Autodesk vient de présenter la version 2018 de Maya. L’éditeur continue de faire progresser les outils Motion Graphic introduits l’année dernière (dont des instances un peu « Mograph » dans leur approche), inclus le moteur de rendu Arnold 5, la gestion des cheveux et un ensemble d’outils améliorant la création et l’animation de personnages.
Ci-dessous toutes les nouveautés :
Key New Features in Maya 2018
All new UV Editor and workflow
The UV Editor interface has been completely overhauled for a more modern workflow. This includes a new UV Toolkit with better tools and functionality. In addition to the revamped UV Editor, a huge number of other improvements have been made in response to customer feedback. These include:
- Menu organization: The menus along the top of the editor have been reorganized for a more streamlined workflow. For more information, see UV Editor menu bar.
- Drag Select: It is now possible to drag select components either by activating Drag via Tool Settings or by holding Tab and dragging across them with the left mouse button.
- Texture selection: It is now easier to switch between textures applied to the selected geometry via the UV Editor’s Texture menu. You can also instantly apply customized checker patterns for easier UV adjustments. For more information, see UV Editor Textures menu.
- Selection performance: Selecting and deselecting a high number of UVs on a dense mesh in the UV Editor is now faster.
- We’ve addressed at least a hundred defects to help offer a smoother, more productive experience.
New marking menus in the 3D Viewport
You can access new UV and UV Shell marking menus in the viewport by Shift + right-clicking when in UV or UV shell selection mode. This is useful for quickly editing UVs and UV shells without having to go to the UV Editor.
Cut and Sew edges in the Viewport
You can use the new 3D Cut and Sew UV tool to separate and attach UV edges directly on polygon geometry in the scene view. This not only saves you time from having to go back to the UV Editor, but also allows you to perform these actions using geometry as reference points for cuts. For more information, see Separate and Attach UVs.
In addition to the Symmetrize Tool, there is now a Symmetrize command that you can use to help make UVs symmetrical. For more information, see Symmetrize UVs.
Topological symmetry support for sculpting
You can now mirror sculpt operations on a topologically symmetrical mesh, even if it is posed asymmetrically.
Quad Draw enhancements
A number of enhancements have been made to the Quad Draw Tool.
- You can now use the Multi-Cut tool on live surfaces, giving you a multitude of ways to cut a surface while you’re retopologizing it.
- Surface visibility: Quad Draw overlays are now more visible on live surfaces. You can also manually control the color and transparency. For more information, see Quad Draw Tool Options.
- Quad Draw on selected: Activating the Quad Draw Tool while an object is selected now uses that object for Quad Draw. You can use typical Quad Draw workflows to help create new faces or place interpolated points on the surface. For more information, see Quad Draw Tool.
A new Circularize tool lets you align selected components radially; with a rich selection of options, this tool has a variety of applications in technical and hard-surface modeling.
Create Walk cycles with Loop Progressive
A new looping option has been added to the Time Editor Looping functionality that lets you extend animation continually: Loop Progressive. This new mode helps you quickly create walk cycles from an animation clip lasting only a few steps.
New Relocator option
A new option, Edit Relocator has been added to the Time Editor Relocator menu to help you assign or change a clip animation locator.
Modern Graph Editor
New display option in the Graph Editor Outliner
A new option in the Outliner Display menu is of interest to users who use the Graph Editor and Time Editor. An Organize by Clip option has been added to the Display menu to help you arrange an object’s animation curve by Time Editor clip. Time Editor Clip Layers are shown as children of the clips that they are assigned to.
Updated Curve Selection
Based on customer feedback, curve selection in the Modern Graph Editor has been updated, as the earlier single-click method could help you move curves accidentally. Now, curve selection is a two-click process that helps reduce unintentional repositioning.
Tangents are now non-weighted by default in the Graph Editor, in line with customer feedback. If you want to revert to the default curve type weighted, activate Weighted Tangent option in the Animation (Settings) preferences.
Maya Time Improvements
When building complex scenes, a lot of time is spent accounting for different frame rates and timing formats. Maya has updated how it handles time to make these processes less time-consuming by adding support for more frame rates and timecode options:
New support for BWAV audio format in the Import Options helps you import files that have an embedded sound offset.
Updated Time Preferences
Two Channel Box menu options Sync Timeline Display and Sync Graph Editor Display, have been added to the Time Slider Preferences to help you synchronize your Channel Box selections in the Time Slider or the Graph Editor. 29.97 drop frame rate and many other timecode rates
Maya now supports the 29.97 drop frame timecode and many other rates in the Working Units section of the Settings preferences window.
Character Effects and Environment Building
Interactive hair and fur grooming with XGen
Create hair clumps and curls
A new Clump modifier helps you generate realistic clumping effects in hair and fur. Clumping creates more natural-looking hair by breaking up the uniformity of its flow. Use the modifier to refine your groom by adding secondary clumping or by generating other interesting hair shapes and effects, such as, curls and coils. Control the size, shape, and distribution of the hair clumps using the modifier attributes, expressions, or control maps and masks.
Game character-friendly tools
Maya provides enhancements for using interactive grooming with games characters. After shaping hair and fur with the interactive grooming tools and modifiers, use the new Twist brush to help quickly optimize the hairs, guides, or wires before converting the groom to Maya geometry. The Twist brush helps you rotate the facing angle of hairs and guides along their length. This way, the resulting polygon strips properly cover the character mesh surface at all angles.
Collide objects with hair and fur
You can now collide hair and fur with mesh objects using a Collision modifier. Use a Collision modifier to deform hair and fur around collision object such as hats, or functionally, to prevent hairs from intersecting character meshes.
Globally trim hairs to a specified length without affecting their shape by using the new Cut modifier. You can choose to set the cut length in world space units or as a percentage of the overall hair length. Use a mask or an expression to vary the cut length.
Merge sculpt layers
You can now merge multiple sculpt layers together to help create a layer that combines the effects of individual layers.
Motion Graphics & Instancing
Motion graphics artists using MASH in Maya will find it to be faster, easier to use and more fun than previous versions thanks to core improvements and a streamlining of Mash’s UI. In addition, SVG and font support has been expanded to provide more support for in use formats.
Rigid Body Dynamics
For the first time ever, Dynamics have been introduced to do instancing through MASH. With a few clicks an artist can create complex arrangements of animated instances that can act dynamically, collide with each other, participate in dynamic forces and be constrained.
- Motion Graphics artists can bring the power and complexity of dynamic simulation to creating previously impossible visuals, through an artist-focused UI that does not require a degree in physics.
- Environment artists can take advantage of dynamic instances to help quickly populate landscapes. Combined with the instance painting placer node introduced in Maya 2017 Update 3, it becomes simple to paint rocks or leaves or other instances onto landscapes so that they fall and collect naturally.
Live Link to Adobe After Effects
In addition to exporting JSON scripts, you can now link a Maya scene to the Adobe® After Effects® tool in real time, enabling you to view the same scene in both applications simultaneously. You can then make changes in Maya and have them appear in After Effects instantaneously.
Type and SVG enhancements
- The UI for the bevel section has been revamped for an enhanced user experience.
- The SVG parser can now handle SVG files that contain HTML tags and SVG 2.0.
- You can use the new Generator to create procedural text using either the included options or via a Python script.
MASH node enhancements
Distribute: Several new features have been added to the Distribute feature, such as:
- Volume distribution: Enables you to scatter points randomly within a spherical or cubic volume.
- UV Space distribution: Enables you to distribute along UVs.
- Centre Distribution button: When distributing linearly, you can now center the distribution on the grid.
- Voxelize setting: When using a Mesh distribution, you can now voxelize it in addition to placing points on its surface.
- Calculate Rotations for Paint Effects: When using a Paint Effects distribution, you can choose to automatically orient the points along the desired strokes. This is especially useful for instancing new leaves or petals on plants.
Render Setup enhancements :
Upgraded Render settings and AOV overrides offer more fluent and simplified production-ready workflows.
Creating and adjusting collections and overrides
You can now recursively match nested namespaces when populating your collection using an expression using the syntax ::. For example, foo::* now selects all nested namespaces that begin with foo.
You can create an override on a value and connect a network to the override. For example, you can create a relative override on the color attribute and connect a texture to the override. In addition, both absolute and relative overrides can now be applied to connected attributes. Creating an override on the image path of a file node is easier as well: you can right-click Image Name in the Attribute Editor to create the override. You can also specify an override as a local render override so that it only applies to interactive rendering and not to batch rendering. For example, disable costly render settings such as motion blur, depth of field, or high sampling values for interactive fine-tuning without the need to re-enable your desired shot render settings for batch rendering. You can choose to ignore or respect this option when rendering a sequence of frames.
The Light Editor has been redesigned, making it easier to create light overrides.
New Viewport 2.0 & UI features :
Maya no longer exposes the legacy Default and High-Quality viewports. Customers relying on the legacy viewports will be able to continue to use them.
Viewport 2.0 in Maya 2018 introduces some key visualization improvements. For Layout, previs artists and animators, scenes with transparency-mapped cards—like trees and flowers or hair cards—can take advantage of the new transparent shadows that cast correct 1-bit shadows and ambient occlusion (SSAO) through cards with transparent texture maps, allowing for viewport shadows to be visualized in scenes that previously did not support them in Viewport 2.0.
Simulation and Effects
Extra velocity controls for meshes
There are new options in the Conversion attribute group of polygon meshes that are used as emitters, colliders, guides, and other influences in a liquid simulation. These options help provide more control over the velocity that the meshes contribute to a Bifrost simulation.
- Velocity Scale helps you amplify or dampen the velocity inherited from the meshes’ animation and deformation.
- Enable Additional Velocity, Additional Velocity Mult, and Additional Velocity helps you add velocity that is independent of the meshes’ animation and deformation.
You can use the result of a frame as the new starting point of a liquid simulation. This is useful if the simulation would normally require a run-up, as in a waterfall for example.
You can cache the mesh output of a Bifrost simulation as per-frame BIF files. To do so, create a user cache for the simulation and make sure that Cache Elements: Mesh is enabled in the Bifrost Compute and Cache Options window.
You can also export a mesh as per-frame BIF files.
When generating a mesh from foam, the bifrostVelocity channel is now exported as a color set. In addition, there are new attributes for controlling foam.
You can use BOSS to generate maps representing foam on top of an ocean surface. See Generate BOSS foam maps.
- When applying a BOSS cache as a displacement map, you no longer need to flip the image in Z by adjusting the Repeat UV in the place2dTexture node.
- The Cache Continuously option continuously writes and overwrites cache files for solvers as you adjust settings and play back.