Introduction to Rigging (Maya).pdf

CHAPTER 1 | THIS ISSUE

Planning your Rig

CHAPTER 2 | NEXT ISSUE

Knowing your Tools

CHAPTER 3 | JUNE ISSUE 058

Rig Creation – Part 1

CHAPTER 4 | JULY ISSUE 059

Rig Creation – Part 2

CHAPTER 5 | AUGUST ISSUE 060

Facial Rigging

CHAPTER 6 | SEPTEMBER ISSUE 061

Scripting

The aim of these tutorials is to show and explain how you might tackle rigging your 3D

character for animation. These tutorials will give help and advice to novices and experts

who are looking to build on their rigging skills or approach rigging for the irst time.

The series gives a detailed step by step guide as to how to approach rigging but also

shows us how to tackle common problems and issues that regularly occur even in a

professional environment. The artists will be relecting on working in the industry as well

as talking us through their individual approaches to creating the best rigs possible.

- FREE MODEL

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THE MODEL USED WITHIN THIS

TUTORIAL

INTRODUCTION TO RIGGING Chapter 1: Planning your Rig

INTRODUCTION TO

RIGGING: 1 - PLANNING

YOUR RIG

Software Used: Maya

CHAPTER OVERVIEW

Welcome to the Introduction to Rigging

tutorial series for Maya. Throughout these

lessons for beginners, you will discover some

basic technical concepts that will get you started

in the fun and crazy world of rigging! And at the

end, we will rig a complete biped character and

leave with a short introduction on scripting, to

automate simple tasks.

In this irst chapter we almost won’t be using

the software itself – irst things irst! Anyone

can follow a tutorial and get things working, but

you can’t rely on tutorials forever, right? You’ve

got to understand what you are doing! So we’re

going to explain a little about how character

riggers think, and how to optimize your work

from the very start of the process in just about

any kind of job.

everything that’s in your mind, like some

crazy, hungry monkey, before planning your

rig!

Please, try to rename all objects, geometries,

curve controls, nodes, etc. To sum up:

everything you create and may have to use

later.

Are you ready? – Let’s do this!

Like with almost everything in life, if you don’t

plan before taking action you will most likely

have a hard time trying to get things working!

The process of building a character rig can be

really complex, so it’s a good idea to write a task

list to avoid skipping important steps ( Fig.01 ).

Good practice in Maya is to use Groups (Any

Mode > Edit > Group). Your rig must be as

simple as possible. It doesn’t matter whether

you’re working on a simple cartoon character or

on a badass realistic creature: keep thinking in

terms of solutions! They will come to you more

easily when your rig and worklow are organized

( Fig.03 ).

PLANNING

Before taking any action, here is something you

should always remember: Do not try to create

Pro Tip: First, let’s play a little with our

character and try to imagine how we can get

good deformations. Good practice is to take

screenshots from your model and draw over

them. Try to igure out the ideal location of the

skeleton, controls and pivots based in your

character’s proportions. Don’t worry about this

now; we will help you throughout this chapter

( Fig.02 ).

ORGANIZATION

In the rigging world, being organized is

essential! Organization helps you to create

easy-to-understand and up-to-date setups.

NAMING

There are lots of object types in the 3D

world, so it’s easy to mix them up or delete

what you shouldn’t when you’re on a tight

schedule or working on really large scenes. Be

careful to always name all of your objects,

whilst keeping the names as clean and

understandable as possible.

A simple pipeline only uses preixes and sufixes

for all nodes (objects in your Maya scene).

www.3dcreativemag.com

page 75

Issue 056 April 2010

Chapter 1: Planning your Rig INTRODUCTION TO RIGGING

The main idea here is team integration. When

another person opens up your scene, they

should be able to edit it easily if everything is

correctly organized. Remember: please work

with care in order to avoid unnecessary work for

others and for yourself!

A simple yet eficient approach is to use three

letters from the name of the character as a

preix, and also three letters from the node

type as a sufix. And a good idea is to use

underscores to make the names more readable.

If applicable, indicate the node side using just

one letter (“L” for left and “R” for right). Try

to use underscores only when preixing and

sufixing, make the object name cleaner by

separating words using capital letters between

them (“l_greenColoredEyeball_jnt”, for example)

( Fig.04 ).

REFERENCES

Whenever rigging creatures, be they humanoid,

alien, animal, robotic, or whatever, always look

for anatomy references in books and on the

internet. Having knowledge about anatomy

is a very important basis for creating good

skeletons and muscle deformations.

Before you start your rig, take some time to look

at the real world, as well as movie and image

references. By doing this, you will most certainly

have a clearer idea of what objectives to meet

and how to achieve them ( Fig.05 ).

BASIC ANATOMY

Let’s now discuss a little about some of the

basic aspects of anatomy so we can position

our joints in the best way we possibly can – this

always ensures good rigging results!

We will quickly cover some deformation

facts and limits, establishing those imaginary

“mass blocks” to better understand how the

deformation works in each area. Try to compare

it to your own body to better understand how the

rig should work.

www.3dcreativemag.com

page 76

Issue 056 April 2010

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