I've been dealing with this problem for almost two years, so I can that I can help (although you're not going to like the answer).

Body Studio does not work because V3 for instance has 36 materials. V3 materials consist of (minimum) five nodes each, with texture resoultions into the multiple thousands pixel range. You will notice a substantial performance boost if you shrink textures to 512x512. Unfortunately you cannot animate V3 in Maya without first returning to Poser. This workflow is at a sever disadvantage.

The Daz FBX plugin only works with selected Daz characters, and that's not too cool either if you just happen to need Jesse, as an example. Oh yeah, the conversion process is slower than glacial travel, the mesh / joint scale is all wrong and weights are exploded. The reason why the weight transfer didn't work is that source and destination character part names must match exactly (as of Maya 7). I haven't explored this option lately because it's pretty cantakerous workflow.

If you wanted to scale an imported obj, you might want to start with a value of 20 in all directions. Using centimeters as you scale, that character would be about 7 inches high which introduces its own set of problems when using lights with quadratic falloffs and such.

So I use Trinity4Maya, a plugin that has little current support. It brings in morphs, materials and is customizable but as you know there one MAJOR drawback: painting weights, a dark art that appears to defy logic. Here's what you should try:

• I would highly recommend using Jesse or James as a prototype character. They have around 30,000 regularly spaced, mostly quad polygons. You can have a fully weighted character with realistic deformations in about 45 minutes. V3 has about 72,000 irregularly spaced quads and "n-gons". More polygons will provide better deformations but are more difficult to control.

• Flood the hip joint with a value of one. Work up (or out) each successive joint to a value of one using your brush until your entire mesh is roughly weighted. Although it is not endorsed throughout the community, I like to "flood / smooth" from the extremities to the hip; then do the same thing in reverse. This will get you there very quickly.

• Set you brush's opacity very low ( think 0.2 to 0.02 range) and value to 0.5 and lower and ADD INFLUENCE ONLY. Less is more. Your goal is to maintain volume when the joints rotate and this is easiest to see / comprehend with knees or elbows. The shoulder area is tough but not impossible and the hip area is daunting. 

• This will sound weird but it's often easier to send influence to the next nearest joint. For example, when working the elbow try selecting the shoulder bone but painting the mesh at the elbow side of the forearm joint. Then later select the forearm joint and paint the mesh on the elbow side of the shoulder. It will only make since when you do it.

• Almost forgot. once your rough and fine tune paint passes are done, adjust weights using the component editor, under the smooth skin tab. This is useful for removing foot influence from the face as an example.

I did weights on V4 in an hour and she looked great (in a rough tuned way) and I'd expect her to be complete in about four hours. Mil 3 characters take a bit longer; usually eight to ten hours. I guarantee you it 's worth the time.