we have different material, so the materials will change from renderers surrender. So we'll begin by taking a look at some of the basic Maya materials, and then we'll take a look at some off the colonel specific materials, and then the journal rule will stay sort of same. And then when you switch to a different Orender later on, you'll have to look to some of the settings that might be different. So here we have a very basic scene set up. You can open my A material start a mae file from the exercise funds, so we have few spheres that we're going to experiment with now. To add materials is quite simple. We have to basically select an object, or we can select multiple objects if we want to. In this case, Ah, we'll go with a single object and then we can switch our menus from modeling to rendering and then along the top. Here we have lighting and shading menu so we can click here and then we have a signed new material. So if we click here this open up this window and within this window we have all the different materials Thatcher available in, Meyer said. We can go toe annual specific materials or we can select my Emma trails and we have a lot of them here. We can also click on this menu again here, so lighting and shading and we have what is called a sign favorite material. So these are some of the most used materials and Meyer eso We have blamed Lambert and so on , so we can use them here. So we have a quick and easy access to them. Below this, we have something called a sign existing materials. Now these air materials that are currently within our scene. So by default, Maya creates this Lambert one material and then it assigns this material to every object that we create. So usually we don't want to mess with this material, and we start by creating our own materials. Now, if you don't want to go to this menu, then you can select your object and then right mouse button, so you have to simply hold your right. Must pretend to access the marking menu and then towards the bottom, we can access the same menu, so we have a signed new material favorite and existing materials. Now, in addition to these, we can also use our rendering shelf. Now the vending shelf gives us access to some off the machine eels, and there's we use frequently, like Lambert Fong and Building Machine. So let's begin by assigning a basic limbered material. So if we click in, this material will be added to our object. And then, if we open attributes editor, you'll notice that we have Lambert to material. Now we have a little parameters here for this basic material, so starting made the color parameter. We can change the color here, or we can click on this box, and then we can select one of the priests it, or we can use HS three sliders to select a different color. So I said that I'm going with this sort of yellowish color. We can go here, or we can click on one of the preset end with in this color will be applied to our object. We can see the preview here on this sample or we can see it within RV port. Below this, we have transparency of her object so we can increase or decrease than we have our ambient color. So this sort of mix our object glow so below this, we have what is called incandescence. So it basically it turns our object into a light. So you tell our object is emitting a light and then we have some other parameters, like diffuse color. So how Bryant are diffused calories So if we move this all the way down, then we have no diffuse color at all. So we have this dark matter color. We have translucence parameters. So there's some very basic parameters because Lambert material is a very basic material. It doesn't offer speculator ity. Let's go ahead and assign a different material so we can select the second sphere and the supply of blend material. Now you'll notice that this booking material has this highlight on object because it has a speculator ity. So with this material applied, if we go here, we have similar parameters. We can click on the color and select a different color. So here we have that selected and then you'll notice that we have spec alerce eating here. So we have property over this perimeter for eccentricity. It allows us to change how sharp or diffuse and the highlight will be on our object. So I consider them moving the slider. It changes the highlight here on our object. Below this, we have our speckle roll off, so it changes the brightness off that highlight. And then we have color of that highlight. So you can click on the color box here to slightly different color if we want to. And then we have reflectivity. Now we will not sure reflectivity within RV put. But when we rendered this will define how reflective this object is. So that's, Ah, different material. Let's try another one safe. We select this object and apply something like a funky material. It's similar to blend material, but we have a little bit different settings so we can go to the color boxer and select a different color. Now, instead of eccentricity valley, we have a roughness so we can change the roughness off the highlight. We can change the highlight size. We can change the whiteness of her highlight. We can also change in the color. So let's click again here and selected Defend one. Now I'm selecting these different Callisto that we can see the difference here. And then we have the reflectivity again here. Now we have another machine called an ice Tropic. So if we click here, you'll notice that we have this highlight in sort of a single angler highlight and we can change that here so we can click on the color. Now these different color looks really cool here in the people's. I'm assigning these different random colors, so we have the angle off that highlight. We also have the spread for the XXY. We have a spread for the UAE ACSI. We also have roughness value so we can change this to a sharp highlight. We have final index and then we have the color off the speckled. So these are some basic parameters for these basic Maya shader or materials and then we also have Arnold specific material. So we will be taking a look at those and then we'll get dive deeper into materials 49. Arnold Materials: Now, if you decide to use Arnold as your render, it will make sense to use Colonel specific country ALS. Now you can use the Maya. Basic materials were Arnold. But using Arnold specific material will give you a little bit better Flexibility. So let's take a look at how it's gonna work. Here we have this very be 16 set up just like our previous example. Now you can open on old material, start I'm a file and then we can select one of this fear. Now we can assign your field by going into lighting and shading menu assigned new material . And then we can select Arnold specific materials and in this case will go with a ice standard surface so I can click here and this will be applied. One thing to note here is that when we have atrial apply to our object, we can change the type of that trio. So if we click here on this drop down menu, we have on offer materials available to us here so we can go too far. E Lambert, or any of the material that we want in this case will leave this anti I attended surface And also, if we click on this on your menu, it allows us to open what is called Arnold Render view that this is a bit different than the one we saw earlier s. So that was for my rent review. And then we have a specific Orender V. Now, in this render V, we have what is called interactive rendering so we can start that here. If we click on this button, it will start running, are seen Inter actively. So as we make changes, we will be able to see those changes applied in this Orender view. So with their object selected and material applied on this one, we can start messing around with these different parameters. Now, in this material, everything has what is called weight. Eso weight will allow you to go from 0 to 1 value. And if you dial all of these in your average out on your weight, so you'll have to experiment with different values here. So we have our base color, which is a diffuse color. We can start dialing in the weight here, So if we drank all the way down, you can see that it loses diffuse color and we have this black object And then if we also dragged down over dial this speck clarity down, you can see we have made a matte black object set list aren't increasing our wait for the diffuse color. So as we're dialing this indigency were are increasing the diffuse color and then we have the color itself. So let's go with this greenish color and let's increase this just a bit more. And then we have the diffuse of roughness. So this is the roughness off underlying a surface will also dialing under spec clarity. So if we increase the diffuser roughness, you'll notice how objects of changes from these edges. Now, we're not getting that real effect on this example, but it really changes the underlying object roughness. And then we have what is called medalists. It allows us to turn our object into metal. So if we dial this all the way up here, you'll notice our object becomes very reflective and we can see reflection off the life that we have in our scene. We can also see the floor reflecting on tour object and this fear on the subject here, so weaken, sort of bring this value down and it becomes less and less reflective. And we have that less reflection here. So a style all the way down here. And then we have a respect clarity. We can dial this value down to make our object a matter object. Or we can dial this all the way up to make it a very shiny object. And we have that highlight. Here we have the color off that highlight. We have roughness value. Now, one cool thing about this slider is that if you make over take this all the way up here, you can see that object becomes Matt. That's because we sort of dial this into infinity, and we can see that highlight. So we want to keep this between 400.402 point 100. And so and then we have what is called Iowa or index off reflection. And this really comes in when you're working with glass objects and transparent objects. If you could do it, could Google search for I want? You'll get object values for real world objects like glass in those sort of things so you can play around with that as well. And then we have a stroppy and its rotation. So this will give you a similar effect to this basic Shader here. Below this, we have what is called a transmission, as this is how light sort of transmits through the surface off this object so you can play around with that as well below this, we have what is called sub surface scattering. Now, this allows you to change the underneath light. How light will scatter through your object taken. And this will be good for for things like human skin, wax marble and those sort of things. And then we have pre IQ. We have what is called quote, and this is great for carpets, car paints and those sort of things because it allows you to add an additional coat of paint on your object. Below this, we have what is called a mission. This is a really cool one, because it allows you to make your object a light source so you can start increasing the value and you could tell our objects sort of starts emitting light, safer increase all the way up here. You'll see the effect of that light on the floor here. So these are some of the values, and now you might think this is a lot to take for a new user. Now, don't worry. The great thing about and this material is that you have a lot of presets available to you so you can click on the presets, a dialogue, and you can see you have balloon blood. You have car paint, and you can replace your entire material. Or you can blend that with your current material to a certain number. So if we go to something like maybe a car paint and replace, you can tell that changes the color for object. So these precept will You will give you a good starting point. And then you can tweak some of the values to get a very specific material that you're looking for. So you can go to Diamond that you have form glass so you can see that here and then you have things like rubber. So a lot of these materials we have here you have a material for skin, so this will give you a good starting point, Karpin metallic, and you can see that it's a different paint. So a brakeman experimenting with little bit of these values. So start with one of the preset and then start taking some of these values that are available to you, and this will give you a little bit idea on how you can mess around with different settings . 50. Opacity in Arnold Materials: Oh, no. Material is little bit different and unique when it comes to transparency and rift activity . So let's go out and take a look at how we can achieve transparency effect in Arnold material. So again I'm using on ailment. Feels about that may file. You can go ahead and open that up so we'll select this fear. And then we can go to a lighting and shading menu, assign new material, and then we can go to Arnold specific materials, bystanders surface material. And then when it's applied, we can open our final render view and we can start interactive rendering. Now we'll move this on the side just better than we can see object behind it. Now you can see that this is a very basic material and we can change on a sort of settings . But if we school a little bit down here we have this geometry tap that being expand or rule out, and then we have our capacity here. Now, if we change this slider and side of dial this down a little bit, you'll notice that our object is changing in the view port. But we don't see that effect on our object in the interview. That's because there is a little trick and it's very important to get and the transparency effect off Arnold material. So we have to make sure that our object is selected. We can click on the OPTIC to select it, and then we can go toe the shape note of that object. So in this case, we have peace fierce trip to and then you'll notice that we have this Arnold tab here. We can rule that out and then we have this check boxing that's his opaque. So when we click on this, you'll notice that we have that transparency effect in the rent review. So that's very important. And that's something that you have to remember. And then from here, we can go back to our material and we can change the opacity here so we can dial this up and down now. In addition to this, we can also change the transmission so this deter minds out Night light passes through your object. So if we increase this, we will see the fact of that here. So some of these other object will start of reflecting on this object and then we have index off reflection. We can change that value and you'll notice that now we have this object and the subject reflecting on two edges of these objects, and we can change in that value together even more pronounced effect. We can move that so we have to work with these and defense liners. First, we have to make sure that we have opaque unchecked if we want our object to be transparent and this will be per object base, so each object that you want to see as a transparent object, you'll have to disable that option for that particular object. And then we can change the opacity down here. And then we can also change the transmission so it allows to change that reflectivity effect. And we can also dial in index off reflection to change how that light will refract through the objects of this. So these are some of the sliders that you'll need to use in combination to achieve reflectivity and transparency effect in Arnold betrayals. Now, we can sort of roger of you here to see this a little bit more clearly, sir, If we go ahead and dial this value in, you could tell sort of that move their object. And it even makes our object who pick because it changes how light bends through. Our object said, if we just move the stairs to be down here now we're rendering this interactive lease Eyes were making changes. You can tell that sort of changes when or how that light will reflect. That light sort of moves is to the site, and we can change that down here. So we have three different parameters that controls refer activity and transparency off our general material. 51. What are Maps: All right now let's dive a little bit deeper into materials and see how we can add textures into armature yields. So we'll go ahead and open ever exercise file. So using open, open seen, we can open Arnold material. Start me a file and we have a very basic scene set up again here. Now we can use one off the materials from our rendering shelf, or we can assign a new material. In this case I'll go and a sign in new material. Weaken Goto Arnold materials the I stand a surface material. Now you'll notice that next to each off the slider or parameter that we have here for our material and we have this checker now, this allows us to add a textures into this particular channel. So, for example, let's say that I want to change the color. So for now, we can only change the value off the color. Now, if we want to add a little bit of variety or using image, for example for the base color, then we can use what is called map so we can click on the checker to add a map into this channel, and then it opens up this dialogue. That's his. Create a render nodes now. It allows us to create all sort of different maps, and you can see that we have things like thes procedural maps and that are generated within Meyer. Dynamically, we have filed that we can lower from our computer. We have PSD file if we have ah, layers file, so we have a lot of options to pick from. So let's say that we want to go with something like, maybe noise. We can click here and now we have that noise. Now, in order to see that in the view port, we have to enable our hardware texture, and you can see that it's applied here on her model and being start to modify it so we can change the threshold here within three things, like amplitude. Now it will change depending on what type of map you're using. We have a frequency ratio and gritting about. If these is that you can see that within our map, we can also add additional maps so that would be mapped within maps. This way we can composite different textures or images together. So, for example, let's say that I want to change. Maybe the this sort of frequency through an image I can had that in here over. Let's say that I want to change you. Maybe density. I continued that here So I can even add a texture here, said, Let's try some of these other maps that we have here, So we'll go and go ahead and assign new material. Goto Arnold Arnold specific surface material and then under our color channel, let's add something like maybe checkers color. So we have the checker a flight here, and then we can go to the settings off that material and you can see that we have this sort of input connection that allows us to get into the color Channel. And then we also have this button here. This allows us to go a step back. So getting out off that air connection so input and output connections some buttons within that you can see we have our color one that we can change color, too. And then we have the contrast here. Now we can also blend different textures together, For example, let's say we click here on this and then we can select file and then It gives us dis option to select an image so we can click here on this browse button and let's go with something like, Maybe this does it send lbd map. Let's click on open and you could see how that changes one texture. And then we can go a step back here and then click on the second color selecting file from our computer. We can click again here, and then let's go with something like this and grass seamless, texture open and you can see that we're blending two different textures together. And now we have, ah, shiny nous on this object so we can select it and we can remove that from this object. And then we can also mess around with different properties. So it allows us to really create or generate different type of Texas within Maya. So that's how we can use maps now. We were briefly seen how we can add an image from our computer, but will be taking a look at that in more detail in the next video 52. Use Images as Textures: Okay, now let's begin adding textures our images from our computer on toward three D models. Again, I'm using Arnold material or I'm a file. You can go ahead and open it up, and then we'll delete one off this fear. And instead of sphere, we can use something like a cube. Well, sort of skill. This up and then using the channel box lists make it equal size. So we'll go with something like five. And then we have this object here. Now, with this object selected, we can go ahead and sign a new material. So let's go to Arnold specific materials and then we can select a I standards surface material, and then we can select that material and then using the color channel, we can add an image. Now we can either use PSD file or we can click on the file and dialogue here, and this allows us to open in an image or file from her computer. So let's click on this browse button Now. My supposed laws ah, lot off different file formats. For example, you can use PNG images you can used J prank you can use ah, as you are and we have a lot of final choices to pick from. Let's go with this tile started file and then click on open and then to see this weekend press six key on your keyboard to enable hard veritext chewing. And we have that applied here. Now we have some settings here for our textures so we can scroll down a little bit. We have things like color balance. It allows us to change the exposure or for a texture. We can change things like default color. We have our Alfa off sent so some basic parameters. Now, in addition to these, we can also use this other note called Place Tweedy Texture. Now, if we switch to this tire note, it allows us to change parameters on how this texture is placed onto our model so we can change things like the coverage so we can go with something like a 0.5, and then it will only cover half of her object, and we can also go beyond one so we can go with something like to natural skill up or a texture. Usually you'll want to keep it at original 1.1 a courage, and then we have things like translate frame. We can also rotate or frame. We can mirror image. We have repeatedly Rees. It allows us to repeat the texture. We can go with something like maybe five five, and you can see how that repeats are texture. And then we can also wrote it. Are you the map? Now? We'll see the it a bit better on the bottom of a plane object. So let's go ahead and select it right. Click and hold a sign existing materials ai surface and you can say that supplied there. Now we can go back in, tweak the settings. So if we wrote it, you can see on that truth. It's our image. So that's how we can bring an image from our computer and then upside tower object. 53. Intro to HyperShade Window: In addition to an tribute editor, we can also use what is called hyper sheet. It allows us to more visually create and manage our materials. In Maya, we can access high appreciate in one of two ways. The first we would be clicking on this button here on our main toolbar. Or we can also go to the windows menu rendering editors. I proceed. This will open up this window here. Now, in this window, we have some menus along the top here that will mirror some off the options that will take a look at which really so we'll focus on the visual side of hyper shade. Now, below this, we have a different tabs here for different objects. For example, we have taps here for our materials. We can also access things like our textures alliance cameras. So some of things that were related to rendering are listed here in one convenient place. For now, we'll focus on the materials here. We have all of the materials that we currently have in our scene. So we have our default lumbered one material and then we have some particles so we can click on a material to select it. And then that material will get preview on the right side here. And then we have some settings for this preview so we can go ahead and click on this drop down. It allows us to select hardware renderers, and we can answer straight to Arnold Renderers. We have different type of objects for the preview. We can use what is called Shader ball. We have things like cloth. We can also use things like teapot. We can also use glass field, so we have a lot of farm ticks to pick from, and then we also have what is called photo be sliding. So these photos probably lighting for our object so we can see how different materials look on different optics so you can go to something like off. We can go to exterior color reeking, use extreme color, too, so we have a lot of options to pick from. In this case will go back to into year one and then below this weekend. Access settings for our material so we can treat any of the setting here. Also, you'll notice as and making changes here in the hyper fin. It's also being applied here in the attributes and insurance. We have similar settings and down here now to create the material. We can use this panel here and then in the middle. Here we have what is called graph network. It allows us to see how these materials are created. To access the graph network, we can simply a right click and hold on one of the material and then select graph network and that will show the graph network for that particular material. Now to create the material itself, we can go ahead and select the category, for example, my entrails or Arnold materials. We can school through these trails here. Now, if we have a long list and you want to sort filter this out, you can use the search box so you can go with something like a I standards. So as we start typing in, we get a narrower results here, and then we can click on that particular material to create it. So in this case, let's say that we want to create something like and I stand her surface and he could tell that's created Now the network graph it sounds will take a look at in the next video and more detail for now will ignore it. Second, see it. Once we apply the material, we get on better looking result here because now we're using Arnold specific material and then we can go ahead and test some off the different lighting. You can see how that photo be sliding changes the look off. Other object. We can also use the presets down here so we can click on the presets and go to something like gold and replace. And it doesn't have that changes the look. So if we change one of the interior color, you can see how that lighting really changes the object itself. We can also go to things like we have copper here. We also have a lot of presets to pick from, and then and this photo be sliding will allow us to see how different a lighting settings affects our material. So if we go to something like exterior neutral and you can also turn that off, so that's ah, hyperspeed window. It allows us to view our materials. It allows us to create new materials, and it also allows us to preview the men shell in a better way. We can access the settings for the material, and then we can also access what is called graph network that will take a look at in the next video in more detail. 54. Create Materials in HyperShade Window: Okay, so now it's time to dive a little bit deeper into hyper shade window. So let's go and click on the high Appreciate Aiken to open it up, and then we can go ahead and create one of the Arnold, which feels so let's go to a no material and then it gets cold just to be down here. And then we can access extended surface material. And when we click on this, material is created and we can access the settings. So the way it works is that it just like any other to review points in Maya, we can use our navigation control so we can hold on cult. Or that would be option on the Mac and then middleman Spirit to paint around. And we can use their school real to zoom in and out. Or we can also hold on ELT and then option key on a Mac and then right spinning to zoom in and out. So here we have the material itself. For now, let's say that I want to add a texture. I can press tacky and it gives us this search box, and we can start typing in things like texture we can. Also, there's a search, things like file. In this case, we are looking for final textures so we can click here and you can tell that no days added , we can sort of move it into the place, the sort of dragged it has to be done here. So we have placed to detach your note. We have our file node and then can connected. Toa are material, so we have our out color a point here. Begin left looking hold and the dragon and plug it into the base color for material. Now you can plug it into any of the channel here. In this case, we wanted to be applying to the beast color. We can also disconnect these connection by simply clicking here and then dragging them off . So let's go ahead intact it and we just select the file note. We can click on the Browns image burden, and we can pick any off the texture here. So we have a lot of Texas to use from. We can go with something like tiles, and we can also use this wood texture here. So let's click on open and you can tell that would texture is applied onto our object. So now the diffuse color is using this wood texture, and then we have other settings applying so we can go out and things as things like remove the speckle aridity, and it does have that's removed. Or we can add that we can also make this object a chrome looking optic. So something like here, and that's reflecting on the background image. Or we can make it and reflective at the same time a shiny object so you can play around with the settings and at different channels. So, for example, we also have these channels down called speculator. So as you work in mind, you'll be using these different channels for your material. You can use the court when you have a normal camera, which can be used for normal map. It gives us more detailed mashing without adding the detail on tour match itself. So it's off at that illusion off realistic looking detail. So we have these different channels that begin mess around with and the way it makes it a lot easier, so weaken fully visualize the material itself. So, for example, if you give it to someone and they have to work with your material and they can very easily ritualized material. So we have place to denote here that plugs into this file, and that file plugs into the material itself. And then we have the material Shader. So if you have any other knows here, so all those knows will be available to you at a glance that gives you a really great idea on how your material is composed or created. Now, once we have our material ready and we want to applying to our object, we can do it one of two ways we can go ahead and create one of the object here. So let's say that we have this cute here. Now we can go ahead and use our existing materials, and then we can select the material here and that will be applied. Or we can do it from the appreciate window. So weaken, open that up, and then, with the materials we can right click and hold and select assign material to selection, and that should do it so that a shell will be applied. We can apply it to multiple objects. If we have more than one object, we can select all of them and then can right click and hold assigned material to selection . And you can see how that material is applying here. Now the reason for nothing. That image. That's because we don't have our 100 texting enabled. If we do that, we can see that here. So that's hyper trade window. It allows us to work with our materials more ritually. We can create them we can with them at a glance, we can give you a better preview weekend access settings, everything in a single convenient place. 55. How to Apply Multiple Materials to Object: we've seen how we can apply material tore objects, but let's do it a little bit differently. Let's assign multiple materials to a single object, so to do this will create a very basic cube, and then we'll add some details. And so let's switch to a channel boxer, and then we'll add some details about four subdivisions for with the height and death. Now, if we select our entire object and then use our materials. So let's switch to a rendering shelf here and we can click on the material and it's applied now. In addition to this, we can also use material on a per face basis. So, for example, we can get into the faces mode. And let's say that we've selected some of these faces here, and then we can click on Fung blue vitriol and then if we change the setting against how that material is only applied to these faces because these faces were selected, so it allows us to assign multiple materials to a single object. From here we can go to blend one, and we can change the settings things like the color. So let's go with C l ish color and Then let's say that we want to assign different color, so we'll go with something like here and then in a sign falling in Israel to this part of the object. And then you can go with something like this. Bluish color or pseudoscience. We can also select rest of these faces here, so something like here, and then you can add these to the selection. Let's go with a Lambert vitriol. We can go to a different color, so let's go with a bit of darker color so you can turn that allows us to assign multiple materials to a single object. And then we can change any of the parameter that we've seen. As we can change the color, transparency, ambient color or any of anything like that, we can added them here. So that's how we can use multiple materials on a single object in Maya 56. What is UVMapping: in mind when we start adding to detectors onto entreaty optics. How these two detectors will be placed on our treaty models will be deter mined by you, re mapping you re mapping in three D Modeling is a process Off placing or Trudy textures are on two or three D models there to make it simple for you, you can think off you re mapping as gift wrapping. So in gift wrapping, you take a piece of 20 paper and then you wrap their to eat paper around your three D object. It's very similar process in Maya. We have a lot of tools for doing this, So in this video we'll go through some of the basic tools. And then in the next video, we'll dive deeper into your mapping tools. Okay, so it will begin by creating a Cuba than are seen. So using the political shelf will create a cube and then using the channel box. Let's make it even size, so we'll go with something like six, and then we can zero this out. So here we have this very basic cube, less a switch for rendering shelf and then add a basic Lambert material Now we'll add a texture. So selecting a Lambert material using the color channel will select file and then we'll select the browse button and we'll end. This would in Crete don t pack file So we'll open it up and then we'll go to shooting menu and enable hide veritext ring. Now you look, is that this texture is not placed correctly, so we have to fix it manually. Now we have an entire menu along the top here for UV mapping. So let's click here and then cheer this menu off and move it to the side. So at the top, here we have what is called Yuri editor. We can open it up and then we can you map out a three d object. So if I select this object here, you'll notice that we have this texture. So this is the image that we've added, and then we have these lines here, and these lines are present our three D model on to sort of to the surface. So if we right click and hold here, we have little most to pick from. So we have faces were six edges and what we also have what is called the visual. We can select this mold, and then if we select face, you can see that how it highlights everything on our model. So we have to basically move each of the face onto the texture. Now this is a very basic object, and we'll do. It awaits off the basic tools later will time deeper into UV editor. So let's close out of theory attitude. So here we have this menu. Within this money, we have some different tools for you remapping. So we have what is called automatic mapping. We have camera based mapping. We have cylindrical mapping, plainer mapping, spherical mapping. This will change depending on what kind of object you were working with. In this case, we have a cube kind of object. This will work with plainer mapping. Now we can go ahead and select the faces mode. You can select one of the face, and then we can do what is called playing their mapping, and you can see that it fixes are object and then could select another face. We can do plena mapping, but you'll notice that we have error because the texture is not fixed. That's because we have to change some settings here in the attributes editor. So we have a rotation in this case, we don't want this on our X axes will have to change it to a Z axes. So we'll go ahead and change the rotation here. And we also have a projection with. So we have to increase that now. If it's not moving beyond this point, you can type in that number manually here. So we'll go with something like six. And it does have that fixes that issue now. You can also change your plane. They're mapping settings before you apply your mapping. So if we select this face rather than applying and then fixing it from the attributes editor, we can just go to options for cleaner mapping. We can click on this menu, reset the settings, and then here you can see that we have our Z axis. So it is like that in here upside and you can tell that fixes that issue. So we have this face here that would be our XXII. So it was good and applying that and then we have the Y axis soul. Let's do that here, and then you can select the bottom part. Apply here. You can see how that fixes this issue, and we have a texture place the way we wanted. So we have this create created within my, um Now, this is a very basic object. So if you have objects, for example, let's go ahead and create something like a sphere. If you have an object like sphere and you wanna fix, you're Micheel. Let's apply when it for existing materials, that's it. You can see that it's applied. So we have what is called this physical mapping. Now we'll go ahead and enable the faces more and will select everything on this cube and then we can do is frequent mapping. So it gives us and this sort of gizmo here on a treaty model. And we again we have the similar settings here so we can change you what is called horizontal sweep. And then we can also change in what is called article sweep against how we're sort of stretching the texture so we can use these axes here to fix our issue. We can also use this gizmo here to manipulate so you can see how we're able to move it and mean. So, like this actually here instead of rapid or under three D objects. Now, this structure is not ah, ideal for us physical optics. We're still getting that issue big, but you can see that we have mapping for its physical object. We also have, ah, one for a cylindrical object. So if we have a cylindrical object, we can go ahead and use faces more to select all of the faces. And then we can do what is called cylindrical mapping. And then again, we have this gizmo we can either use and the gizmo here where we can use sliders on our attribute editor. It allows us to do some of the basic objects. We can do it on purpose basis or we can do it with honor. Forfeit is selected. So these are some of the basic you re mapping tools that we have here. Now, camera based selection means that it will a sort of project from our camera angle so we can do that here. Automatic automatic mapping will do some of the things now. It will make even more sense when we jump into the next video where we are working with UV answer itself. 57. Intro to UV Editor: all right. Now we'll dive a little bit deeper into TV mapping tools, so we'll go ahead and create a Cuban are seen and then using the channel box will scale this down just a bit. So we'll make it even size, and we're gonna go ahead and type in six. And then we can use a rendering shelf to apply a lamp in Montreal. And then you can select that Lambert material and then using the color channel what we can go out and create a file note and there will select the browse button. And then, instead of adding our wouldn't create and RJ pack Foul Weaken, Select wouldn't create text file. Now you can see that it's the same texture, but it's laid down a differently. We can click and open. And then, if we go to shading, many enable hardware a texture. You can see that it's applied correctly. What? We still have some of the minor issues. Now. I've created this texture in the way so that I can demonstrate how we can fix these issues . So if we go to the Euromonitor menu and we can open you re editor, this will open it up. Now we can select your object to view the UV map and then for the dream and it yourself, we're gonna go ahead and see some of the options that are available to us. Now along the top, we have these menus, so these menus will copy of the options and tools from the strike side bar here. Now it's a sort of a mirror off, despite over on top of that area so we can use either of these now. These are big advanced tools, and I will look into these in more detail in the next medium. For now, we'll focus on the basics of UV editor and then blew this. We have some buttons here for changing. How are you remapping? It looks on the UV editor. So we have a wife frame for the remapping. We also have shaded more. It tells us whether we have overlapping you, Yuri's. And then we also have you re distortion. It allows us to see if are you remapping usar distorted so we can enable of these murders here. And then we have things like her borders and some of the important ones that you might use is things like if you wanna disable your great for a minute that you can disable your texture for a minute if you want to. We also have what is called Checker. It allows us to see our UV map. So when we enable this, you can see we get this temporally checker map. So it tells us, how are you re scale? It is Skilling. We can disable that. So once we have really re editor opened up, we can use what is called differently remotes. So just like our subject mode, we can right click and hold here and you can see we have you re shell, which allows us to select entire shell for UV We have what is called add more. It allows us to to like edges. We have UV, which works just as our sort of which ex mode but instead of work exits the next what is called UV and then we have the faces motor, which allows us to select the face and then on the writer. We have all of these different cat rollout that allows us to access different tools that will dive deeper into these tools. In the next video for now, we'll just fix this texture, using some off the basic tools. So let's say that if you get into the UV tool and then we can use our standard that my navigation so holding down Elke or that would be option key on a Mac and then middle mouse button to sort of pain around and we can you scroll wheel to zoom in and out cereal noticed that our texture is placed, but you can see that this area is sort of missing a bit so we can go ahead and select some of thes you've ease and then we can use their move, wrote it and scale tools to minutely these u V's saying This case will use their move to and we can zoom in a little bit here and then if we sort of drag this just a bit down here , this should fix her issue. Now we can also do what is called sort of finding outer. You re so you can see if we select one of point here that this is the one off the point. Now we can go ahead and select all of the's. You've ease and then we can sort of drag them and you can see how they're updating live within our people. So we have that issue fixed, and then we can sort of move towards the bottom. Here, we can select some of these You re maps here. Now, this you re map is already created, so we don't have to create any remaining were just sort of moving them and fixing. But this gives this idea that we can use their move, wrote it and skill tools, and we have these different notes, and then little will look at advanced tool, which allows us to create the complex series. So most of the year is them. We're gonna go ahead and select this one here. This should fix one off the edge here. So when we have sense, we're gonna go ahead and select it and to remove it into place, Let's zoom towards beside. I think most of theories are fixed for now. Total s fixing off thes U V's Grannis, select them and then consume in a little bit here and sort of track them so you can see that it fixes are cube. So we have a you re laid out correctly. So these are some of the basics off you. Re editor. We have some off the modes along the top here, and then we can use different remote and it allows us to select a different type of us. For example, faces you re itself. Or we can say that you re shell and then we can added them using, move, rotate or skill tools. In the next video, we'll dive deeper into something advanced tools off. Yuri Editor. 58. Advanced UVMapping Tools: Okay, now we'll take a look at self the advance. You re mapping tools set. Let's begin by creating activating our cube, too. And then we can create a rectangular cube and we can drag it up. And then using the faces mode will extrude this town face. So let's go to edit much menu and extrude the face, and then we can sort of move it closer to each other. So this will give us ASUs is sort of a house shape, and then we can use object mode. Now, if we go to your view menu and open UV editor, you'll notice that we still have their basic you re map for the Cube. So if we go to faces moments like this new face than be very, you'll notice that we don't see any remap or face for this particular face. That's because we have to create UV map for this face. I will do it for our entire object. But just to demonstrate when we add new faces, those faces won't show up in the Yuri editor. Now, if we have a basic shape like this, we can do it in a simpler manner. So we can select these faces, and then we can do things such as plainer mapping, and it gives us this face and we consider skill it down, and then we can repeat the process for rest of the object and then condone layout on off those faces. But we'll do it in a different way. So the way I work for the U remapping is that I move my camera into a three D perspective. Now, if we do it in this way, you can see that it's sort for two D perspective. So move your cameras toe angle where you can see your optic instead of a three D perspective. And then using the object mode, we can go to your remapping. You re menu, and then we can do what is called camera based mapping. It gives us this feeding object in R UV editor. Now, this is not great for working with UV or laying out give you on this, but it helps us create your remapping easily. So you re mapping is a process you can think of it as creating pollutes. You will add cuts, and then you'll stick those different parts together to create a UV map that you can understand and place textures onto. Now if we go to you, Michel, your nurse net. It's an entire shell, so we have our entire object in a single shell. Now, from here we can get into Angie's mode and we can start selecting different edges. And then here on the right side, we have a lot of rollouts. We have transformed rollout, which allows us to manipulate, argue Weise. We have create for creating Yuri Maps. So we have a plane they're mapping. Here we have camera based mapping. So all those map ing's we have cut and sort of got a rule out. We have unfold rollout ah, line in snap Marines and layout. Let's begin with cut and sew. So here we can click on the cut option, and it adds cuts on her model. Now, if we decide like these edges, you'll notice that these edges are highlighted in white color, we tells us, and that there are cuts on these edges. Now we have a busy got added. Now, if we switch to your visual, you can see that it's a separate shell. Now, from here, we can get back to edges mode and being start selecting thes edges in Click on cut to add those. Now we can do it in our UV editor, but we can also do it in our three D view. If you have Meyer 2018 or higher version, you can go to UV menu and select Freedy cut. And so you ve to And then you can simply start clicking on edges and your motive Hug. These are becoming so violated in our UV editor, Start clicking on these edges. Now, if you have a lot of edges, you can simply left, click and sort of drag over those edges and it will be Cut it and you'll see them highlighted in UV editor. So we have basic amicus added. Now, if we s which who are you? Michel Motive. You can see that we have different you re shells Now from here, we can select all of these different you re shells and then we can open our unfold rule out here, and then we can do what is called unfold and you'll notice that it will unfold each face. So we have and these basic planes, as have created here for each face. And then from here we can sort of optimize these little bit Well, we can click on optimize and we can also do what is called a straight in U. V's and it will give us thes faces here. So we have these basic faces. So these air four different faces we've also selected the bottom parts of this is for the bottom. One will move it on the side here and then we have thes and wall walls here. Let's select them now. If we have to match the size of these every shells, we can select one off you, Michel. And then if we open our transform, uh, roll down here and then you can school down and then have what is called Texel identity we can click on, get here and then you can select another shell click on set, and it will make the size. And then we can read the process for these one. So let's click on get set. And that pretty much it. Now we can slink all of these here and then if we go all the way down here, we have a range and lay out. Now we can click on layout and it will move all of these faces in our UV space. But we can also stack them. So, for example, if we have a matching you re map, we can click on stack and those will stack together and we can do things that has selected you remember, We can school up here. We can flip them. So these are not overlapping. You re maps. We can also see the effect of this building here. So if we open this up, you can tell overlapping one is a bit darker. So we have these different tools for arranging arguably map. So we also have tools for moving the maps. It's themselves. We can change the pivot point off the UV. We can do things such as link them out in our TV space. We can stack them. So we have these basic tools. We also have a line and a tool which allows us to quickly and easily a liner. You officials. So if we click it, it will move our give you two sort of this top part off the space. We can click here that we can move into center so it allows us to quickly do that. We can also snapper U V's together. So, for example, we can go to UV mode, select one of the UV, so like the other one here, and do what is called Snap Together. And you could tell that sort of moves it. Now if we want to do it other way, we can do from B to a snap together, and you can tell that moves there. So we have a lot of tools here for doing these things. Set. Let's go back to our officials. Now we can use a rotate to to rotate these answer of mass them something like here. So we have really laid out. Let's work with this time Face will add some additional cuts, so let's go ahead and switch to edges mode. So, like some of these edges that we can do it in pretty view or in our UV editor, And then we can do cut. And then if we go back toe you Michel mode, which is select the entire shell, and then we can do what is called Unfold and that will unfold and the UV itself. So now if we look into the faces murder And so we have this face here. Then we have this one and then we have this middle one and then we have this part here and in this part. So it basically is a pretty good looking UV and this point and then select the entire shell . So we have this selected weaken quickly wrote it this We can also lay this out within our UV space. So something like here and we can skill that down just a bit. So we have the basic part completed. Now we can get into what is called edges mode. And if we click on one of the NTL noticed and it tells us that it's part of this nature. So we have this face here and then that face of connects to this one here. So the edge between these connects and these two pieces now we have seen here because we've added a cut here. Now, if we don't need that cut, we can as Diddy's together. So let's go a pure and we have stitched together we can click here and that you really will move here again. We have a to B and B to us if we want to move this one over there. We can change that in here. We can click on this one here and you can tell that tells us that it's this and here we can click on stitch together. Now, if we just want to state and don't want to move the UV itself, for example, we have the basic sort of shape completed here. And then if we select this one here, you can see that it's matching to this one we can click on, so it will serve, but it won't move. So we're getting this weird effect. I'm gonna press controls easier. Let's click on stage together and then gets like this issue. So it's a matching to this one here. We can stitch them together here, and then you have bottom part here, so we'll leave this as it is, and then we can go to UV Shell and you can kill it just a bit down here. Now what? Uh, now that we have this year, remark created, what happens is that we have this face here so we can basically lay out our texture on this area, and it will be applied correctly. So when we select this face, you can tell that applies here and then weaken Lay another texture on this side here. And then we have this part here. So we have you in that pretty much completed and then weaken skill. This one just a bit down and it sort of move this into place and then using the UV shell, we can move this just a bit on the side here. So we have these you re maps created weaken skill, this one just of it up. Now, if we enable our checker mode, you'll notice that most of her UV is a similar size because we have no distortion. So everything is currently skilled up. Now we have the bottom part here. We're gonna need to scale it just a bit down so that it matches to these one here and then concerned this off. Now, from here on her weaken, basically go to image menu. We have to make sure that our object is selected, so we'll make sure that we have our object mode. We can go to your snapshot and then we can select the directory where the C V map is going to be saved so it's out TV and then we can select the file type. So my finally we have J Pang. We have P and G. We can select the size of the image. We can select edges color and then you can click on apply and that image is saved and we can see that saved file. And we have the directory where it was saved and then we can open and this image in any three d applicator, any photo editing application and then we can add our textures. And then when we apply that texture on toward three D object, it will be a price upside correctly. Okay, so I have that image you re snapshot opened up in photo shop. You can open it up in any photo editing application. Now, from here, we can create and new earlier so we can hold on control key and then click on a new layer. But it and it creates in nearly or below are can clear. And then we have to fill this layer so that we can select her color and then press salt backspace, and it feels in that color. And now you can see that we have a UV as this that we've exported from Autodesk Maya. So now we have to basically bring in textures and place them on two different Hugh VI's or we can paint our textures. Now, in this case, let's say that I want to use this basic shape toe. I can assume a little bit here and then start placing now. I'm just creating a basic texture to just give you a little bit of idea. We can click here on the color Let's go with red color for the bottom part of our object, and then we have some of the walls here. So let's go ahead and create a copy of this well selected and press control G. And then using the move to a lot of this electoral, we can move it changing color to something like don't agree, and then using the transform to also begin press control, T honor Keeper. To activate the transform tool and begin place and this texture onto sort of side wall here , I'm creating very rough texture here so we can create another copy and replace it off there , and then you can create these new copies here and then we can select these optics and change the color to something like bluish color. And then we can create another copy, and that won't go down here. So let's hold on space Bar and remove our view. We can hold on Elke and then use Moscow well to zoom in. And then we can use their transform tool to sort of rotate this just a bit. Here we can kill it down. We can move it into place. Now I'm creating a very rough texture. If we spend a little bit time, we can create a better texture. Let's create another copy of this several press control J and that we can use the transform tool Hold on control, key and drag. It was the site, something like here. So we have basic Texas of completed, and then we can leave this sexual here. And then we can disable the UV earlier, and we can also add text if we want to. So let's go here and then maybe add roof text. We can select the text and we can move it above all of the other leaders. And let's rotate our texture just a bit, and we gonna create a copy of this and begin to move it on the other side. So something like here. So it's a very basic texture. And then from here on weaken, simply save the texture. So we have our exercise final images. We can see if this as psd your we can use it as Deepak and we can save it. Select. Okay. And now we'll switch back to Maya. Okay, so inside Maya, we can go ahead and apply a new Lambert material. Let's close our UV edition, click on in the Color Channel, select a file like on the browse button, and then we Congar back to our images, so that would be images folder, and then we have our J pink. Here. We can open it up, and then we can go to shading menu. So, like the hardware restructuring and you can tell the texture is applied correctly. So we have a roof texture applied correctly. We have ah, rest of the parts. We have the red color on the bottom here, so it's applied correctly. Then we have some weird effects that because that's because we didn't spend a lot of time correcting our texture. But it gives you idea on how you can bring in your texture. Now, if we open UV editor, select our object. You'll notice how the texture is applied. So we created you re map. We moved it to photo shop. We draw added our taxes in photo shop. And then, when we apply in their texture in a Maya onto our object using any of the material, uh, it's you can see how that displayed how that texture will be displayed on a model. So that's how we create a UV map for our three D object. Move it to a photo editing application, and then we can create a textures in that application and then bring those texture back into Maya and apply them to our model. 59. Paint Texture Within Maya: in addition to painting or textures in other photo editing application, we can also paint within Maya. So let's go ahead and create a que Women are seen so we can test them off the painting tools. Okay, so let's say that we want to paint on this object now for this. We have to make sure that we're using a rendering. And then you said, And then we have a menu here for attacks during we can click on it and then we have three D paint, too. Let's open options for the tool because we will be changing a lot of options here. Now we have this panel opened, and if we have a rollercoaster over the object, you'll notice that we have brush. But we have this cross within the brush. Eso It means that we can't paint. Now we have to set up what is called texture so we can scroll all the way down here and then we have filed textures and then we have to select which attributes were painting so we can go with color diffused. We have lot of channels here in this case, will go with color and then you can click on a sign, added textures, and then we have to select the size of the texture. Let's go with a one K texture. So when we typing and clicking, it will change both sides is because we have keep aspect ratio enable here and then we can select the file type. Let's go with PNG file and we can click on a sign, edit textures and against our object changes. And now we can simply left, click and hold and drag, and you can see how it allows us to paint over are treating object. Let's go through some of the settings that we have here, so we have our breast size that can change here. We can also change change it interactive Lee so we can hold on Beaky on our key boat left licking hold and then drag. We have a different type of Russia's that we can use. We have a softer brush, we can use this 100 brush and then we have things like her color shouldn't go with a yellow color if we want to go with softer brush and we can change the opacity if we want a subtle effect, we can also do what is called a flood. It allows us to paying her entire objects so we can click on flair and you can tell that changes entire object. We can select the color. Let's go with this red color and then you can click on fled and then you can start Ah, painting over this object. Now we can also do what's called flood erase. We can also flett only the selected faces off our three D object and let's go away the yellow color and then can flooded. And then we can use a different color. Four painting. Let's go with this red color and we'd start painting. Now. In addition to these, we also have what are called paint operations. It allows us to do things such as smear so we can smear the texture. We can blow the texture and we have some additional options like you're racing. You can go ahead and try some of these other ones, so once we have a texture completed, we can save the texture. Now, this can be really good for just ah, blocking your texture, how that texture will look at the end so it will give you a good idea when you move your UV map to a different application, so we have our textured completed. If we go ahead and open a lumbered one material that you'll notice and in the color channel we have this ah, texture. Let's open it up and a path to the texture is empty because we don't have that texture. Safety it. We can save our texture by clicking on this button here, but we have to make sure that our scene is saved. Otherwise we will get an error. Saying that you're seeing isn't safe and it won't let us safe. The texture was This texture is saved. It will be within our source images at three D texture files, so it can be really good for blocking out your texture or just experimenting on some. Basically, if you want, quickly paint your object in mild 60. Render Setting: arrived. Now, in this chapter, we'll talk about surrendering. So let's begin by opening up our range of settings So we'll click on this button. Here it opens up, are under settings. Now we're using owner Wanderer, and then it will focus on the common tap in this video at the very top. Here we have our file out booth. It allows us to select different type of file names and those sort of settings. So the 1st 1 allows us to select the file name now weaken time in the name here, or you can see that it's a is using seen name eso. If we don't type in a name, it will be using the scene that we're using. In this case, we were using untitled seen. So we're getting that preview and then we have our image format. We can go with any form and here. So let's go with Hank and then you have the quality off that Deepak. We have the color space of that, and then we have a frame animation extension. So if we're rendering more than one frame, we can select a different name here because currently it says name and then we have the extension. So that would be RJ Plank. Now we can click here and then we have some of these other ones. Now, these are just different styles for the different name. So you can go with something like Name Underscore, or you can just go with name and then the number. So when we tied this in, you can see that it is untitled, and then it will Orender frame 1 to 10 and then if we go to a different one, you can see that will add an underscore, and then we'll have the number so you can go with the one that you want and we can change the number of zeros we Ghent. So we have that. And below this we have our framer arrange, so it allows you to select the frames that we want to render. So let's say that I want to render from frame one and two about maybe 60. I can go ahead and type in 60 here so we can go with any number in this case. I'm typing in 60 and then if you want to skip frames, weaken changes my frame number and then we will only be rendering certain frames and then below this. We have a rendering herbal cameras, so it allows us to select cameras which are going to be rendered. So if we have multiple cameras in their scene, we can click on the drop down and select that camera from here. In this case, we're using our perspective camera to render. And then finally, we have our image sites. Now, we have some of the presets at the top here, so we can go ahead and select, for example, SD 7 20 p or 10. 80 p. But we can also type in any custom settings. So, for example, you could have been any number in your with the height off your image. So once you have these settings selected, you can enable some off the gates that we've seen. It will help you see what area you'll be rendering so you can click here, and it shows you your render frame so you can see if you have your crystal, you'll get the name off item what you're going to see. So we have a resolution here. So these are some of the basic settings in the common, a common tab off Orender so we can select the image size. We can go with our render herbal cameras. We concerned about our animation. Now, if you just want to render a single frame or single image, then you can change this number back to something like name, single, frame or name. Not extension single friend, something like here. Or if you're rendering multiple frames and then you might want changes to one of thes presets. 61. Arnold Renderer Settings: If you're rendering high quality images in Maya, you'll probably want to consider using Arnold Wanderer because this photo realistic render and that comes with Maya. So let's go through some of the settings that we have for Arnold Render. So let's go and open up our render set up. And then we have some settings here. So we've seen how we can set up our image file and how these images are saved in the common tap. And then we have on older Andrew time now in there. No Virendra tap at the very top. Here we have sampling the sampling will deter mined the quality off your render. So we have this camera a value here. Now, if you're just doing some basic tests, you might wanna move this down to something like zero or one. And then if you're rendering for realistic renders, you might want to move this to two and above. So in this case will keep this at three. And then we also have these render sampling for individual channels here to begin increased day and this for diffuse channel speculator transmission so we can do it individually or weaken. Do this entire value and it's sort of multiplies everything. And then we have things like readapt. Now this is the important parameter because it controls how rays are casted into or sing. So the more raise we have, the better quality we will get. So we have a total number here for the race, and again, we can do it for individual channels. You'll notice by default. Here in the transmission box, we have H res. That's because that's how light passes through our objects. So we need a lot of Aries for that. We have additional things like motion blur if we want to enable that we have things like a light special. So the minimum minimum light threshold we have things like our textures. Now Arnold uses ah t X file form it. So it likes is this file, and when we use images with Arnold, it auto converts those textures inter t x file, form it. You can disable that here if you want to. We have additional things like cell division. So if it automatically subdivide something, you can sort of define the overhead that you have here, and then we have some additional tabs, like our system a visa plug ins and then we have diagnostics. If you're having some problems with your renders, you can do that. You can check some of the settings here, so these are some of the basic settings for Arnold Render, and we'll continue looking into settings and doing some beautiful vendors in the next couple of videos. 62. Arnold Render View Window: If we're using Arnold as a renderers, then we will be doing a lot of tests in Maya and we can use on old Earth render view for that to access on older interview. We can go toe on old menu and then we can open on over interview from here. Now make sure that you're using all no material during May file so that you can follow along. So here we have this render view opened up. Now, one thing to keep in mind here is that if you open render view using this button here, this is render view for Maya. So it will not be using this one here, but we'll rather focus on Arnoldo interview Now. This window allows us to run tests for renders so we can go to this render menu and we can run what is called I PR or interactive rendering. We can also use this better here. Now it will start rendering are seen, and then we can make changes and those changes will be updated. So it's really great for testing. So let's say that I want to move this optic you can tell that's being updated here. Now we have few controls here, so you can go to the file menu and we can save our image if we want to. We can go to the window menu. It allows us to toggle our display settings. We can also do same thing using this button here. So if we talk all this, we get access to things such as our gamma exposure. So we can change that. Here in this case, will reset this back to default. Actually, let's just one. So we have a setting. Reset it. We can change the background color so you can see that we have this default black color. We can go with a different one if we want to. And we can access what is called pixel so and in addition to that, we have our view menu. It allows us to enable Aires We have ah channeled here. Now, this is really cool. You can check individual channels taken, check your Red Channel, Green Channel and we can also check our effort channel, or we can see all the four channels and then we have test resolution. So if you're having trouble rendering your image, you can go down to something like maybe 50%. So it reduces your resolution. And just for testing, testing you can move your object and it will render a lot quicker. So let's go back to review menu and we can move this even further. So let's go back here and increase it back 200% and then have things such as a store snapshot. So if we click here, you'll notice that we saved this snapshot. And then let's say that we make some changes to our scene and we can store another screen chart center. We can compare our screenshots so you can see that we have this so we can make a good comparison here off ABC for testing lighting. We can compare different lighting. How are seeing looks with different lighting? So those kind of things so you can see that we have things such as previous screenshot Next . In short, we can delete the screenshot we have Screenshots folder. We can access that and then finally we have the render many, which allows us to run our I p R. So these are some of the basic settings in our noble interview 63. Maya Lights: When we are rendering in mire, we need lights. So let's go through some of the basics lights and they're available in mire than we have lights in Meyer. And then we have light for Ronald eso those air annual specific lights. Now each render comes with its own lights, so there will be different type of flights for different renderers. So let's take a look at some of the basic my lights, and then we'll take a look at some of the annual lights in the next video. So let's go to the file menu open seen and will open our rendering dot I'm a file. So this is a very basic scene. We have this sort of backdrop and some basic spheres. Now to access our lights, we can go to the rendering shelf here, so we have these lights listed here, or we can go to the create menu and then we can go toe lights and we can tear this money often. Move it to the site. So we have things like the ambient light. So this is for adding basic and being lie to your scene. So if we click here now, you'll notice that and nothing really changes in their scene. That's because we're not using our lights in mind. We have her default fighting, so that's currently turned on. So under lighting menu, we can enable use all lights and then it turns on our ambient light. Now we have some settings here, so we have the color for the ambient light so we can go out and change that if we want to. We can change things such as a color. Here we have the intensity so you can lower the intensity if we want to. We have ambient shed here. We can change that too. So this is the basic ambient light. Now, in addition to this, we also have things such as directional light. Now it's added here in our CNN for user moved to weaken. Move the light and the understand we have these arrows. It allows us to change only the direction of the lights. Where the slight is in your scene Doesn't matter. You have to just rotate your light so this allows you to create a light that will be coming from a single direction that you control. For example, if we wrote it this you can tell that lighting changes on our scene. So now you can see that we have that to read ambient light, and then we also have a directional light added into our scene. Now, in addition to this, let's go ahead and to lead this light, and we have things such as our point light. Now this is just like a boat. You can move this and it will be emitting light into all directions. Let's go to selector ambient light and deleted so that we have a bit better lighting inner seen. So we can select the light itself here or using the attribute editor and then have things such as our colors. So let's go with this greenish color. Maybe we can change the intensity here so we can increase or decrease the intensity we have what is called a decay rates in a real world. Lights decay over distance, but in Mayan weekend, select no decade, so it means that light will stay same. So it doesn't matter how far you move your camera, but if you think do things such as linear decay, then the closer you lie to the surface, the more eliminated it will be so you can increase the intensity. In that case, for now, just go back to know DK and you can see how it blows out or seen. Let's go to back toe a single intensity, so that would be one. Now, in addition to this light, let's go out and delete it and you can see we have completely dark scene. Let's go to the spotlight and we can move it up here. And then we can use a rotate tool to rotate the light and you can see how it gives us this spotlight. We can move it away here, Weaken wrote it. The light and we have some settings for the lights. We have things such as their intensity. So these are some of the basic settings that we've seen weaken do things such as our Colin angle, and now we can also change with softness off the corn. We can change the drop off. We have some basic settings now. We can also do what is called a light manipulator. It allows us to move our lights a bit easier. So if we go to modify menu transformation tool, we have what is called show manipulators. will. We can click here and then you can see we get two different manipulators here. So the one is for the target off the light we consider move it into place, and then when we use a light, you can see how it allows us to move on light so the light will always be looking at its target. So it makes it a bit easier to move and sort of set up our lighting. And then we have our area light. So let's go out and to leave this light and we can create our interview light. Now, Area light allows us to set up a light. So let's go ahead and see here. So it allows us to set up a line that would be basically area light so we can increase the size and it will increase the light. It's basically an area lights that you can sort of set up. We can't things like our intensity again. Here we have a color. Also, you'll notice that we can change a light type here. We're gonna go to spotlight if we want to. We can go back to things such as point light, so it allows us to easily change the type of the light. So these are some of the basic lights available in Maya. 64. Maya Light Editor: When we have a lot off light in our scene, we want to manage them conveniently in one place. So that's where we can use Light editor in Maya again. I'm using a rendering dot I'm a file. You can go ahead and open it up, and then we can access our light editor under Windows menu rendering editors light editor, Or we can click on this button here. In this case, I'll go using the Windows menu and open it up. So here you'll notice that we don't have any light in our current scene. But when we do, we'll be able to manage them in one convenient place. So it's a great way to manager lights. Now we can create lights using these buttons here, so these are all standard Maya lights, and then we have some Arnold specific lights. Now we'll get torn Allice later. For now, we'll forget on some of these lines here. Now, if we create one of the life, for example, let's say that we have this part like created we can many some of the settings here, So when we select a light here, we can change things such as the name of the light. We can change the color, intensities, anything that we were able to manage with an attribute editor. We can change that here, so we continue to sampling. But we have some additional things here first that we have a convenient place to manage all off our lights so you can see that I'm adding a lot of flights in here. Now. Begin select allies and changes settings too quickly. Now, in addition to that, we can enable low disables surgeon lights here. But we also have what is called isolation mode, so it allows us to see only a light that we select here. For example, if we have a lot of flights, inner scene, and I just want to see my spotlight, I can click on this button here, and it isolates that light. Now let's go to lighting menu and enable all lights so you can see that it only allows me to see the spotlight that I'm using. So, for example, let's say that I want to see it's off settings of this light only, and now I can go ahead and select the light and say that I need to increase the intensity maybe, and I can change the color and then I can and isolation more. And all of those lights will combine together so you can select the directional light and move it up and a bit of direction. We have the area lights and that we can move around and we can also create groups for the light. So let's say that I want to disable the spotlight for a moment. I can go ahead and do that. You can see that it gives us access to all of our lights in a single, convenient place, and we can change most of the parameters from this and dialogue. 65. How to Use Maya Lights in Arnold: even though Arnold Render has its own lights, we can still use my alliance with Arnold. So let's go ahead and open up our scene so open rendering that I may file. And then I'm gonna go ahead and create some lights. And so let's go with this spotlight, and we can just move it up here a little bit. Weaken wrote it. This just a bit here, something like you. And then you can turn on all lights. Okay, so you can see that this light works fine with our default a range of you. Now, if we go to another interview and start appear rendering here, what you'll notice is that we have completely black scene. That's because, Ah, in Arnold, we have old lights just like a real world lights. So this light isn't bright enough to light up the scene now to changes, so we can either increase their intensity a lot, so that would be like 50,000. So something like here, and then we can run their I p r. And I can see that we're able to see our scene. So let's move it down. Maybe we should go to about 3000 here and you can see how her seem. Looks OK now, Now a readiness increasing in intensity this much. Ah, And one other thing that we might face with this much intensity is that if we look into the view port, using all lights are seeing is completely blowing out. That's because we have Ah, very high intensity now for Arnold is fine, but for the people, it's unusable because we can't see her seen. So we have to change our lighting. So we have to change our decay rate to a quadratic and then we should be able to see a scene. And then we have okay and intensity both in our Arnold earlier interview and inner scene so we can decrease the value just a bit. Here's to something like maybe 1000. Now we can see a scene a bit better. Okay, Now you have basically team then and then we have some additional settings for our light, so that would be under Arnold rollout. And then we have things such as use color temperature and we can change our exposure. We have what is called a radius. Now, if you see that we have very sharp shadows here. But if we change the radios off, the lights of you have scaled up light. You may notice that our shadows become sort of fuzzy here for then begin increase our sample to something like maybe three years so and that should fix the issue. It will also increase the render time so we can play around with these settings here. In addition to that, we have a shadow density. We have our aspect ratio. So you have things like that. In addition to that, we also have visibility. So we can change how this light if it affects different channels. So if we remove the diffuse chickens, how everything disappears, we can remove speckle aren t so. This line doesn't affect the spec clarity individual channels here. We can also change the shadows here so we can turn off the shadows if we want to. So these are some of the settings that allows us to use our lives with Arnold's. Now you have to basically change your day, cure it and you should be good to go. And then you can use any kind of flights. If we switch to something like maybe point light, it should work fine with our Arnold render 66. Arnold Lights: All right, let's begin playing around with Oh, no lights. So here again, I'm using rendering that I may fall. He can open it up and then will enable all lights and we have completely dark scene. So let's go out and create on a light. Now we can go to Arnold Menu Lights, and then we have a lot of flights to pick from, and this case will begin with area light. So let's click on it and against you have little bit of flight in our scene. So let's use our move tool to move the light. Now it's just like our standard Meyer. If your lights so the bigger the life, the more ah lighter the scene will be and we have to increase the intensity of it so we can increase in the intensity here. Or we can type in a number. Let's go with something like 500 or maybe even more so it's going something like 800. So now if we increase the size off the light, you'll notice how it sort of changes the light. We can move it closer, so we have quadratic fall. So for further the light, lower the effect of the light obese As we move it further, the dimmer the light will get the closure of the brighter. Okay, so here we have the light. Let's go ahead in a run R I p r So here we have our i p are running now. We have some additional settings like our exposure. We contained that if we want to, we can change things such as are spread. We have resolution If we're using an image so that we deter mined the resolution of that image, we can change things such as their soft edge wrongness off the light. We can increase the sampling again. It will help us get a softer shadows. If we want to, we can increase this number. But again, it will take some extra time to render. And we have things such as our shadow density. So if you want more transparent shadows, we can enable or disable shadows altogether. We can change the color off the shadow. And then again, we have our visibility for different channels here. We can change that. So we have a lot of options now. We also have what is called light shape. It allows us to change the shape of the light. So if we changes to Sillinger, we get the cylindrical shape, then you can scale up and down, so it helps us create a tube light if we want to. So let's go to cure. And we also have what is called desk light, where you can change to this light. So this is some of the basic settings for illegal light of the journal, and it was hell it illuminates are seen, so we have a lot of options to play around with. 67. Use Objects as Lights: another very interesting light that we can use is called mash Night, so it allows us to turn one off our object into a light. So again, amusing a rendering or I'm a file and then we'll enable use all lights. And then we have to make sure that our object is selected, that we want to turn into a into a light. And then we can go toe Arnold menu lights and then we can select mesh light and you'll notice that it sort of turns into light and we are getting light here. Now we can change the intensity here, so let's go to something like 800 again here. Actually, let's change that back to something like 200 is still too bright. So we'll use our move tool to sort of move this light up here. And then we condone Arnold I PR, and you can tell that amidst the light now you'll notice that it's not showing up as a light in attributes because we're getting the shape note off our object. And but we have attributes for the light so I can change exposure if we want to. And another very interesting thing that you might see here it's called The Light Visible. If we enable this, you'll notice that we're able to see the light in our interview. But if it's unchecked, then we wouldn't be able to see the light. And then we have samples so we can increase that we have normalized again. We have a shadow settings, some of settings we've already seen, so it really makes it, ah, lot easier to turn one of our object into light. Using the mash light, you can see that we're now using a sphere as our light. We can use a different object if we want to sell, that's good and create something like maybe a cube. So we have this cube here. Let's use our move tool to sort of move this up just a bit and then can go toe Arnold menu lights, mess light and you can tell that transiting to light. And then we can change some of the parameters here. So we have our intensity. Let's go to something like 150. We can increase the exposure of it. We can enable the light and we can see the light so you see that we have some beautiful light in our seen dis using ah, basic objects like a cube or a sphere 68. Image Based Lighting: in addition to basic lights off our note, we can also use a SkyDome light, its image based lighting, And it's really makes it easy to take product shots and this sort of lighting setups. So here I'm using image based lighting that I may file. You can go ahead and open it up. We have some basic objects in our scene, and we have this basic or no light. So if resume on it and select this light and deleted, we'll have completely dark scene. Let's go toe on your menu lights, SkyDome, light. And then it adds to this big a sort of around sphere. So it's sort of surveys are sky. And then if we go toe Arnold interview and start I PR, you'll notice that we have a beautiful looking optics. So we have this car paint object. We have chrome object on gold, and then we have a glass object. I can see that we're using a basic light so we can change any of the parameter que we have intensity. We have resolution and do we have some basic settings? Now, instead of using color, we can go to the Color Channel and then add a file and then we can select a file. And that fight could be energy our image. So if we go to something like our yeah studio and or small text file and open it up, you'll notice that now we have light. Based on that studio image that we've used now we can go a step back here and then using our SkyDome, we can change things such as how this light and this image is wrapped around so we can change it to angular. And we have different types here. So mirror tail now one of the famous famous one is that this one here, let's long. So we have this image set up. Now we can select the SkyDome, and if we want, we can rotate itself. So if you want different lighting, you can see how that easily change is sort of the light. And look off the scene in this wrote it this stupid back to something like here. Now we can try another one. So let's go to Color Channel, select an image, and let's go with this different room texture, a select open, and you can see how that changes the look off the scene. So we have this sort of image reflecting in this transparent glass object. We have a gold object, Crume and basic car faint object. So you can see by just using a single image. We can create some beautiful looking lights. Now we don't have any material applying to the bottom. Actually, a sort of floor has got and do that. So right click and hold a sign. New material. We can go toe on old materials. Yeah, standard surface. And then you can use one of the presets, so we have ceramic. Let's go ahead and replace this with ceramic or let's go ahead and try some of the other presets. So we have brushed metal. We have balloon bubble we have. Klay was going to replace with that, and you can see how that changes the look off the model. Let's try some of these other precent, so we have honey. We can go back to presets. We have our plastic, so replace that with a plastic. We can also go to something like a rubber, and then we can change any of the parameters we've already seen. We have things such as wax. Let's try rotating some off SkyDome light, and you contend that sort off changes the look. So hopefully I'll have a little bit better understanding on how image based lighting works so we can use SkyDome light, and then we can use an idea or image to light ever seen. 69. Render Setup Window: as we start rendering in Myer and our skin gets more complex, would want to set up a waste and that we can have multiple scenarios in our seen. What if the examples would be day and night scene? So if we have the same scene and we want to have both and daytime and nighttime in that scene, that's where we can use what is called a render side of dialogues. It allows us to do exactly that. So let's go ahead and see how it's gonna work now if we go toe windows menu rendering editors render set of Diet Long We can also open this dialogue, using this foot in here on the main toolbar currently have seen his empty. So let's go ahead and open one of the scene. So we'll go to file menu. You've been seen and will open a rendering that I may file now at the very top here we have our render side of dialogue, so we have the settings off the scene. We can expand that and then within that we have a render standings lights in those kind of things. So this is the default set up off our since. If we render, everything will be rendered and below this we have what is called leers so we can create a new layer. Let's go and click on this button here to create a range earlier. Now we can type in a name here. In this case, I'll leave this add default. We can collect down here now. Within this later, we can create what is called collection. We can right click and then we can created a collection again. We can type in a name if we want to with this collection created. If we selected on the right and we have collection editor, we can change the name of the collection. We have collection filters. So what kind of objects do we want to add to this filter? We can add objects in one of two ways. The first we would be using what is called an expression, and another way is by dragging your objects into this area. Let's begin with this expression one, so to include our objects, weaken type in Astra's sign, and then you can collect on select and you can see how it selects everything in our scene. So it's gonna be similar process. So let's say that we want to select something like Peace Fair. So all of these we can go with something like be It's here. It's fear. And then we can type in Astra's to select all of the spheres, not just a single one we can click on select. Actually, we have to type this in capital letters exactly like in our trainer, and I contend that Select all of them. Now if we want to select one specific one weaken type in that here. So that would be something like here. You could tell that selects it. And if we want to select everything that starts with B, we can go ahead and remove about something like your Hendrick in type in an estrus select. And you could tell that selects everything, including a perspective camera. So that's one way to select an adder optics. Another way is to by simply selecting our object. And then you can click on this ad button and you can say that being added here in this case has selected and then remove it. And finally, we can also dragger objects from the outline. Er, so let's say that I want to add this sphere three. I can Middle mouse button, so I have to press and hold middle most barren. And then I could drag this into this area police and concerned. That's added Now, if we move our window on the side here, you'll notice that we have this I button on the Arrendel, so it allows us to set the visibility. Or you can click here and you can see that how that changes from our default clear, and we can only see a single sphere in our scene. So this allows us to side of multiple scenes so we can have a day seen something like here , and then we can have a 19 where we can create different scenarios now. We also have a way to override some of the settings. For example, let's say that I want to change in the material of this optic so we can create a collection , and then when we turn that collection on over render earlier, it will allow us to change surgeon parameters that we adding into that collection that we want to be replaced with. So, for example, if you want a different and materials for a single room. So you want different textures for your walls so you can set up things like that. Then we'll take a look at that in the next video. 70. Override Render Setup: using renders head of dialogue. We can change pretty much any attribute in Maya, so let's go out in season off examples. Now we'll go ahead and open up and instead of dialogue, and then we can create a new leader. So let's cut and create an earlier. And then we can create a collection. Let's call it background, and then you can go out and create another collection here. And we're typing the name here for all Jakes. And then with this selected weaken going to select our objects in the Attribute editor medically can hold and drag them into this, uh, collection here handed it could select the background collection that's going to select the background of plain and to weaken, select add, and that would be added here. So we have these added in here. So now we're using a default een. Let's go to select Add a new material here for this object so we can go ahead and add in your lambert vitriol the chancellor of the settings here, a slow let's go with this darker background looking. So now you can see that we have this darker background. Let's say that if we want to have an alternative background. So when we're rendering Weaken Vendor, two different scenes sort of true different set off photos using a single single scene. So let's go and select a background, and then we can add what is called an attribute. So to add attribute to you after simply select the attribute that you want to modify, for example, let's say that I want to change the color. In this case, we can hold on middle of my spending here. So press and hold Middle mouse button over any attribute in the Attribute editor and then simply dragons into this window and release here, and you can see that it will add what is called an overwrite weaken going to select it and then have that parameter here. Let's go and click on the parameter and let's go with this yellow color, and then we can change the brightens here for the color. And now, if we turn this layer on, you'll notice how it changes object color so you can switch between two different layers so we can vendor using this default or live or the must earlier, and we will have a darker background and then making on this later on, and then we can render again and we'll have a different background now without changing. Our scenes are working with multiple teams. It's very convenient way to override some of the settings that we have now. You can do this for any attribute in the attribute editor, so you can do it for transparency or any kind of attribute that you see here. So let's see that we goto our optics, select one of this fear, and we're going to change some of the setting, so it looks good and good. Who the shape note here. So we have our translate here. Let's click and hold and drag this inch in here, and then we can change those values here. Sell. Let's cut and change the value to something like five units for the Y axes. And now, if we turn this layer on, you can see how that moves down, and we can move this up so you can move your furniture around. If you're rendering an interior scene, you can set up different textures for your walls, and you'll be able to quite easily street between different sets off sort of setups that you have in your seen. It makes it a lot easier and convenient to use runner side of than having two separate scenes and then working with them on going back and forth. 71. Camera Setup: rendering in Maya is just like photography. In real life. We need light. We need cameras and all these kind of things that we need for photography in real life. We need them in Maya. So you've seen how we consider lines. We've seen how we can set up materials. Now let's go and see how we can set up cameras. So here I'm using on old material. Today, they may file. You can go ahead and open it up, and then we can create a camera now creating cameras. Quite simple. We can either use a rendering shelf to create a camera, or we can go to create menu. And then we can go to cameras. We have camera we have camera with aimed just like a spotlight, and AM will allow us to easily move her camera, and the camera will be looking as its aim for that. Let's go with the basic camera. Would we create a camera? You can see how it appears in our scene, and it's just like any other objects we can use. Our move rotates tools to move this camera and set up in a way that we wanted. For example, let's say that we want to rotate the camera. You can also scale this up if you want to see a bigger I can for the camera. Something like here. Now, to look through this camera, we have to go to the panel's venue perspective. And in addition to our perspective, we also have the camera that we've created so I can click here and now we're looking through that camera that we've created. Now, if we go back here to one of our side reports as we're manipulating your camera, you understand it actually moves in those people's. So if you're looking through a camera, you can use standard my controlled to side of the camera the way you want. And it will make it a lot easier to something like here. And it does have that camera keeps moving and can go back here and then you can switch back to our perspective. You put and you could tell that camera is set up in place so that we can change any of the things that we want. And then when we went to render, we will be able to see through that camera. So going here, perspective camera Now, if you want to select your camera, you can either go to attribute editor or you can use the view menu and select camera that will show you the settings Now at the very top here we have things that as our camera control, so we can change this to something like camera and aim, and you'll notice that we get on this. You came with your camera, so if we try to move the camera content and we'll be looking at that aim for now, let's go back to basic camera and then have things such as our angle off you and Focal, And now these two parameters are connected together. So when we change our focal indigency, and that will change the angle of view, and if we change that, it changes the focal mint so fickle. And if you're familiar with the solares and cameras in real life, it's quite easy to set this up. So if you want a wide review, you will go with a lower fatal end. So that would be something like 35 millimeter. Or you can go to something like 16 millimeter. You can even go to link 12 millimeter But this will give you fish, you thanked. So let's go through our camera here and you can see that how we have this a wide angle view . And if we trying to zoom in here, you can see that in here now if we changes to something like maybe more a reasonable 50 millimeter lens, Americans, how it's got sort of zoom in. And if we zoom out, we have of sort of a different angle off for you. Now to see this effect a bit more pronounced, we can go to something like 16 millimeter and then if we zoom in just a bit here and then you can change. This is something like 12 millimeter, and I contend that gives us even more fish. I look off our scene. Let's go back to something like 30 millimeter. We have, ah, camera Skeel, And then we also have what is called New York Clip plane. So this heading dish reminds how close are. Camera can see objects in the scene, so usually you'll want to keep this number at very low so that your camera can see everything that is very close to it. And then we also have far Klay plane. So this is how far the camera can see in the scene. So if we lower this number something to something like maybe 50 you can tell some of the object disappear. And if we tried to zoom in, we will be able to see those objects. Now, you might encounter this issue where you get sort of effect like this, where you can see all of your objects. So that will nine times out of 10 will happen because off far clip plane, it got chained and you didn't notice. So usually you'll want to see this and it'll bump this number up to something like maybe 1000 or 10,000 so that you can see everything in your scene balloons. We have some technical settings for the camera, so we have the actual size off the aperture of the camera. And then as we go down, we have things such as a depth of field. We can go ahead and enable or disable that. Now some rangers have their own depth of field. He'll have to make sure that you render supports this You can turn this on and off. You have things such as your environment. And this is for the Maya software or 100 render. So if we go to something like if we're under a currency, you can see we have this black background, Let's go to my 100 render and then we can reach under the scene. And then if we change this to something like maybe a red color, we can go ahead and render. And until that changes the color, we can also add an image instead of this background. So these are some of the settings we have with their camera. You can go in and set up camera, and then when we're rendering So for example, if you go to render settings under common tab, we can select the camera that we will be using for render. So we have a cameraman here. 72. Depth of Field in Arnold: Arnold Render has its own depth of field, so let's go and see how it's gonna work. Now I'm using Arnold Material Stone at me file. You can go ahead and open it up now if we move our view towards sort of decided that we can see these at a distance, we can go to the view menu and we can create a new camera here so we can create a camera form from our current V. When we do this, you can see that we have this new camera. So with this camera selected, we can change the settings. Let's go all the way down here and then we can open Onal tap and then you'll notice that we have enable a do F or that's for a depth of field. We can go ahead and enable that. Now, if we open on a range of you and start I pr rendering, you'll notice that there is no doubt to feel on and the scene here. So let's go and change some of the settings so we have our focal focus distance. Now this will be the distance. Now you can experiment with this and get the result or if you want to be very precise, then you can enable your object display so that would be under display. Menu has a display, and by the way, there are a lot of different things I would recommend playing around with some of these. Now we can go ahead and look at object details, and it shows those details here. And if we move this on the site, so let's go and select. Actually this first sphere and you can see that it's, ah, distance from camera. About 30 units said we can get a select your camera and then focus distance would be 30 here. And then if we press inter, nothing really happens. That's because we have to change the aperture size, and these values will change depending on the scale of your scene. So let's try increasing the aperture until we get the effect so you can see that around a 0.400 were getting implore so we can keep doing this so we can increase this. We can, because this even further and he gets here that blows everything in the background. Now, if we want to change the distance again, we can experiment with the value here and you can tell that blows this area and then we have that object in focus. But if we want to be precise, we can go and select that object and it's about 57. Sell the selector camera and then we can change that. So let's cool down again here. And then we have our little tap and we can change this to something like 57. Press enter, and you can tell that object is now in focus. So that's how we can set up our depth of field. Now we have some additional parameters, like temperature blades. This is for improving the quality. You can also increase your aperture blades curvature. So then this will also improve the quality. So these are some of the basic settings that we can use to enabled more realistic looking and renders that we can implement and depth of field in a renders using the's settings 73. Batch Render: Okay, Now let's take a look and batch rendering in mire. It allows us to render animation in. Mile said, Well, go ahead and open a scene file. So let's go to the file menu open seen final render dot M e file that in this file we have this camera to in our out liner. Now, this camera is animated, so if we move our concert through this time line there, we can left, click and hold here, and then we can drag and you can tell that sort of plays back our animation. So we have about 60 frames animation in this scene to render this and we have to basically open our render settings and then you can select a render. In this case, I'll be using my software render. Now, one thing to note here is that if you're using on a render, you won't have access to batch rendering unless you have a full Arnold render license. So we will be using my a soft trader render, and then we can set up some of the settings and so weaken type in the name in this case, all Louis, leave this scene name. So we can see the preview up here. Final render and then we have the name so we can change the file type. I will be using Deepak and then in school down so we can select airframes. In this case, we want to render from frame 1 to 60 and then we can select the camera So we'll be using camera to as our engine camera and then with intellectual resolution. Once we have our setting set up, we can switch our menu said here to rendering. And then we have this stranger many let's click on it and then we have batch render. We can click on the options here and then we have used all available processor. So if you have ah, multiple core processor and you want to limit that processor, you can type in a number. Of course, in here. In this case, I will use all of my process, Of course, to render this now we can am battery under and close or weaken batch render. So when we click on this, it will start rendering. Now you'll notice at the bottom here off the page, we have result. So rendering know Maya is ranging in the background. Now we can go ahead and close this if we want to, and it will render images. Now if we open the folder where this is going to be rendered now you're noticed that when I bring up my exercise files images folder and then we have her images rendered. So all of these images are rendered to the sort of sequence off images and that sort of stars from first in it and then have a last image. And we can use any video editing application to compile this or turn this into a video file . Usually, that's how animation is created in three D applications. Now we've used my software vendor, but we can also use on render if we have full license. So that's how we use batch render to render in Maya 74. Render Animation in Arnold: Now, if you're using Arnold as your renderers and you want to render an animation, they're still way without using bats. Render. So if you don't have full license and you still want to render an animation in Maya using on a larger that's possible. So let's see how it's gonna work again. I'm using Final Render Does That may file, and we have a setting set up. So it was going to change our under tow Arnold. And then you can set up the settings just like we did in the previous video. And then we can change the scene, aiming for this instance. So let's go with something like Render actually select everything in the type that in press enter and we get the preview so we have a render and then underscore end number. So once we have this set up, we can go to render menu and then we have a render sequence. We can open the settings for it. So within selector camera, we can select and defense directory. If we want to select one, uh outside of our default Images folder and then we also have some additional options like render enable layers and weaken at certain things here, enable or disable them now. From here on, we can basically like on render sequence, and you can say that open it up and then are seen will start rendering. Now The scene is completely dark because there there are no Arnold lights in the scene, so we can see that it's rendering images one by one. So all of these images will be starting that directory, just like with bats ranging. But it's not a background process, so you'll have this window on top of Maya so you can't work with my when you're rendering in render sequence. Now you can see that as it's rendering in the background. If we school down here in the Images folder, you'll notice that it's generating new images. So we had that previous render from the previous video, and then it's generating these new images so we have rendered or one and then it's slowly renders. Now it's Children doing that animation because you can see that camera sort of moves each frame. But we don't see that because I didn't set up lighting in the scene. So that's how we can use batch renderers if we have full access to Arnold render license. And if we don't have that, we can use render sequence to render our animations in Maya.