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For more information on the Autodesk Entertainment Creation Suite Premium visit: http://usa.autodesk.com/autodesk-entertainment-creation-suite/premium/
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Autodesk Maya Entertainment Creation Suite 2012
That’s what the bundle has to offer, so let’s take a look at the new features in Maya, MotionBuilder, and Mudbox in the Premium version of …
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System requirements for Autodesk Entertainment Creation …
Autodesk® 3ds Max® 2012 software; Autodesk® Maya® 2012 software … Entertainment Creation Suites Premium will require a minimum of 14 GB …
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Autodesk Maya Entertainment Creation Suite 2012 – Icrontic
The Premium edition of the collection incorporates Softimage 2012 as well. If you are a longtime Autodesk customer you will find each of these …
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Autodesk Maya Entertainment Creation Suite 2012
of the software products included in the Maya. Entertainment Creation Suite. 2012 Premium: Autodesk®. MotionBuilder® 2012,. Autodesk® Softimage® 2012.
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Review: Autodesk 3DS Max Entertainment Creation Suite 2012
The difference in viewport and tool interaction in 2012 is astonishing. Max clearly outperforms Maya 2012’s new Viewport 2.0 in speed and …
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- Date Published: 2012. 5. 10.
- Video Url link: https://www.youtube.com/watch?v=1SfDR8lxdQA
Autodesk Maya Entertainment Creation Suite 2012
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Advanced 3D Software
Okay, gang, hold on to your hats! Autodesk has released the new version of the Entertainment Creation Suite 2012 for Maya. This new release not only has killer upgrades to Maya but Autodesk has also made some long overdue improvements to Mudbox and MotionBuilder, as well as the addition of Softimage to the Premium bundle. The Softimage software includes Face Robot (for complex face rigging), the Interactive Creative Environment (ICE) visual programming system, as well as the Lagoa Multiphysics dynamic solver system written in ICE. I’ve only used Softimage sparingly but one of Autodesk’s goals was to bring the programs together (much like the Adobe Creative Suite) to allow them to work together better in a simpler way. They’ve done that with the introduction of the “one-click” send-to functions that allow you to send and receive data from the other programs in the suite quickly and easily, thus increasing productivity drastically. The company has come through with flying colors on this one for sure.
That’s what the bundle has to offer, so let’s take a look at the new features in Maya, MotionBuilder, and Mudbox in the Premium version of Autodesk Maya Entertainment Creation Suite 2012 that we tested.
Maya 2012
There are a ton of new features and enhancements in all of the programs, and while we can’t hit them all, I’ll touch on a few of them. The first thing that’s exciting is the unification of the HumanIK solver and UI between MotionBuilder and Maya. This really pushes to streamline the animation and motion-capture process and is sure to have an impact on the productivity side of your projects.
Another new feature (that’s long overdue) is editable motion trails. These provide a fast workflow directly in the Maya scene for editing the position and timing of keyframes. The motion trails display with your animated models, eliminating the need to leave the scene for the Graph Editor. Updates to the Camera Sequencer include a new playlist for more efficient shot management, improved multitrack audio, and the addition of the Ubercam, which lets you quickly output all shots to a single camera.
Other new features include two new HumanIK windows: the Characterization tool, which allows you to speed up mapping a skeleton to a HumanIK rig, and the Character Controls for quickly selecting parts when animating or pinning and adjusting Reach and Pull settings.
MotionBuilder 2012 and Mudbox 2012
The key to both MotionBuilder and Mudbox 2012 is that they now offer the “one-click” send-to functions that allow you to send and receive data from the other programs in the Entertainment Creation Suite.
Mudbox has become even better with the addition of PTEX, which lets you start painting without having UVs on your mesh and allows you to paint across multiple meshes. Something else that’s really cool: If you want to stay UV free, you can export directly to PTEX files.
MotionBuilder has received its fair share of enhancements, as well: A new Dark GUI and updated character picker; FCurve Editor changes; and new characterization tools; as well as a dockable GUI! Yep, you heard right; finally, a dockable GUI.
Once again, there’s not enough space on one page to really explore the vast new features of the Maya Entertainment Creation Suite 2012. The new features are another great step forward for Autodesk, and you definitely owe it to yourself to check it out, as it’s more than worth the upgrade.
Company: Autodesk, Inc.
Price: $6,495 (Standard: $4,995)
Web: http://usa.autodesk.com
Rating: 5
Hot: Interoperability between programs; editable motion trails
Not:
System requirements for Autodesk Entertainment Creation Suite 2012
Issue: This document provides the system requirements for the Autodesk® Entertainment Creation Suite 2012 products.
Solution:
The system requirements below are for users running many of the following products on the same system. Note that the systems requirements for individual products may differ from those in this document. You can find details on those requirements by visiting the appropriate product center on http:///www.autodesk.com.
Autodesk® 3ds Max® 2012 software
Autodesk® Maya® 2012 software
Autodesk® MotionBuilder® 2012 software
Autodesk® Mudbox™ 2012 software
Autodesk® Softimage® 2012 software
Supported Operating Systems
32 bit 64 bit Microsoft® Windows® 7 Professional operating system ✓ Windows Vista® Business (SP2) operating system ✓ Windows® XP Professional (SP3) operating system ✓ Windows® XP X64 Edition (SP2) operating system ✓
Supported CPU Type
Baseline Recommendadation Intel® Pentium® 4 processor AMD Athlon™ processor with SSE3 instruction set support (or higher)
Recommended Memory
Baseline Recommendation 2 GB (32-bit) / 4 GB (64-bit)
Recommended Graphics Hardware
Baseline Recommendation Direct X® 9.0c application programming interface or higher Qualified 512 MB hardware-accelerated OpenGL® 2.0 (and higher) professional graphics cards
Recommended Display Resolution
Baseline Recommendation 1280×1024
Recommended Hard Disk
Baseline Recommendation Exceptions 17 GB free hard drive space to install all commercial applications on the same system Education Suite for Entertainment Creation will require a minimum of 17 GB free disk space Entertainment Creation Suites Standard will require a minimum of 13 GB free disk space Entertainment Creation Suites Premium will require a minimum of 14 GB free disk space Users should allocate an additional 2 GB hard drive space for swap space
Pointing Device
Baseline Recommendation Three-button mouse or certified Wacom® tablet
Browser
Baseline Recommendation Microsoft® Internet Explorer® 7.0 internet browser or higher, or Mozilla® Firefox® web browser, or Apple® Safari® web browser
Media
Baseline Recommendation Exceptions USB 2.0 Education Suite for Entertainment Creation will require a DVD-ROM drive
Network
Autodesk Maya Entertainment Creation Suite 2012 « Icrontic
Last year, Autodesk changed the software paradigm when they took the biggest players in their software stable and packaged them together as the Autodesk Creation Suites. The company found great success in packaging complementary products together and selling them as one—giving professionals a one-stop shop for their complete cinematic pipeline. Following up on the success of last year, Autodesk has just released their improved versions for 2012.
Autodesk Maya Entertainment Creation Suite Premium 2012
Arguably the most popular of Autodesk’s suites is the Maya Entertainment Creation Suite. This is the Autodesk powerhouse package for CG animation, modeling, and special effects. It includes their flagship Autodesk Maya 2012 as well as Autodesk MotionBuilder and Mudbox, at a savings of almost 40%. The Premium edition of the collection incorporates Softimage 2012 as well. If you are a longtime Autodesk customer you will find each of these products instantly familiar and you can be up and running with 2012 with no explanations necessary. However, for the new users, we’ll quickly give you the scoop on what each product does, as well as hit the highlights for what is new and improved this year.
Autodesk Maya 2012:
If you have ever watched a movie with animation, special effects or played a 3D video game within the last ten years, I would feel more than comfortable betting you that you have seen a little of what Maya is known for. It is one of the most widely used tools in the industry for animation, modeling, rendering, and visual effects.
New in Maya 2012
Some of the most exciting improvements to Maya this year are in its special effects capabilities. There are new ways to bend, break, destroy, burn, slosh, and spill. Some of the more exciting techniques revolve around liquid. New solvers allow you to designate the compressibility of a substance. When Liquid Simulations is enabled, you can select either Liquid and Air or Density Based Mass for your solvers. The cool thing with liquid and air is that materials designated as air can be completely compressed. Liquid materials cannot be.
And of course, we all love fire. There is a new Air/Fuel Ratio that allows you to set the amount of air that is required to completely consume a fuel source. The example that Autodesk gives us is that of a gasoline fire. Gasoline burns fifteen parts of air to one of fuel. So you can set that in your attributes for more true-to-life destruction.
Mudbox 2012:
Mudbox focuses on the artistic endeavors of modelers and texture artists. Designed for and by professional artists, the program is designed with ease of use in mind. The idea is that the artist can be an artist and not have to worry about being a technical genius. Different than most other modeling programs, Mudbox focuses on more intuitive brush-based tools. It also allows for multiple iterations of meshes and textures.
New in Mudbox 2012
This year Mudbox is giving us UV-less painting. UVs are a method of applying coordinates to a 3D model. You can then take those coordinates, lay them flat, and use them to map textures. When you re-import the texture onto the model, that smiling face you painted will be on the front of the model’s head, rather than someplace else like the backside. Very few artists enjoy UV mapping. By reducing or even eliminating the need to create UV maps, you have a faster, more intuitive work flow.
MotionBuilder 2012
Now we come to the industry standard for editing motion capture data. With MotionBuilder you can slap some actors into suits with little reflective spots, capture data of them doing the funky chicken, and then apply said data to a 3D model of your choice. You can now have a 3D rendition of Godzilla doing the funky chicken as he smashes downtown Tokyo.
New in MotionBuilder
Stereoscopic imagery is bigger than ever, and motion builder now has a built-in stereoscopic editor. Camera data can be exchanged with Maya, Autodesk Flame 2012 and Autodesk Smoke 2012.
Autodesk Softimage 2012:
Softimage is another great piece of software that also specializes in animation, modeling, and visual effects. It’s been known for its speed and great workflow for developers. The program runs fast, using parallel processing so you can get maximum usage out of multiple cores and hyperthreading. Now it’s time for a public service announcement: Softimage is always pronounced as one word in a snooty French accent: soft-im-ahhzhe. Pronouncing it “Soft Image”? Totally gauche, not kidding.
New in Softimage
Autodesk has put a lot of work into beefing up its node-based Interactive Creative Environment (ICE). ICE is Softimage’s platform for creating custom tools, dynamic effects, character rigs, and models. It gives you an easy-to-use interface that minimizes the need for scripting. They have placed a particular emphasis on improving cloth and particle dynamics this year.
Do I really Need ALL of these programs?
If you are an individual, you really don’t. You can get by just fine picking either Maya, 3ds Max, or Softimage, then supplementing it with Photoshop and perhaps a video editing program. The benefit of buying a package such as this is the focus on interoperability—meaning a file created in Maya is easy to work with in Motionbuilder, and vice versa.
Do I need 2012 if I have older versions?
If you already have six iterations of Maya on your computer as I do; well, it depends. It used to be that you had to do silly hacks in order to get a newer Maya file to open in an older version. Since animation and film tend to be colloborative projects, it can be be a real nuisance if everyone isn’t on the same program version. However, in recent versions of Maya there have been improvements in forward compatibility. Despite these upgrades, transferring files between versions can still sometimes be a buggy proposition. This trickiness comes into play more often for those who deal with cloth or particle dynamics than it does for student animators.
My feelings are that if you are a student or a small studio you might be able to squeak by for an iteration. However, this feeling changes for small studios who want to play with the big boys. Large studios contract work out to smaller boutique studios on a regular basis, and to fit in with their pipeline, you will very likely need to have the latest software. It would be embarrassing to be unable to complete a contract because you were unable to open a Maya 2012 file utilizing quaternion skinning in your Maya 2011 which offers no such thing.
Why does Autodesk offer three different animation packages? I still don’t get the difference between Softimage, Maya, and 3ds Max.
Autodesk doesn’t really get it either. The reason for this has to do with the company’s long and twisted geneology. The short version is that Autodesk merged with Alias Wavefront, and then gobbled up Softimage. Bang! Three software packages that do exactly the same thing are all under the same roof. Softimage XSI, Maya, and 3ds Max (included in a separate Autodesk Suite) were originally designed to be competitors of each other. Ultimately 3ds Max was known for gaming and interior modeling, Maya for animation, and Softimage as a sleek and promising newcomer. Each of these three software packages have always had their own fanboys and detractors, and now Autodesk is quietly struggling to not enrage each of their communities. The result is an identity crisis between the software packages, which can easily confuse newcomers to the industry.
But really, which program should I use?
I would say go with Maya, and don’t worry about adding on Softimage unless you’ve just got to have it and have the financial means to not worry about the extra cost. I’m not calling Maya the best program, but it remains the most prevalent in the industry. Even studios who use proprietary software tend to use a similar interface.
Worth the cost?
When all is said and done, this is a great package. It is tremendously difficult to be competitive as a production company in the film and gaming industry without the right tools. The MSRP of Maya, Mudbox, and MotionBuilder individually adds up to $8,325. Add in Softimage, and you come to $11,230. The MSRP of the Maya Entertainment Creation Suite is $4,995 and $6,495 for the Premium package including Softimage. This is approximately a 40% savings that would be particularly valuable to small or independent companies operating on shoestring budgets. Also, Autodesk now provides free versions of their software products for students and educators, as well as free 30 day trials.
Review: Autodesk 3DS Max Entertainment Creation Suite 2012
PRODUCT: Autodesk 3DS Max Entertainment Creation Suite
PRICE: Standard $4,995; Premium $6,495
WEBSITE: www.usa.autodesk.com
– Standard includes 3DS Max, MotionBuilder & MudBox; Premium also includes Softimage
3DS Max 2012 has received an injection of Nitrous. An apt name for the new, accelerated viewport graphics core. Combined with optimizations from improved start-up time to a more responsive scene explorer, 3DS Max is once again a pleasure to use.
One cannot understate the significance of Nitrous. Workflow efficiency with complex scenes became so problematic in the previous iteration, I contemplated a shift to Maya 2011 for rendering with V-Ray. Lengthy viewport updates caused severe delays to interface interactivity, where as an identical scene in Maya remained responsive with Outliner or Hypergraph accessible without discernible delay. It’s analogous to updates in After Effects comp viewer bringing interactivity to a standstill, unlike compositing in Nuke.
The difference in viewport and tool interaction in 2012 is astonishing. Max clearly outperforms Maya 2012’s new Viewport 2.0 in speed and quality on a dual Xeon X5650, 12GB RAM, GeForce GTX 470. Even offering impressive viewport ambient occlusion and area shadows. This produces nominal noise with progressive refinement in the selected viewport, though unfortunately the noise persists when generating viewport animated sequence files. Other Nitrous features include stylization filters, from graphite to pastel; except Maya’s Viewport 2.0 depth of field and motion blur are not present. Performance remained relatively consistent, though particles are abnormally taxing for Nitrous and the V-Ray Frame Buffer is especially slow to respond after interacting in viewport.
Also maximizing hardware graphics acceleration is the integration of Mental Ray’s Iray renderer. Iray is a physically accurate, unbiased renderer in the vein of Maxwell Render, utilizing Nvidia graphics cards with CUDA cores to accelerate rendering.
It vastly simplifies high-end rendering. There’s no flickering, splotches, linear workflow or other technical considerations to master. Mental Ray users will acclimate quickly, as physically compliant Mental Ray shaders are supported in place of the layered BRDF materials common to unbiased renderers. As such, its sophistication doesn’t quite rival Maxwell in spectral algorithms or features. Though its Nvidia CUDA support results in faster rendering times, it also presents an Achilles heel. Limited video memory cannot accommodate complex scenes, forcing Iray to become a CPU-only renderer, and in that capacity I found it slower to resolve noise than Maxwell 2.5.
Iray supports another new tool, Allegorithmic’s Substance procedural textures. Similar to the V-Ray supported Darktree Textures, Substance is the first competitor capable of producing photorealistic procedurals — except these display impressively in viewport, in realtime. A license of Substance Designer must be purchased to create custom procedural textures.
As with Iray’s “push-button rendering,” 3DS Max’s interoperability improvements are spearheaded by the single click Send To feature. Send To begins to fulfill my hope that Autodesk’s acquisitions would result in stronger bridges between 3D software. Using the FBX format, data is sent directly between the 2012 versions of 3DS Max, Mudbox, MotionBuilder and Softimage, and updated dynamically on demand.
Mudbox interoperability is my favorite, with sculpting and painting translated near instantly into 3DS Max, texture and UV data perfectly intact. Sculpted layers can even be translated as morph maps. Synchronicity has its limits though; increasing mesh resolution in Mudbox will see sculpted changes translated to the originally sent lower density mesh in Max. Combined with Mudbox’s ease of use, this workflow further bolsters Mudbox’s usability advantage over Pixologic’s powerful Z-Brush.
Motionbuilder likewise offers seamless transfers. In one scenario I re-targeted a mesh to mimic another model and rig, clicked the Send To update button and the change occurred flawlessly in 3DS Max. Though on occasion, skinned meshes failed to update with a reposed skeleton.
The Send To function for Softimage is more limited. It exists solely as a bridge to facilitate the use of ICE particle systems in 3DS Max, transferred as point cache data to a 3DS Max particle flow node. It’s functional, albeit the scene must be initiated from 3DS Max and a reliance on point cache data inhibits workflow between software. Move a particle system in Max, it must be updated in Softimage and then re-updated to Max. While the impressive ICE Lagoa Multiphysics can be used, the new ICE implementation of heralded cloth simulator Syflex, does not translate via Send To. Hopefully such interoperability will be enhanced and given Maya’s propensity for import issues, a strong transfer feature between 3DS Max and Maya should be a priority too.
Furthering interoperability, many tools are now becoming uniform across Autodesk apps. MotionBuilder and Maya share the same Characterization tool and HumanIK Solver 4.5 and the F-Curve editor is now universal. It’s not a substantial change; tool placement is consolidated and streamlined with a new option to maximize the graph view. The ability to break and unify tangents, providing the user independent bezier handle control, is noteworthy.
The biggest animation update is MassFX mRigids, a new rigid body dynamics simulator. Unlike Max’s dated Reactor, it integrates more tightly via a modifier-based system supplemented by its own menu and toolbar. Reproducing past scenarios in which I’ve used Reactor, for example distributing stones by physics, MassFX results are more accurate, efficient and simpler to attain. Rolling dynamics especially standout and there’s also multi-threading support and PhysX or APEX output for games. In an ill-advised, premature move, the more robust Reactor, which also supported soft body, cloth and rope simulation has been entirely excised without legacy support.
Many years ago, Autodesk commenced development on a 3DS Max replacement named Nitrous. While development ceased on that project, it’s fitting to see the name carry on in what is the best iteration of 3DS Max in years.
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