Mobile 3D Graphics: with OpenGL ES and M3G (The Morgan Kaufmann Series in Computer Graphics)

Graphics and game developers must learn to program for mobility. This book will teach you how.

"This book - written by some of the key technical experts...provides a comprehensive but practical and easily understood introduction for any software engineer seeking to delight the consumer with rich 3D interactive experiences on their phone. Like the OpenGL ES and M3G standards it covers, this book is destined to become an enduring standard for many years to come."
- Lincoln Wallen, CTO, Electronic Arts, Mobile

This book is an escalator, which takes the field to new levels. This is especially true because the text ensures that the topic is easily accessible to everyone with some background in computer science...The foundations of this book are clear, and the authors are extremely knowledgeable about the subject.
- Tomas Akenine-Möller, bestselling author and Professor of Computer Science at Lund University

"This book is an excellent introduction to M3G. The authors are all experienced M3G users and developers, and they do a great job of conveying that experience, as well as plenty of practical advice that has been proven in the field."
- Sean Ellis, Consultant Graphics Engineer, ARM Ltd

The exploding popularity of mobile computing is undeniable. From cell phones to portable gaming systems, the global demand for multifunctional mobile devices is driving amazing hardware and software developments. 3D graphics are becoming an integral part of these ubiquitous devices, and as a result, Mobile 3D Graphics is arguably the most rapidly advancing area of the computer graphics discipline.

Mobile 3D Graphics is about writing real-time 3D graphics applications for mobile devices. The programming interfaces explained and demonstrated in this must-have reference enable dynamic 3D media on cell phones, GPS systems, portable gaming consoles and media players.

The text begins by providing thorough coverage of background essentials, then presents detailed hands-on examples, including extensive working code in both of the dominant mobile APIs, OpenGL ES and M3G.

C/C++ and Java Developers, graphic artists, students, and enthusiasts would do well to have a programmable mobile phone on hand to try out the techniques described in this book.

The authors, industry experts who helped to develop the OpenGL ES and M3G standards, distill their years of accumulated knowledge within these pages, offering their insights into everything from sound mobile design principles and constraints, to efficient rendering, mixing 2D and 3D, lighting, texture mapping, skinning and morphing.

Along the way, readers will benefit from the hundreds of included tips, tricks and caveats.

*Written by key industry experts who helped develop the standards of the field

*Hands-on code examples are presented throughout the book, and are also offered on the companion website

*Provides examples in the two most popular programing interfaces, OpenGL ES and M3G

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Digital Animation Bible: Creating Professional Animation with 3ds Max, Lightwave, and Maya (Paperback)

Digital animation has become essential part of commercials, corporate presentations, and filmmaking. Virtually every commercial on television, and most TV shows and films, use digital animation effects. Hugely reduced start up costs have resulted in small digital animation studios cropping up all over the country, and established video shops adding animation to their palettes. This is a one-stop resources for setting up and operating an animation studio - it deals with every basic digital animation technique in step by step methods, and covers each major software package available. It is designed to be a must-have resource for one of media's fastest growing markets.

From the Inside Flap
JOIN THE RANKS OF CREATIVE, HIGHLY PAID DIGITAL ANIMATORS!

MASTER DIGITAL ANIMATION — USING THE THREE HOTTEST PROGRAMS
Essential to today's commercials, feature films, games corporate presentations, and education digital animation is the hottest career prospect in the media creation business. In this new arena, creativity is king, not the size of your studio.

In the Digital Animation Bible, Videography and Digital Cinema magazine Contributing Editor George Avgerakis, a professional digital animator and videographer, gives you everything you need to get started, showing how any determined and creative reader can master this exciting new field by learning the fundamentals — and getting comfortable with any of the three leading software packages that form the common language of contemporary digital animation.

STEP BY STEP: HOW TO SET UP AND OPERATE YOUR OWN DIGITAL ANIMATION STUDIO

Digital Animation Bible:

* Helps you get your fist professional experience as an intern

* Provides essential information on choosing and using the right software, with dozens of hands-on examples

* Shows you how to put together a killer show reel

* Guides you into your first paying job, from interview to paycheck

* Shows you how to take a client from a need to a complete storyboard

* Helps you originate, define, and render unforgettable characters

* Facilitates your skill in lighting 3-D animations

* Prepares you for your new life as a professional digital animator or studio owner!

Everything you need is in this book, including a CD that allows access to FREE learning versions of 3ds max, Lightwave, Maya and other useful animation software!

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The MEL Companion: Maya Scripting for 3D Artists (Graphics Series)

The Maya Embedded Language, or MEL, is the very foundation of the Maya application: it’s what makes it so powerful. And, if you know MEL, you can make Maya work more efficiently for your own projects. Whether customizing the workspace, modifying the tools that already exist, or creating new tools, an artist versed in MEL is ready to exploit the true power of Maya. The problem is that MEL can be very intimidating to artists and other non-programmers. To an artist, MEL represents a whole other world filled with words like variable, conditional statements, and vector cross-product. Like any other programming language, MEL has its own vocabulary and rules of grammar. To master it, you simply need to learn the rules: you don’t have to become a programmer. The MEL Companion helps artists do this. In the first part of the book, you’ll learn about the syntax, vocabulary, and structure of MEL - its grammar. You’ll learn some basic math concepts, such as types of numbers and simple math equations, and at the end of part one you’ll explore concepts for building and constructing programs. The second part covers the construction of scripts that detail some of the ways you can use MEL. You’ll learn about expressions, primitive objects, lighting and rendering, tool creation, interface customization, and reading and writing files in and out of Maya. The MEL Companion was written by an artist for artists. To get the most out of this book, you should have a fundamental knowledge of working in 3D and the Maya program. In addition, although you might not have an extensive knowledge and understanding of mathematics, you should have some willingness to learn the basics of working with numbers. Other than that, everything else is explained in language that is hopefully as clear as it is entertaining
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Maya Character Creation: Modeling and Animation Controls, First Edition

A unique, in-depth approach to creating realistic characters in Maya. Maya Character Creation: Modeling and Animation Controls’ author, Chris Maraffi, has expertise in the field and in the classroom that translates to the knowledge and solid teaching skills needed to make this book a “must-have”!

The current trend in computer graphics is greater organic realism. Many of thetop-grossing movies today, such as Spiderman, Lord of the Rings, Jurassic Park 3 ,and Star Wars Episode 2, all feature realistic 3D characters. There is a majorneed in the 3D community for educational material that demonstrates detailedtechniques for achieving this organic reality. Maya is one of the main packagesused on such cutting-edge films, and has an established toolset for creatingbelievable 3D characters. Maya Character Creation: Modeling and Animation Controls is designed to take you through the process of designing, modeling, and setting up animation controls for complex 3D characters. The concepts, techniques, and Maya tools used foreach step in the process are presented in each chapter, followed by manyhands-on exercises. NURBS, polygon, and subdivision surface modelingtechniques are shown for creating the character’s skin, and skeleton-basedanimation controls are covered in detail. You will learn how a character’sskin should deform when the skeletal joints and muscles move. AdvancedMEL scripted animation controls are also covered extensively.

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LightWave v9 Texturing

LightWave v9 Texturing takes you behind the fine art of texturing and surfacing interesting and detailed textures for your 3D objects using LightWave 3D.

Texturing and prepping your objects for texturing is a task that many artists find intimidating and/or confusing. LightWave v9 Texturing breaks down this process and makes it easier to understand by guiding you through LightWave’s powerful surfacing toolset, tutorials, and exercises. LightWave v9 now offers a nodal shading system, which is the standard tool in the visual effects industry for the creation of surfaces. This book will show you how easy, yet extremely powerful and flexible this new system is, allowing you to dive in and create great surfaces immediately.

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3D Max tutorial for creating Ferrari F430

3D Max tutorial for creating Ferrari F430
Tutorials3D: Ferrari F430 | 67 Mb

Modeling
Lesson 1 Preliminaries
• Placing the reference images using the 3dsmax
Lesson 2 Body (I)
• Basic shapes using splines
• Debug splines
Lesson 3 Body (II)
• Surface Modifier
• Move the plsines at the ·D space
Lesson 4 Body (III)
• Editable Polygon conversion
• Symetry modifier
Lesson 5 Body (IV)
• Polygonal modeling. Segmentations and cuts. Working with vertices.
• Objects poperties
Lesson 6 Body (V)
• Mesh smooth modifier
• Polygonal modeling: frontal area details (I)
Lesson 7 Body (VI)
• Polygonal modeling: frontal area details (II)
Lesson 8 Body (VII)
• Polygonal modeling: fontal borders (I)
Lesson 9 Body (VIII)
• Polygonal modeling: fontal borders (II)
Lesson 10 Body (IX)
• Polygonal modeling: fontal borders (III)
Lesson 11 Body (X)
• Elements. Separate the frontal from the main mesh.
Lesson 12 Body (XI)
• Working with Editable Polygon elements
Lesson 13 Body (XII)
• Polygonal modeling: hood and lateral
Lesson 14 Body (XIII)
• Elements. Detaching the hood from the main mesh.
Lesson 15 Body (XIV)
• Elements. Detaching the ópticas.
• Polygonal modeling: Debuging the car’s lateral area.
Lesson 16 Body (XV)
• Modeling the cover.
Lesson 17 Body (XVI)
• Polygonal modeling: adding the lateral details. Air Entrada
Lesson 18 Body (XVII)
• Polygonal modeling: Debugin the air entrada.
Lesson 19 Body (XVIII)
• Detaching the door.
Lesson 20 Body (XIX)
• Modeling the door.
Lesson 21 Body (XX)
• Lateral elements borders.
Lesson 22 Body (XXI)
• Working with vertices: general adjustment to the references.
• Detaching the back window.
Lesson 23 Body (XXII)
• Modeling the top area air entrada.
Lesson 24 Body (XXIII)
• Debugin the top area air entrada.
Lesson 25 Body (XXIV)
• Polygonal modeling: create the back area polygons.
Lesson 26 Body (XXV)
• Segmentatios and cuts. Debug the back area.
Lesson 27 Body (XXVI)
• Modeling the back area (I)
Lesson 28 Body (XXVII)
• Modeling the back area (II)
Lesson 29 Body (XXVIII)
• Modeling the back area (III)
Lesson 30 Body (XXIX)
• Modeling the back area (IV)
Lesson 31 Body (XXX)
• Modeling the back area (V). Boolean operations.
Lesson 32 Body (XXXI)
• Detach the back area in a new element.
Lesson 33 Body (XXXII)
• ópticas holes borders.
Lesson 34 Ruedas (I)
• Modeling the back-side mirror (I)
Lesson 35 Ruedas (II)
• Modeling the back-side mirror (II)
Lesson 36 Accessories (III)
• Modeling the back-side mirror (III)
• Back side Ópticas
Lesson 37 Accessories (IV)
• Box modeling: the windows join.
Lesson 38 Accessories (V)
• Lateral windows.
Lesson 39 Accessories (VI)
• Back glass.
Lesson 40 Accessories (VII)
• Parabrisas
• Composition object FusForma (Shape Merge)
Lesson 41 Accessories (VIII)
• Back Difusor (I)
Lesson 42 Accessories (IX)
• Back Difusor (II)
Lesson 43 Accessories (X)
• Escape tubes modeling.
Lesson 44 Accessories (XI)
• Frontal area accessories.
Lesson 45 Accessories (XII)
• Ópticas
Lesson 46 Accessories (XIII)
• Frontal Ópticas
Lesson 47 Ruedas (I)
• Modeling the rim (I)
Lesson 48 Ruedas (II)
• Modeling the rim (II)
Lesson 49 Ruedas (III)
• Modeling the tire
Lesson 50 Motor
• Low Poly: the motor
Lesson 51 Inside (I)
• Back plane background
Lesson 52 Inside (II)
• Dash panel basic modeling.
Lesson 53 Inside (II)
• Dash panel details.
Lesson 54 Inside (III)
• Detair: air conditioner holes.
Lesson 55 Inside (IV)
• Modeling the central console.
Lesson 56 Inside (V)
• Modeling the volante
Lesson 57 Inside (VI)
• Modeling the door’s internal panels.
Lesson 58 Inside (VII)
• The competition bacquet seats.
Lesson 59 Inside (IX)
• Fianl details. Logos and lateral lights.

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