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Perform a sync when Maya geometry is connected to the asset's input. This is useful because connecting a Maya geometry often means the asset's output will change somehow.

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Finally, in component mode, select all the vertices of the curve, and transform them to the left and in front of your character. In addition, to make the curve easier to see in the side view, rotate the vertices in Y about 35 degrees. The reason you make these adjustments by moving points in component mode, instead of adjusting the transforms of the UpperBody curve, is that you want the center of the curve to remain in the middle of your character's torso. This will ensure that your character's torso can be rotated around the correct pivot point. When the UpperBody icon is in the correct place, freeze its transforms.

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Deletes and recreates the attributes for the asset's parameters. If the asset's parameter interface remains the same, attribute values and input connections (https://restvostok.ru/free/?key=2016) will be restored. If however, the parameters for the asset have changed (because a new definition has been loaded from disk, or if the asset type has changed the ) it may not be possible to restore all the attribute values. Note that we look at folders as well as attribute names when matching attributes to parameters, if the folder names or hierarchy have changed, attributes may not match up with parameters even if the attribute names still match.

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Keep in mind that there is no perfect all-purpose skeleton rig that will work well in all situations. In a real production, character setup artists create rigs for particular purposes. It is not uncommon for the main character in an animation to have a variety of rigs, with controls designed for particular actions in a scene. For instance, there might be separate rigs for walking, tumbling, lifting, and lip-syncing. However, an understanding of how to build all the controls in a general-purpose rig better prepares you to create more production-specific rigs.

It should originate at the middle of the chest and end at the top of the shoulder. After you have created the left skeleton, select the root joint, and transform it as needed to position it correctly over the polygon clavicle. Name the joints LtClavicleRoot, LtClavicleEnd, and LtClavicleIK. When completed, mirror the skeleton to create the right clavicle and rename the joints as needed.

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Then place your curser in the Hypergraph window, and click the A key to Frame All. Notice that you have a four-joint skeleton displayed as a hierarchy of graphical nodes, with a hidden effector node, and a separate IK handle node. The IK handle is forced to stick to the effector, which is usually placed on the last joint of an IK skeleton. This changes as soon as you parent the IK handle under an object. Try selecting the IK handle in the hypergraph view, and translate it in the perspective view. You should see your leg skeleton bend. Press Z to undo the movement, and then name each of the leg joints LtLegRoot, LtLegKnee, LtLegLow, and LtLegEnd. Name the IK handle LtLegIK (see Figure 3/14). It is not necessary to name the effector.

Up until now, you have been creating all the elements you will use to control your character while animating. They are currently not very useful, however, because they are not connected (https://restvostok.ru/free/?key=7876) in any way to each other. To use all your controls effectively, you must make them into a character rig. A rig is created when you parent all your skeletons, IK handles, group nodes, and control icons into one big hierarchy. This hierarchy organizes all your controls into a logical setup that is easy to use, and easy to import into multiple scene files.

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The clavicle IK handles are the main controls for each shoulder. The two things that should follow the clavicle IKs when they move are the scapula and the arm roots. To achieve this, make each arm root child of the appropriate clavicle IK. Then continue down the arm, making each arm IK child of the appropriate arm box, and each hand root child of the appropriate arm end joint (see Figure 3/28). The reason you make the arm end joint the parent of the hand rather than the arm box is to keep the hand oriented with the arm as the wrist box moves. This is usually what a real arm does most of the time, so it makes sense to make this the default hand orientation. Otherwise, if you were to make the hand child of the arm box, you would have to be constantly rotating it into place, which is not very efficient. In the next section, you create controls for moving the hand around as needed.

If you place a joint in the wrong place while drawing the skeleton, you can press the Z key to undo, and proceed to redraw the joint. When all the joints are drawn, press the Enter key to set the skeleton.

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One thing to consider when drawing skeletons is whether you want to attach multiple branches to a single joint. Do this by first clicking a joint within an already existing skeleton when drawing a new skeleton. When you finish drawing the new branch, notice that rotating the joint you clicked rotates both branches together (see Figure 3/12). This joint rotation occurs because the two joints have merged into one joint. Although you can create an entire character skeleton as one piece this way, this method provides limited flexibility for animation because it prevents you from being able to animate branches separately from each other.

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Begin creating the lower-body hierarchy by parenting the leg and hip root joints under the Hips box. Then make the leg IK handles, the root joints for the feet, and the knee icons child to the appropriate leg boxes. For instance, the LtLeg box should be the parent of LtLegIK, LtLegRoot, and LtKnee. Parent the right-leg controls in the same way. You should be able to translate the Hips box, and the legs will bend, while the feet remain stationary. You should also be able to translate a leg box, and the foot will move with the leg, while the hips remain stationary.

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When evaluating in DG mode parm animation is always evaluated as expected during playback. When the Evaluation Mode is serial or parallel, because of the way our attributes are structured, we only know that some parms has been dirtied, not which specific ones. We are forced to update all the parms if any animation is detected.

You may have noticed while you were naming your joints and IK handles that they are not that easy to select in the interface. Some joints are sitting on top of each other, and IK handles look just like locators. Traditionally, character setup artists have dealt with this problem by creating control icons. A control icon can be any easily selectable 3D shape, such as spheres, boxes, arrows, dials, and so forth, that will be parented to your skeletons and IK handles (see Figure 3/20).

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Make both clavicle IK handles children of the Shoulders icon. And make each scapula IK handle child of the clavicle IK that is on the same side of the body. For instance, LtClavicleIK should be the parent of LtScapulaIK. Once parented, translating the Shoulders icon up in Y should make both shoulders shrug, and make both scapula bones rotate outward slightly.

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Create another locator and name it Rig. Translate this locator so that it sits directly on the pivot point of the UpperBody icon. You can either try to hold the V key to snap it into place, or you can use a point constraint to move it, and then delete the constraint. Do this by selecting the UpperBody icon, and then Shift-select the Rig locator, and choose Constraint, Point on the top menu bar. The locator should move into place.

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You need to parent several more nodes before you will be finished constructing your basic character rig. First, instead of parenting, you need to use a constraint to connect the Head box to the neck skeleton.

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But in addition to the elbow joint, you have drawn a LtArmTurn joint that will be used to twist the lower arm of your character. To make sure the arm IK doesn't interfere with the rotating of this joint in X, leave this joint out of the solver. Do this by selecting the IK Handle tool, and click the arm root joint, and then click the LtArmTurn joint (see Figure 3/18). Name the resulting IK handle LtArmIK.

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Do this in the top view by turning on Snap to Grid, and draw an EP curve on the grid in the shape of an arrow. When drawn, name the arrow LtElbow, and transform it behind the left elbow. Make sure that the left-elbow icon is sitting several grid units away from the arm, and not right on top of the elbow. When positioned, duplicate the icon, and create three more arrows named RtElbow, LtKnee, and RtKnee.

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Keep in mind while you are going through the rigging process that if objects need to move independently of one another, they must be on separate branches in a hierarchy. They cannot be child of each other. The feet, for instance, should be able to stay on the ground when the upper body moves. The upper body should also be able to stay still when a foot is raised. To accomplish this, you must place these two parts of the body on completely separate branches in the hierarchy. Although variations in rig structures will always exist, keep in mind that most basic rigs are built under these same principles.

This chapter shows you how to create complex controls for animating each of the main parts of your character model. Creating such controls involves many of the tasks that a character setup artist does on a daily basis, including such things as drawing skeletons, creating Inverse Kinematics (IK) handles, constraining objects, using control icons, and parenting objects into a complex hierarchy. After completing this chapter, you should have a good understanding of all the basic techniques that a character setup artist frequently uses to create good character controls.

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Highlight this line of code in the Script Editor, and using the middle mouse button drag it to your shelf (see Figure 3/22). This action produces a shelf button that creates a new curve box every time you click it. Open the Shelf Editor, and name the new button Box.

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Even though the hips move as a single unit, you create two separate hip skeletons for skin-weighting purposes. Again, these skeletons should not be attached, but will later be parented to give you more flexibility when animating them.

Another kind of control icon you can use is a text curve. These icons are easy to create, and are also easy for the animator to recognize. Create a text curve by choosing Create, Text q on the top menu bar, and make sure the type is set to Curves. Avoid using multiple letters, or letters that require multiple curves, such as e, a, p, or d. If you do use these letters, delete the inner curve that creates the hole. You can use letters that have no holes, such as u, z, v, t, y, l, and s, without modifications.

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The neck skeleton will be simplified to a two-joint FK skeleton. The reason for this is that the neck really doesn't bend much in a real body, but instead serves mostly as a pivot for shifting the head around. On a simple character, this kind of neck works fine. Later in this chapter, you refine the neck to be more complex. In the side view, draw the neck joint from the end of the backbone skeleton to the base of the skull. Because this should be an FK skeleton, make sure to turn off the Joint tool's Create IK Handle option before drawing. Also be careful to not attach the neck skeleton to the back skeleton. Name the resulting neck joints NeckRoot and NeckEnd.

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For example, if half of a grid is in one group, and the other half is in another group, the entire grid will be outputted into one mesh node by default. However, if this option is enabled, one half of the grid will be one mesh node, and the other half will be another mesh node.

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To do this, you duplicate your skin models, convert them to low-resolution polygons, and detach the skin at the skeletal joints. Then you make the skin pieces child to the appropriate Maya (https://restvostok.ru/free/?key=8659) joints. More often today, however, animators use a low-resolution reference skeleton for the same purpose.

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The RP solver, on the other hand, has a separate twist channel for twisting the skeleton, and the IK handle affects the skeleton only through translation (see Figure 3/11). You get more flexibility by separating the Twist attribute from the Rotation attributes of the IK handle, and the separation enables you to control the twist channel with a separate object by using a pole vector constraint. Because of this, you will be using an RP solver most of the time. The arms and leg skeletons of your character, for instance, will use RP solvers so that you can control where the elbows and knees point by using pole vector constraints.

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When outputting geometry instances, the default behavior is to use Maya's particle instancer to efficiently instance the geometries. However, Maya also supports instancing nodes by parent hierarchy. If this option is off, the geometry instances will be outputted as parent hierarchy. For outputting large number of instances, it's much more efficient to use particle instancer.

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After you import the file that contains the polygon reference bones, set the Models layer to Template by clicking the layer box until a T appears. Template enables you to use your models as a guide for placing the reference bones. You want to manipulate the transforms on the reference bones to make them fit inside your model (see Figure 3/5). To make the polygon bones fit well, you will probably have to manipulate their components to some degree. You can use all the tools you used in Chapter 2, "Modeling the Skin of a Biped Character," to refine your models, including lattice deformers. You may also want to create special features if your character model is more surreal. If your character is a devil, for instance, you can pull out horns on the skull bone. Or if it has wings and a tail, duplicate some of the bones from the backbone or arms and make wing and tail bones.

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Draw the arm skeleton from the shoulder to the elbow, from the elbow to midway down the forearm, and finally to the wrist. Name the joints LtArmRoot, LtArmLow, LtArmTurn, and LtArmEnd.

Create an S text curve, and name it Shoulders. Move the Shoulders curve so that it sits in the middle of your character's shoulders. Then, in component mode, select all its vertices, and transform them to the right and in front of your character. Also rotate them in Y counterclockwise about 35 degrees. Freeze the Shoulders icon when you are finished.

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Normally, when you use the Attribute Editor to connect another asset as an input to an asset, the first output of the asset is directly connected. If you select a mesh that is the direct output of an asset, the corresponding output from the asset is directly connected. The original output geo from the asset still exists, but it's a dead end, and not part of the history chain. This option allows you to maintain an editable copy of the geometry that can be manipulated after downstream assets have been added.

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One thing you might want to do for creating more boxes in the future is create a shelf button for the creation of a box. Open the Script Editor, and in the gray History field, find the line of Maya (see this here) Embedded Language (MEL) code that was used when you created your box icon.

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When the IK is added, notice that you can still bend the arm using the IK handle, while still being able to select the LtArmTurn joint to rotate it freely in X. To make the IK act more like it controls the whole arm, you can move the effector to sit over the wrist joint. Do this in the hypergraph view by selecting the arm joint's hidden effector node, and then click the Insert key to move the effector's pivot. Notice that the IK handle sticks to the effector when it is moved. Hold down the V key to snap the effector on top of the LtArmEnd joint. When finished, click the Insert key again to go out of pivot point mode. Now when you translate the IK handle, it behaves as if it controls the arm from the wrist, rather than from the forearm.

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Then choose Create, EP Curve tool q on the top menu bar. Inside the EP Curve Tool options box, set the Curve Degree to Linear, and close the options box. Hold down the V key as you click the corners of the cube (see Figure 3/21). It is important to make your control box from a single curve, so you need to make the curve overlap itself to cover all the edges of the cube. Keep clicking until you think the box is complete. When finished, select the polygon cube in the hypergraph view, and delete it. You should now have a 3D box made from a curve!

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You can add IK to your skeleton automatically when you draw it, or you can add it later after you draw the skeleton by choosing IK Handle Tool in the Skeletons menu. The available options are the same in either case. The main difference is that IK, if added automatically, always constrains the entire skeleton with the solver; if added manually, however, IK enables you to specify what joints will be constrained. You also can add more than one IK handle to different parts of the same skeleton if you add the IK manually. Like the joint options, you usually use the default IK handle option settings. Keep in mind that you also can adjust most of the joint and IK handle options in the Attribute Editor after you create a joint or IK handle.

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