Simply Maya – The Complete Jedi Starfighter Project

Simply Maya – The Complete Jedi Starfighter Project

English | Audio: mp3, 24000 Hz, 56 kb/s | Video: mpeg4, yuv420p, 800×600 | 1.6GB
Genre: eLearning

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

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

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

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

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

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

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