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Autodesk Announces 10-Year Anniversary Release of Maya Software New Release Provides Stereoscopic Production Capabilities, nParticles Simulation, and Powerful Animation and Productivity Tools
At SIGGRAPH 2008, Autodesk, Inc. (NASDAQ: ADSK) announced Autodesk Maya 2009 3D animation and visual effects software, in celebration of the software's 10-year anniversary. Maya 2009 includes a host of advancements in modeling, animation, rendering and effects that maximize productivity, optimize workflows, and provide new creative possibilities. Maya 2009 will be showcased at the Autodesk booth (#501) during SIGGRAPH 2008, at the Los Angeles Convention Center Aug. 12-14.
"We are celebrating the work done with Autodesk Maya over the past 10 years by many artists and creative visionaries in film, television production and games, as well as in industrial design and architecture." said Marc Petit, Autodesk's Media & Entertainment senior vice president. "We designed Maya 2009 as a tribute to creative innovation and production efficiency. The new release will allow artists to raise the bar and deliver even more ground breaking computer graphics work."
Mike Romey, senior technical director at Zoic Studios was a beta tester for Maya 2009. "The future of Maya is shining brightly with the upcoming release," said Romey. "Autodesk Maya 2009 will change the way artists think about dynamics, rendering, compositing and pipelines. With the solid mental ray multi-render pass workflow, production will be far more effective. This new workflow will optimize render times for multiple render layers and, in turn, elevate the quality of work. The creation of nParticles builds on the unified dynamics engine introduced in nCloth, allowing for greater integration of advanced effects."Whats new in Maya 2009
New Selection Paradigm
Powerful new selection features in
Maya 2009including true soft selection, and pre-selection
highlightingmean fewer mouse clicks, and less trial and error for
Improved Modeling Workflow
2009 delivers intuitive, productive modeling enhancements, including
symmetrical modeling with soft seams, a tweak mode for rapid
modifications, and a new Merge Vertex feature that enables you to
combine parts of a mesh.
Maya Assets, complex data can be effectively organized, shared,
referenced, and presented. Maya Assets enables you to encapsulate a set
of nodes into a container so that they can be treated as if they were a
single node from a users perspective (selected attributes of interest
from the contained nodes can be published to the container). This new
feature also supports customized and user-specific views, flexible
referencing, and the creation of customized libraries.
A powerful new animation layering paradigm, built on technology from Autodesk MotionBuilder software,
gives you more flexibility as you nondestructively create and edit
animation. This toolset works with any attribute: animation layers can
be blended, merged, grouped, and reordered, and can override or add to
2009 introduces the second module built on the highly acclaimed Maya
Nucleus unified simulation framework: Maya nParticles. This newest
toolset gives you an intuitive, efficient workflow for simulating a
wide range of complex effects, including liquids, clouds, smoke, spray,
and dust. It features particle-to-particle collisions, particle and
nCloth bidirectional interaction, powerful constraints, cloud and
blobby hardware display, preset rendering, and dynamic behaviors.
- The Liquid Simulation
functionality gives you an intuitive method to create effects such as
pouring liquids and sloshing liquids in containers.
- Specify the incompressibility and viscosity of the particles, as well as how much they are permitted to overlap.
Particle to Particle Collisions
Maya nParticles can collide with other nParticles, enabling them to accumulate within volumes.
Particle and Cloth Interaction
interaction with nCloth enables particles to affect cloth, and cloth to
affect particles simultaneously, allowing complex effects to be easily
nParticles can use a
range of nConstraints, including Transform, Component to Component,
Point to Surface, Slide on Surface, and Force Fields, providing an
extra degree of control without the need to write complex expressions.
Cloud and Blobby Hardware Display
accurate hardware display allows you to interactively preview the look
of nParticles set to software render as clouds or blobbies.
Fill Object with Particles
Fill a mesh with nParticles with a single click, for an easy simulation starting point.
Ramp Widgets for Particle Shading
built-in ramp widget allows for easy and intuitive mapping of various
shading attributes such as Radius, Color, Opacity, Incandescence over
time (or over age, radius, speed).
nParticles with a choice of dynamic and rendering behaviors, such as
water and cloud, making initial setup faster and easier.
2009 includes the comprehensive Maya Muscle software, which helps you
create life-like muscle and skin motion. This toolset allows you to
direct muscle and skin behavior precisely, with secondary motion,
collisions, wrinkles, sliding, and stickiness.
Choice of Muscle Types
- Simple and parametric NURBS muscles available.
- NURBS muscles offer advanced sculpting and posing possibilities, and can be mirrored after initial setup.
- Highly controllable, built-in Jiggle deformation.
values available along the muscle, directional damping settings, and
the ability to specify thresholds control how sudden movements affect
The behavior of the skin when relaxed can be precisely defined, enabling the creation of life-like wrinkling in specific areas.
Sliding and Stickiness
control over the behavior of the skin on top of the muscle can be
achieved by painting weight maps for both Sliding and Stickiness.
to three different Sticky maps can be created and blended between,
allowing multiple weights to be stored in a single rig for maximum
- A Displacement function allows texture maps to be
used to simulate sliding, optionally at render time only, for optimum
- A choice of
different collision methods makes it possible to create the effect of
skin colliding with skin and of one mesh colliding with another.
- Collisions are deformer based, rather than simulation based, and therefore require no runup or preprocessing.
Muscle calculations can be cached for faster playback.
UV Layout Enhancements
ability to preserve UVs (when making modeling edits after the fact) as
well as new UV unfolding and layout options including an interactive
modecan increase your productivity by streamlining the otherwise
time-consuming task of creating optimal texture coordinates.
new Render Proxy feature in mental ray enables you to replace scene
elements with a simple low-resolution mesh, and only load the
pre-translated data when required for rendering.
Render Pass Enhancements
completely updated Render Pass feature set provides precise control
over render output, making it easier to optimize integration with
compositing packages such as Autodesk Toxik software.
Super Detail List from Corey's Blog:
Assets are a new feature based on the existing container
functionality. With assets, you can encapsulate a set of nodes in a
container node and publish attributes from these internal nodes to the
container. You can flag containers as a certain type and then use those
types to limit what assets a specific artist can see using Views.
Assets promote encapsulation of data and black box design.
Once you have set up a container, you can save an XML template of its
published attributes. Using these container templates, you can pre-plan
all assets and their required attributes for your production.
Within a template, you can define multiple views that set up the user
interface for the container. Artists can then use an assigned view as
they create assets and bind their published attributes to the template.
This feature provides a visual cue about the
component that your mouse cursor is pointing to by highlighting the
component in a different color.You can turn Preselection Highlight on
and off by selecting Window > Settings/Preferences > Preferences
and then Preselection Highlight in the Selection section.
Reflection is now supported for the select tool.
Additionally, reflection for all tools has been enhanced with
additional options to give you more control of the seam.
Heat Map Display:
You can now color nodes in the Hypergraph according
to their performance in various metrics. This allows you to quickly
identify computationally expensive nodes just by looking at the
Transfer Attribute Values:
You can now copy or transfer commonly named
attributes between two objects using the Transfer Attribute Values
option. You can also use this feature to copy incoming connections and
outgoing connections which is useful for copying animation from one
object to another.
You can now readily access many of the frequently used
items that exist within the panel menus by using the panel toolbar. The
panel toolbar rests below the panel menu in each view panel. You can
toggle view the panel toolbar by pressing + + M.
Multi-component selection mode:
You can now select faces, vertices and
edges without having to change between selection modes. By selecting
the new Multi selection mode, you can select components based on the
mouse cursors proximity to them.
Camera based selection limits the components
you can select to those which are unobstructed from the viewpoint of
the current camera. This allows you to streamline selection so that you
dont accidentally choose components that are hidden from your view,
especially when viewing a scene in shaded mode.
Drag select provides you with a new way to select groups
components quickly and easily. Like the Paint Select Tool, it allows
you to select components by moving mouse along a surface.
Moveable marquee select:
You can now reposition a marquee select
without redrawing the marquee by holding the key while dragging the
marquee with the left mouse button.
Channel Box Enhancements:
The Channels menu has now been divided into
the Channels and Edit menus. In addition, new filtering options are now
available in the Show menu to help you manage the attributes and
objects that appear in the Channel Box. You can now filter by attribute
types, or create your own filter types.
Transform tool marking menus:
You can now access some transform tool
specific features from a marking menu by holding CTRL + SHIFT + RMB.
You can now condense multiple connections from one
node to another in the Hypergraph into a single bolded connection
between the two nodes. This can greatly simplify the display.
You can now archive your scene and all its dependencies
into a single zip file with the Archive Scene command. This is useful
to ensure scenes work correctly when transferred between artists.
Customer Involvement Program:
When you start Maya 2009 for the first
time, the Customer Involvement Program (CIP) dialog box appears. The
CIP collects information to help Autodesk learn how you use Maya. Your
participation in the CIP helps design new features and helps improve
existing features. You can choose to participate or stop participating
at any time by opening the Customer Involvement Program dialog box in
the Help menu.
Soft Selection lets you include a weighted falloff area
in your component selections. Its useful for sculpting a smooth object
or making smoothly integrated slopes or contours to your model without
having to transform each vertex manually.
You can turn on Soft Selection in the Tool Settings editor for any of the transformation tools.
Merge Vertex Tool:
You can now merge vertices quickly with the Merge Vertex Tool by dragging from one vertex to another.
You can access the Merge Vertex Tool by selecting Edit Mesh > Merge Vertex Tool.
Smooth UV Tool:
You can now interactively relax or unfold a selection
of UVs in the UV Texture Editor with the Smooth UV tool. This allows
you to perform these operations by dragging the mouse and offer instant
visual feedback so you can judge exactly how much you want to relax or
Poly Count Options window:
You can now choose to display a polygon count of either the objects in your scene or their cages.
Tweak mode lets you quickly move components under the mouse
cursor regardless of whether you are currently using the Select Tool,
Move Tool, Rotate Tool or Scale Tool.
You can activate Tweak mode by holding on the keyboard and simultaneously dragging a component with .
Enhanced loop selection:
You can now select edge loops by
double-clicking a single edge or select face and vertex loops by
selecting a face or vertex and double-clicking a face or vertex next to
Convert polygon edges to curve:
You can now convert a path of polygon
edges to a NURBS curve by selecting Modify > Convert > Polygon
Edges to Curve.
Normal Average component movement:
This option lets you select multiple
components or objects and move them all along the average of their
UV Texture Editor snapping improvements:
You can now use snapping in
the UV Texture Editor to lock your transformations to existing objects
in the scene. You can also access a number of options related to pixel
snapping by selecting Image > Pixel Snap > in the UV Texture
You can also use Discrete Rotate and Discrete Scale to rotate and scale UVs in specific increments.
UV Layout enhanced options:
A number of new options have been added to
the UV Layout Options window, which allow you to adjust multiple UV
shells in a single UV space more easily. These options also allow you
to offset your UV shells and scale them in the UV space.
Preserve textures during transformation:
You can now transform
components of a mesh without warping its texture. By turning on the
Preserve UVs option in the Tool Settings editor for any of the
transformation tools, Maya will automatically perform the appropriate
transformations to the UV shell to maintain the overall look of the
Bevel inside curves:
You can now bevel within the bounds of a curve by
turning on the Bevel inside curves option in the Bevel Plus Options
window. Beveling inside a curve gives you more precise control over the
overall size of a bevelled surface.
There is now a third editor in the Channel Box that
lets you work with layers of animation. The Animation Layer Editor
gives you all of the tools and options you need to create and
manipulate animation layers.
Animation layers let you create and blend multiple levels of animation
in a scene. You can create layers to organize new keyframe animation,
or to keyframe on top of existing animation without overwriting the
Bake Simulation options:
New options for animation layers have been
added to the Bake Simulation Options. You can use these options, such
as Smart Bake, to specify how you want to bake animation layers.
Maya now includes the powerful Maya Muscle skin deformer,
which provides you with a complete set of tools for muscle rigging and
deformation effects. To learn more, see Introducing Maya Muscle. The
following sections summarize the new features provided by Maya Muscle:
Muscle creation: Maya Muscle provides you with streamlined muscle
creation workflows using the Muscle Builder or Muscle Creator. These
tools let you quickly and intuitively create, sculpt, and orient
muscles in order to create convincing character rigs. Using the Muscle
Creator window, you can create muscles by growing them out to a
surface, mirror muscles from one side of a character to the other, and
control the muscle shape at different phases of contraction.
Skin deformation: The main Muscle deformer lets you set up muscle and
skin deformation, but it can also be used as a standalone deformer. To
use the Muscle deformer as a skin solution for Sticky or Sliding
weights, you can quickly apply default weights, then paint weights on
the mesh when you need a higher level of detail. You can also mirror
weights from one side of a symmetrical mesh to the other.
Re-use an existing skin set up: If you already have a rig set up with
skin clusters, you can use Maya Muscle to add detail without
re-creating your existing skin to joint weighting. Muscles Relative
Sticky mode lets you use your existing skin cluster setup and focus
your efforts only on areas that benefit from additional muscle and skin
Along with the main muscle/skin deformation tools, Maya Muscle provides
several standalone deformers that can be used for any number of
deformation effects. For example:
Simulate effects based on natural forces like wind and gravity using the Force deformer. See Force deformation.
Create high quality, detailed displacement and sliding effects based
on curves or a 2D image map using the displacement options. See
Displacement deformation and rendering.
Set up Jiggle effects directly on each point of your skin mesh. See Per-Point Jiggle deformation.
Apply Relax and Wrinkle effects to a mesh. See Relax deformation and Smooth deformation.
Skin Collision: Several skin collision features let you simulate
realistic skin collision effects. Smart Collision, Self Collision, and
Multi-Collision give you options for controlling muscle and skin shapes
when collisions occur. See Collision to learn more, or refer to the
Auto Weight Threshold option. A new wrap deformer option
(Create Deformers > Wrap > ) automatically sets the optimal
weight of the wrap influence objects shapes. See Auto Weight Threshold.
Volume Axis Curve:
With Fields, you can now define an axis field region
around a NURBS curve by creating a volume axis curve. Volume axis
curves let you move particles and nParticles in various directions
along the curve. When working with volume axis curves, you can now
create a ramp to scale curve section radius along the curves axis.
Fields now include volume trapping attributes, which
allow objects to be trapped inside volume fields. Volume trapping works
with all volume shapes including cubes, spheres, cylinders, and volume
You can now create a ramp to scale field Magnitude
along the axis of a volume shape field or volume axis curves.
Fluid caching is now done through nCaching, the Maya
caching system used to cache nCloth simulation data. nCaching fluids
improves caching performance, as well as uses a more efficient storage
method for your cached files. As with the previous fluids caching, you
can specify which fluid properties are saved in the cache file.
Improved fluid to polygon mesh conversions:
The quality and speed of
the fluid output mesh (that results from fluid to polygon conversion),
as well as the interactive display of surface fluids have been greatly
improved. New Output Mesh attributes allow you can control the
resolution, smoothness, and speed of your fluid to polygon mesh
nCloth force fields:
nCloth now includes Force Field Generation
attributes. Force fields generated by nCloth can repel and attract
nParticle objects and other nCloth objects. Force Fields are defined by
the magnitude of the force field, as well as by the distance from the
field generating object that the field is active. Passive collision
objects can also generate force fields.
nCloth now includes a Stickiness attribute. Using
Stickiness, you can adjust the tendency of your nCloth object to stick
to other Nucleus objects (nCloth, nParticles, and passive objects) when
they collide. Passive collision and nParticle objects also have
Convert nCloth output space:
You can now convert the space of your
nCloth output mesh to either world space or local space, depending on
whether your nCloth was created for Local Space Output or World Space
New particle generation system:
There is a new particle generation
system called Maya nParticles in Maya 2009. nParticles use Maya
Nucleus , which is the same dynamic simulation framework that
generates nCloth simulations. As part of the Nucleus system, nParticles
interact and collide with nCloth and passive collision objects, as well
as with other nParticle objects. You can use nParticles with
Nucleus-based nConstraints to create particle effects and dynamic
simulations that cannot be achieved with Maya classic particles. Like
other Nucleus objects, nParticle objects are assigned to a Nucleus
solver which calculates the nParticle simulation in an iterative manner.
In addition to Nucleus-based dynamics, nParticles can be used in place
of Maya classic particles for particle goals, geometry instancing, and
sprite effects. nParticles can also be manipulated by external
non-Nucleus forces, including gravity and wind.
When nParticles objects are created, they are
automatically capable of colliding with nCloth objects, passive
objects, and other nParticle objects. With collisions between
nParticles and nCloth, you can use the force of emitted nParticles to
drive nCloth deformations. For example, you can create an nParticle
rain effect with droplets that fall onto and deform the material of an
nCloth umbrella. nParticles can self-collide, meaning that nParticles
generated from the same nParticle object can collide and interact with
each other. nParticle collisions can only occur between nParticles and
nCloth or passive objects that are members of the same Maya Nucleus
You can use nConstraints to control the behavior
of individual or emitted nParticles by restricting the particles
movement or by attaching the nParticle object to other Nucleus objects.
For example, you can constrain nParticles to an animated nCloth or
passive object so that particle splatter, fire, or smoke effects move
with the object. nParticles can be constrained using Transform,
Component to Component, Point to Surface, Slide on Surface, and Force
Internal per particle attribute ramps:
nParticles objects have internal
per particle attribute ramps created on the nParticleShape node. The
internal ramps simplify the workflow of setting per particle radius,
mass, color, opacity, and incandescence. nParticle internal ramps work
the same way as Maya texture ramps, but provide additional control for
setting ranges of input values and randomized multipliers for output
The internal ramps per particle attributes can be deleted from the
nParticle object when you want to set per particle attributes using
Generate force fields with nParticles:
nParticles provide Force Field
Generation attributes that allow you to generate force fields that
repel and attract nCloth objects and other nParticle objects. nPartice
force fields are defined by the magnitude of the force field as well as
distance, which is the distance from the field generating object that
the field is active.
Liquid simulation with nParticles:
nParticles provide Liquid Simulation
attributes that allow you to create nParticle objects that look and
behave like liquids. Control over liquid properties, such as viscosity,
allow you to create effects that range from fast moving waterfalls to
slow rolling lava flows.
nParticle to polygon mesh conversion:
Static and emitted Blobby Surface
nParticles can be converted to polygon meshes. nParticle output meshes
can be edited and manipulated like any other polygon. Before the
conversion, you can use the Output Mesh attributes to set the quality
of resulting polygon mesh. nParticle output meshes are useful for
creating smooth flowing surfaces for realistic liquid simulation
Multi-render passes for mental ray for Maya:
The new multi-render pass
feature provides an easy workflow for configuring render passes. You
can render an unlimited number of render passes, and you can group them
into render pass sets. You can also select a subset of the objects or
lights in your scene to contribute to each render pass. This subset is
called a render pass contribution map.
Using the multi-render pass feature, you can reduce the need to use
render layers, thus reducing compute times for scene translation and
actual rendering. If you work with complex multi-layered compositions,
rendering may also be several times faster. Multi-render passes also
allow you perform scene segmentation at render time.
Setting up your scene to use multi-render passes is simple. Follow these steps:
Use the Create Render Passes window to create your render passes.
Use the Passes tab under the Render Settings window to create and manage the render passes for each layer.
Use the renderPass Attribute Editor to set the options for each render pass.
For advanced users, you can also:
- Use either the Render Layer Editor or the Passes tab to create
your render pass contribution maps, then use the Passes tab to manage
the render passes for each map.
Group your render passes into render pass sets. Use the Passes tab to
create a render pass set and the Relationship Editor (select Window
> Relationship Editors or click in the Passes tab) to manage its
mental ray Render Settings re-organization:
The mental ray tab in the
Render Settings window is now divided into 5 mental ray tabs,
including: Passes, Features, Quality, Indirect Lighting, and Options,
providing better organization for the mental ray controls. For example,
if you need to tweak your final gather settings, you can simply go to
the Indirect Lighting tab.
IPR improvements for mental ray for Maya:
This section lists the IPR improvements for mental ray for Maya:
Light manipulation improvements for mental ray include:
* Area light changes: switching from a Maya to mental ray area
light, shape type changes, changing of High Samples and Low Samples
* Deletion of lights
* Changes to light photon attributes such as energy and color
* Changes to photon attributes for the shaders and lights when caustics, global illumination or final gather is used
* Changes to shadow map settings, including switching from raytraced
shadows to shadow maps and back, as well as shadow map format and file
* Duplicating a light or object by copying or duplicating a light or object as an instance
* Hiding and unhiding of light source instances
* Light linking and shadow linking
* Rotation of the IBL node.
Object manipulation improvements for mental ray include:
* Interactive creation of objects
* Duplicating a light or object by copying or duplicating a light or object as an instance
* Adding or removing a displacement shader and tuning of the displacement map shading network
* Adding and deleting or topology changes to geometry from the scene
* Changes to the Render Stats and mental ray render stats (under the
objects shape node). Previously, onlychanges to the instance render
stats (under the objects transform node) were supported.
Options improvements for mental ray include:
* Adding or deleting and tuning of a mental ray approximation node
* Creation of a camera and render camera change.
* Changing camera settings such as the angle of view
* Enabling and tuning the Depth of Field option for the camera node
You can also set IPR specific options such as the verbosity level for
error messages by selecting Render > IPR Render Current Frame
You can now add a stereoscopic camera to your
scene. This allows you to create depth of field with the illusion of a
three dimensional interface. Choose between various stereo modes such
as anaglyph, checkerboard and horizontal interlace. You can render from
the stereo camera and view the render output in any of these stereo
For advanced users, you can also customize your stereoscopic camera by adding a custom stereo rig to your scene.
Use elliptical filtering to perform high quality
texture filtering and anti-aliasing when rendering with mental ray for
Maya. Instead of using point sampling, elliptical filtering uses an
area (an ellipse) to perform an image lookup. This ellipse contains
many pixels, and the pixels are averaged and the average color is
returned as a result.
Elliptical filtering in Maya is very simple to use. You can access its controls through the Attribute Editor of your file node.
Use render proxies with mental ray rendering to manage
large scenes with complex geometry. Export your complex object as a
mental ray assembly file, then replace it in your scene with a
placeholder object that references this file. When you render, the
exported object is loaded into memory and rendered with the rest of
your scene. Translation time and memory usage are cut down, allowing
mental ray for Maya to render large scenes.
Smooth mesh render:
Previously, you could preview a smooth polygon mesh
in the scene view by pressing 3. Now you can also render the smooth
preview in mental ray for Maya. You can choose to use the same level of
smoothing for the 3D viewport preview as for your render.
Alternatively, you can also use a different division level for the two.
Particle rendering in mental ray for Maya:
All attributes in the
ParticleInfoSampler node are now supported when rendering particles in
mental ray for Maya.
new mental ray Render Settings attributes:
new mental ray 3.6 and 3.7
attributes have been added to the Render Settings, including:
Importons, Irradiance Particles, Ambient Occlusion and Merge Distance
for photons, caustics, and global illumination.
A Render Mode attribute has been added that allows you to render only
final gather, or shadow maps, or light maps. In addition, flags that
enable you to globally disable light maps and lens shaders have been
added. The new BSP2 acceleration method is also available.
Final gathering now accepts multiple final gather map files. New
rasterizer controls include: Rasterizer Transparency, Rasterizer Pixel
Samples, and Rasterizer use Opacity. New motion blur controls include:
Displace Motion Factor and Force Motion Vector Computation.
Render Settings window: Common tab re-organization
The Common tab in the Render Settings window has been re-organized so
that there is a clear distinction between the frame and file attributes.
The Frame Buffer Naming and Custom Naming String attributes have been
added so that if you are using the OpenEXR file format with the
multi-render pass feature, you can customize the naming of the channels
in your OpenEXR file.
Texture baking using multiple threads:
You can use the Bake
Optimization feature to select between baking using one thread per
object or baking using multiple threads per object. The former performs
better for baking multiple objects and the latter for baking a single
complex piece of geometry.
Improved Maya Help system:
The Maya Help is now faster and more easily
searchable than ever before. New features include several new search
methods, search highlighting, and the ability to save favorite pages
for easy future reference. For more details, see Maya Help overview.
Accelerated Modeling and Mapping
Maya 2009 software delivers a significantly streamlined poly modeling
workflow. This video will introduce you to the key tools you need to
familiarize yourself with in order to take advantage of this workflow,
beginning with the softwares powerful, new selection features, which
now includes true soft select, drag-selection, camera-based selection
culling and more. Youll also learn how to take advantage of the
improved symmetrical modeling functionality, merge vertices tool,
average normal move and other new features. Finally, youll see a
demonstration of key new UV layout and unfolding options such as
Preserve UVs and interactive Unfold and Relax UVs.
Maya Assets, complex data can be effectively organized, shared,
referenced, and presented. In this video youll learn how to
encapsulate a set of nodes into a container so that they can be treated
from a users perspective as if they were a single node. Well then
demonstrate the features flexible referencing options, and show you
how to create customized Maya Assets libraries.
powerful new animation layering paradigm in Maya 2009 built on
technology from Autodesk MotionBuilder software, gives you more
flexibility as you non-destructively create and edit animation. In this
movie well show you how to take advantage of this time-saving
featureset: focusing particularly on blending, merging, grouping and
re-ordering of animation layers; plus well show you how to override or
add to preceding layers.
Rendering and Stereoscopic Content Creation
2009 includes tools developed specifically for the creation of
stereoscopic content. In this video well introduce you to the
in-viewport stereoscopic viewer and the default stereo camera rig.
Well also discuss the new streamlined workflow for getting that rig
information into Autodesk Toxik software and how to get the best
results from your multi-camera renders in the mental ray rendering
The workflow improvements between Toxik 2009 and Maya 2009
stem largely from the updated Maya Render Pass system. In this movie
well give you an overview of this system and then take a look at the
new IPR for mental ray enhancements, including support for the
rendering of smooth meshes in mental ray and IPR for mental ray.
2009 introduces the second module built on the highly acclaimed Maya
Nucleus unified simulation framework: nParticles. This new Maya
Unlimited toolset gives you a precise, efficient workflow for
simulating a wide range of complex effects including liquids, clouds,
smoke, spray and dust. In this video well specifically look at the
stickiness functionality for nParticles and nCloth, nDynamic presets,
the fill volume for nParticles feature, nParticle to nCloth
interaction, nParticle to nParticle collisions, liquid simulation, as
well as blobby and cloud hardware display.
For a complete list of new features and enhancements in Maya 2009, visit www.autodesk.com/maya
.Pricing and Availability
Autodesk anticipates that Maya 2009 will be available in English in October 2008. Maya 2009 will be supported on the Windows and Linux operating systems (64-bit and 32-bit versions), as well as Mac OS X for Intel-based Macintosh and PowerPC computers (32-bit version only).
Autodesk suggested retail pricing is US$1,995* for Maya Complete 2009 (Standalone) and US$4,995* for Maya Unlimited 2009 (Standalone). The upgrade price from Maya Complete 2008 to Maya Complete 2009 is US$899*, and the upgrade price from Maya Unlimited 2008 to Maya Unlimited 2009 is US$1,249*.
Autodesk Subscription with Gold Support is available for purchase simultaneously with the product or upgrade purchase. The Autodesk suggested retail price for Subscription with Gold Support for Maya Unlimited is US$1,495* per year, and for Maya Complete is US$1,295*. Subscription with Gold Support customers qualify for access to the latest software updates, valuable product extensions, telephone and web support, a comprehensive knowledge base and e-Learning materials.