Maya Techniques Controller Rig customizing controls

Maya  Techniques Controller Rig customizing  controls

you will learn techniques for reusing control rigs in Maya to work more efficiently. Throughout the tutorial you will learn techniques for re-purposing rigs to save time in your character setup pipeline. We'll start by merging a completed rig into our character's scene. At that point, we will start modifying the rig to match the proportions of our character. Moving on from there, we will then add controls that are necessary to accommodate any new accessories that require controls.ted & Numbered List tips
Character Rigging In Maya Continued
Select the LHip joint, and then Shift Select the COG joint, now press P to parent the LHip to the COG Joint, a bone will appear between them : - 
Now do the same with the Left_Clavicle and Neck joint, and then again with the first joint on each of the fingers and the thumb and parent to the Left_Hand joint, you'll end up with something like this : -

Ok, we've now set up and parented all of our joints, now there's one last thing to do now before we've finished with the skeleton, and that's to Mirror our Joints from the Left Side over to the Right Side. Select the Left_Clavicle joint and then from the menu select Skeleton > Mirror Joint and open the options box, within the options, select YZ as the Mirror options and Orientation as the Mirror Function : -
Select Mirror, and you should now have the right arm set up, including the parented joint :-

Do the same now for the LHip and then again for the LReverse_Foot, that's it, we now have all of our joints mirrored across. We don't need our Local Rotation Axes displayed anymore, so select each joint one by one, and then issue the command DISPLAY > COMPONENT DISPLAY > LOCAL ROTATION AXIS, or press G to repeat the last command. Once you've done that to all the joints, open up the Outliner. We need to rename our joints that we have mirrored across, essentially we need to differentiate the two sides, so Left and Right is enough to do that, so rename all the mirrored joints so that they are R - Right related, as in

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maya HumanIK+Motion capture workflows

maya HumanIK+Motion capture workflows

On loading the plug-in, you're shown a dedicated menu and persistent tool shelf.

The icons aren't immediately intuitive, with several looking similar to each other.

Even with repeated use, you may find you need the tooltips to jog your memory.

Since most artists will likely be interested in straight-up full-body animation, let's use a simple biped with low spine resolution (two joints) as an example.

Set-up is completed in seconds with a few clicks; slightly longer if you go to the trouble of making control objects.

Once joint limits have been tuned via on-screen controls, the business of animating can begin.

Simple animations can be knocked out fairly rapidly, achieving fluid, believable motion with little effort.

Overall, the solver works well, and for those wanting to animate in FK you are given the option of duplicating the entire hierarchy (effectively setting up a 1:1 retarget) and using those joints to key FK rotations in addition to
your IK.

This works, although it's not as convenient as a true IK/FK switch in a good articulation rig.

With a more detailed skeleton, additional care is needed in setting up and tuning, and the solver is prone to less predictable behaviour.

Selecting undo will not always guarantee a return to the exact space you had before moving your task, which can be quite frustrating.

The solver model is currently non-deterministic, such that playing from frame 0 can give a slightly different result each time.

Future development could perhaps address this with an additional solving mode.

If you have existing animation to re-target, this can be achieved through a basic interface for mapping source to target.

While it will do its best to match bones based on namespace, it's fairly straightforward to script an automation with the supplied API.

This also becomes necessary when working with a large data set, as there is no batch mode.

Mapped tasks can have scale attributes tweaked to compensate for size discrepancies between characters, although it's generally worth globally scaling skeletons first to have the best shot at eliminating footskate:
relying on the attributes alone doesn't entirely solve the issue.

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tips Hair and Fur in Maya

In this tutorial we will create some hair styles with Maya fur plug-in. Im assuming that you have a basic knowledge in Maya and its core concepts and procedures, which will help to keep this tutorial as short as possible. A video version of this tutorial can be found at 
First well create a new UV set which will be linked to the fur description node later.
1. Select the head and go the side view. And press F11 to go the face selection mode and select the faces which make up the scalp area. You can start with a basic selection and also try using the paint selection tool (edit > paint selection tool).

2. After the faces have been selected we need to create a UV projection node.
On the Create UVs menu select Cylindrical Mapping. This will create a new mapping node.

3. Now locate the polyCylProj1 node and set the rotate x to -90. This will rotate the projection node so it should look like this.

4. Now we will save this set of UVs to a new UV set. Select > convert selection > to faces will convert the selection to UVs.

5. Open window > UV texture editor to view the UVs. You can use the UV texture editor to scale or move the UVs if needed.
6. Select a UV from the UV texture editor that belongs to the UV set we want to save. Select, select shell from the select menu. This will select all the UVs that belong to the UV shell.

7. Select polygons> copy UVs to UV set > copy in to new UV set > options.png to open the copy in to new UV set options box. Enter fur_hair as the new UVset name. Click, apply and close.

Now we are ready to add the fur description node.

8. Press F8 to return to object mode. Select the head and select, fur > attach fur description > new. This will attach a new fur description node to the head mesh.

9. We need to edit the fur description nodes attributes to the desired values to make the hair style.

10. You can start with a preset from the fur description node to make hair styles. It is the easiest way to start. However I have added some methods of creating different hair styles.

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How Bake to Control Rig in HumanIK work in maya

How Bake to Control Rig  in HumanIK work in maya

Animating a character flipping or spinning around can be a hurdle in 3d. A character will forward flip over a different center of gravity then if it were to spin around 180 degrees on its right heel. Typically the solution is to set up a hierarchy of groups with pivots at different locations in which the animator can choose to rotate individually as needed. The problem with this solution, besides the redundancy of having so many group nodes to dig through, is that it takes a heavy amount of preplanning to pull it off cleanly. The idea here is to make one control that will easily move around the character's center of gravity in order to rotate the character as a whole around that center.

Let it be clear that this is a MOVABLE pivot not an ANIMATABLE pivot. What that means is that it is generally a one time deal per shot. Once the control starts rotating, translating it can cause some very funky results. If you have a character that is walking and then you use the movable pivot to make it turn left 90 degrees on its heel, trying afterwards to move the pivot over to the right heel will cause the character to translate oddly. However, if the character does a forward flip 360 degrees (essentially rotating the control back to its initial orientation), then the control can be moved and used again.

1. Create a locator (create > locator), name it "objectLocator"
this will represent the character rig or object to be rotated at different centers

2. Group objectLocator to itself and name the group "locatorBuffer"
this is where the movable pivot will do its work leaving the objectLocator free to be transformed as needed underneath

3. Create a nurbs circle (create > nurbs primitives > circle), name it "movable pivot"
this will represent the movable pivot control that is simply translated into place and then rotated4. Open the connection editor (window > general editors > connection editor), select the movablePivot control and click Reload Left in the connection editor then select the locatorBuffer group and click Reload Right in the connection editor

5. Find and click the translate attribute on the left side to select it and then find and click rotate pivot on the right side to make the connection. This will lock the Rotate Pivot of the buffer node to the translate values of the movable pivot. Next we need to connect the rotation of the movable pivot to that of the buffer node so find and click rotate on the left side to select it and then find and click rotate on the right side to make the connection | save my driven keys?

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