Maya
®
Professional Tips
and Techniques.
Acknowledgments
My thanks go to the excellent editorial and production staff at Wiley, including my
acquisitions editor, Mariann Barsolo; my production editor, Martine Dardignac; and
my technical editor, Keith Reicher.
Special thanks to this book’s special contributors: Michael Stolworthy, Matt Orlich,
James Chandler, Kirk Buckendorf, Rocky Bright Jr., Joshua Perez, and Tim Kelly.
Special thanks to all the animators who have toiled before me and along with me.
3D animation is a wonderful, inspiring medium, particularly when so many pour their
passion into the work.
Special thanks to my family and friends who supported my wild ambitions. And
the biggest thanks go to my beautiful wife, Anita, who encouraged me all the way
despite all those late, late 3D nights.
I’d like to point out that several of the photos in this book were provided by the
photographers of Stock Xchng (www.sxc.hu). This is a wonderful site that provides
royalty-free, restriction-free material simply out of love of the medium. Additional
models were purchased from Turbo Squid (www.turbosquid.com), another excellent
service.
Customization and
MEL Scripting
MAYA TAKES THE lion’s share of high-end 3D work in
the feature film and visual effects industry. You can
trace this fact to one particular trait: the software
is infinitely customizable. The customization is not
restricted to multimillion-dollar productions, however.
You can customize Maya to your own tastes and
thereby work faster, more intelligently, and most
important, more comfortably. The most thorough and
powerful method of customization is the application
of MEL scripting. MEL is the underlying language on
which the entire program is built. Every single tool
and function within Maya has one or more lines of
MEL code associated with it