- Course Details
- Run Time: 4h 19m
- Release Date: November 25, 2013
- Author: Delano Athias
- Required Software: Autodesk Maya 2014
- In this series of tutorials you will gain a solid foundation in the character rigging process. We'll get started by first learning how to create a skeleton that is clean and that will deform well. We'll then bind our character to our skeleton and cover some time-saving weight painting techniques. After that, we'll set up controls that are user-friendly. Along the way, we will also learn how a control object's Rotate Order can help to prevent Gimbal Lock interpolations, how to export skin weights using MEL, as well as how to mirror Blend Shapes and use Blend Shape targets to correct deformations. By the end of this set of tutorials, you will have the understanding needed to rig your own characters.
- 01. Introduction and project overview
- 02. Starting on the skeleton
- 03. Finishing the left leg joint chain
- 04. Adding a hip bone and mirroring the leg chain
- 05. adding joints for the spine neck and head
- 06. Setting up joints for the eyes
- 07. Creating a joint chain for the left arm
- 08. Building joints for the left hand
- 09. Mirroring our arm chain and rigging the tail
- 10. Skinning the character
- 11. Weight painting techniques
- 12. Utilizing the component Editor and exporting skin weights
- 13. Inverse Kinematics and organing our rig with groups
- 14. Creating reverse foot bones
- 15. Setting up the foot controls
- 16. Choosing a Rotate Order for your controls
- 17. Creating custom attributes
- 18. Utilizing Driven Keys to automate movement
- 19. Rigging the knees
- 20. Creating torso controls
- 21. Establishing a center of gravity control
- 22. adding controls for the neck and head
- 23. The eye controls
- 24. Building arm controls
- 25. Setting up elbow controls
- 26. Starting on the finger controls
- 27. Finishing the finger controls
- 28. Setting up tail controls
- 29. Finalizing oour rig
- 30.Utilizing the Blend Shape Deformer to correct deformations
- 31. Mirroring a Blend Shape
- 32. Finishing our corrective deformations