Follow up some Linear Workflow stuff for Maya 2011 +

Been meaning to do this for a while, but never got around to it . . . And I got scooped a little bit! Derek Flood did a couple of short videos about this and lit a fire. Thanks Derek!
Anyways a quick overview (as quick as I can do it, everyone else seems to have a better grasp of the brevity thing than I do) of how linear stuff embedded in Maya 2011/2 relates to what you may have been doing before . . . not expansive, just pointing a few things out.
*EDIT* Derek was kind enough to point out some of the specific bugs/weirdnesses he's found in the comments. Check it out if you're interested!

Maya/Mental Ray: Linear Workflow in Maya 2011 from zeth willie on Vimeo.


HERE'S (rt click, save as) the updated zbw_gamma script that works by shader selection and sticks gammas into the color channels. You can also adjust any/all gamma nodes in the scene or delete them globally.

Creating a reflection "sheen" pass for your scene

Every semester I end up explaining this in a really rushed and half-hearted way to a bunch of poor students who are in my animation class. Rather than do that again, I finally wised-up and made a video about it. . .
Somehow my videos seem to get longer and longer, so I split this up after the fact and made two videos (it's like my inner self is telling me to do less videos and more text-y type tutorials).
The first video is the basic stuff for setting up a render pass that will give a nice shiny reflection pass for your scene (stuff like a cell phone or tv in a commercial) and the second chunk of it gives a few ways to customize this concept and make it a more reusable using things like RGB passes for various different reflections, etc.
This is something that is really useful to know how to do in production, especially for stuff like commercials, so hopefully I haven't made it tooooo loooong and boring . . .

Maya/Mental Ray: Rendering a reflection "sheen" pass - part 1 from zeth willie on Vimeo.


Maya/Mental Ray: Rendering a reflection "sheen" pass - part 2 from zeth willie on Vimeo.



BTW, HERE'S the script that I use at the end for pulling stuff out to a render layer with custom color overrides . . . (rt click, save as)

A little script for those big scenes . . .

A little script from a job with a HUGE environment (basically a city made to scale in cm units. Good grief). Just to help get things moving more quickly I threw this together. The cameras layouts were set up and we had to throw the characters into the scene, but when we referenced them, they came in at the origin which might be 10's of thousands of units away from the camera position.
So to ballpark things I made this script. . . Really simple actually, select your camera, enter a distance and hit "create Locator" which will create a locator at the specified distance in front of the camera. (Or you could make your own, though that kind of defeats the purpose) You can then move the locator around if you're not happy with the distance or undo and try again with a new distance.

 Then go the outliner and select the locator you want, then the group or object you want to place at the locator and hit snap. The script will just snap the position of the object to the locator in front of the camera. . .
Not a big deal, just something to ease the pain of trying to pull things around a scene that's way too big for it own good :)
HERE is the script if you want to have a go.  (rt click and save as)

Creating an auto-swimming fish rig using expressions

I while back I posted a video about using joint chains in rigs and one of the things I demoed was a fish rig I had created for Method Studios. I got a bunch of questions about how I set that up, so here are a couple of videos about using expressions to control the auto-swim part of that rig (which IMO is the tricky part).
If you're an expert at expressions and such, probably nothing new here but if you're not this might be a good example of using expressions in rigs (for things other than auto-stretch, which seems to be the most common thing) . . .

Maya/Rigging: Creating an auto-swim fish rig using expressions, Part 1 from zeth willie on Vimeo.


Maya/Rigging: Creating an auto-swim fish rig using expressions, Part 2 from zeth willie on Vimeo.

Follow up on corrective shapes for Maya 2011 . . .

Sorry for the lack of posts, been pretty busy (which one can never complain about these days, though I try). Seems like this will be the M.O. generally speaking. . . Nothing for a while, then a flurry of stuff.
Well, get ready to be flurried on, cause I've got a bunch of stuff to throw up here in the next few days while I have moment :) Let's start with some follow up material:

Did a post on pose space deformation, or corrective shapes, a little while ago. Here's an update of some scripts, etc that may work for you (mileage may vary) in later versions (post 2010). I haven't had much time to play with these unfortunately, but if I come up with anything else, I'll let you know . . .

extract deltas from brave rabbit playground
This works nicely . . . but be careful about the scaling and transforms of your orig mesh. Seems like the script is having trouble recognizing at least any scale values in the bound mesh (so you'll get a tiny or big blendShape mesh as your result if there are scale values other than 1 in the orig mesh. Which there shouldn't be, but still . . .)

http://www.chadvernon.com/blog/resources/cvshapeinverter/ - cvshape inverter from Chad Vernon
Watch some of this guys videos. Seriously off the hook skills. This plug in is giving me some trouble though. Seems from the comments like some people have gotten this working. Not me. Might be my stupidity re: how python stuff works, might be something to do trying it on my Mac, but while I'm seeing the plug-in, I'm not getting the script version to work, failing on "import" (tried this on a PC at my last gig but didn't have access to the plug-ins folder to install everything. But it seemed like it was trying to work than on my Mac. Hmmm).

http://www.djx.com.au/blog/downloads/ - look for "poseDeformer" towards the bottom
This seems pretty interesting and certainly has lots of options . . . check out a walkthrough of features here. Seems like it was written a while back and is just being updated for newer versions of Maya. But also seems like overkill in most instances (at least for me) and because of all the bells and whistles, seems like it may require ALL the artists on the team to have it installed (at least those that need to see the deformation at the rig level). Can't even be fussed to install this :p 

Pipeline Basics

Pipeline stuff is a topic that TD's and 3D people (in particular) talk about a lot in the real world. The reason is that whatever you're working on, using whatever techniques, at whatever scale you always need to be going through a pipeline (even if it's an almost nonexistent one). Since the state of the pipeline will ALWAYS be affecting the quality of your work and your productivity, just a little bit of effort on this front will affect every job you do, usually positively. And I'm not even talking about the nuts and bolts of networking architecture or any heavily technical stuff, which most successful studios also spend a lot of effort and money on.
The main issue I've come across in studio work in NYC (and in almost all student work) is that, because any work you put into thinking about and developing a pipeline will pay benefits in a kind of diffuse way, it seems that lots of people would rather spend that time (and $) doing production work instead because it seems to pay more immediate dividends. The result is that, at some studios I've worked at, there's almost no pipeline or institutionalized workflow at all. Unsurprisingly, the result is that the same issues keep cropping up on every production.
Some things that I see regularly:
1)No naming conventions at all for either files or even folders. This can lead to mass confusion on a big job or even a smaller job, when a new artist has to step in. Where are the files? Which is the latest version? What does this abbreviation stand for? Which files should I reference?
2) No standard for passing files from one dept to the next. Without some kind of publishing system to create master files, the chances for hiccups (or worse) when using references, etc grow exponentially. What is the plan when you're animating and someone realized a modeling change needs to happen? How do you propagate a change from the front of the pipeline through to the end of the pipeline late in the game?
3) Since there's no standardization in naming or methodology, it's very difficult to develop any tools to help facilitate some tedious tasks. Even little chunks of custom code across a studio can be a huge boon to artists and actually prevent a lot of time/effort-draining errors.
4) it sounds obvious, but I spend a TON of time hunting for files, references, and project spec documents just to figure out what I'm supposed to be doing. When you multiply all that time by all the artists on all the jobs, you realize that some studios spend thousands, sometimes tens of thousands of dollars per year on time that artists aren't actually doing anything productive. Studios that deal well with these issues often have things like production calenders for all the artists to see their deadlines (and their interconnectedness to the pipeline as a whole), areas (on a computer or IRL) to look at the most recent/relevant artwork and ref material, an easy to find collection of tools, shaders, and regular team meetings (where input is heard and addressed) during production, etc.
I know it sounds like I'm slagging the studios, but I don't mean it that way. There are lots things involved here. Yes, in some cases there are studio heads are just ignorant of the business they are in (and remember I work in NYC so most of the studios I deal with are relatively small. I doubt there are many big 3D studios that don't take pipeline issues very seriously, certainly none I've worked at). Mostly I see this ignorance with design and 2D studios that are ramping up to try get 3D work. I worked with a studio a few years back that supposedly lost over $200,000 doing a their first BIG 3D job. They hit almost every point I made above in terms of issues with pipelines. They're not around anymore.
But most of the time it just boils down to not making a concerted effort in developing the infrastructure that's required to do 3D work efficiently. MacDonald's and Coke and Walmart and all other successful companies (whatever your opinion of them) are successful largely because they understand their business model really well and make huge efforts to stamp out inefficiencies. MacDonald's may not make the best burger (I'm pretty sure they don't), but they probably make the most efficient burger and that's part of why they are so successful. On the flip side (no pun intended), many of the producers I've worked with over the years know NOTHING about 3D production specifically. How can they possibly be expected to allot the time and people-power to developing a pipeline when they don't know what that even is? Many studios hire producers on a freelance basis. So where would the motivation be to develop in-house tools and other "invisible" things when you're expected to bring in a specific project on a tight budget. Many 3D leads are overworked and don't have the bandwidth in their day to spend a lot of time working  on this either. Coding for specific tools would probably require hiring a specialist, which can cost a bunch of money. Often, no persuasive argument is made for doing this. And of course, money and time are always tight, so things like pipeline infrastructure often are the last things to be dealt with. But in the end it really is like running a burger joint without knowing where you source your meat or potatoes, it doesn't really make sense to ignore your pipeline when THAT'S THE BUSINESS YOU ARE IN!
Lastly (and, in all honesty, mostly the reason I care) is that most of the "lifestyle" issues in this business that adversely affect us all (by which I mean, crazy late hours, lazy and inefficient scheduling, etc) are directly correlated with all that I've mentioned above. In my experience, studios that have really tight pipelines, have almost by definition, a better understanding of the business. They know how long x,y and z takes, they know where their man-power is going and steer it in productive ways and maybe because of that, tend to have more realistic and "human" schedules. I've been on long jobs, where within 20 minutes of sitting down I can spot a month of all-nighters coming from a mile away. It almost always has to do with the thought and effort put in long before I sit down. Obviously, stuff happens and late nights are required sometimes, but respect for the craft and the people who do it can be manifest in a real and tangible way. When a studio spends the time and energy to figure out how to best do the work that they're paid to do, my experience has been that they're also more likely to respect the people who do that work and to treat them that way (I can't speak for MacDonald's in this regard).
A long rant. Whew. So you know, this is also something that I try to talk about with my master's program students, trying to instill some rigor in the process by which they go about their work, whether on their thesis projects, on personal projects and certainly when get into the working world. Process isn't everything, but it sure helps.
Here's a video talking about some of the basics of this (organization, naming, publishing). Nothing very technical or high level, just the basics to get started.

Maya: Pipeline Basics from zeth willie on Vimeo.