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An Essential Introduction to Maya Character Rigging

An Essential Introduction to Maya Character Rigging. by Cheryl Cabrera Chapter 6 Control Rig Setup for a Biped Character: IK and FK. Character by Mark McDonald (2007). Trigger by Ryan Yokley (2002). Control Rig Workflow. Eyeball man by Neil Helm (2005).

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An Essential Introduction to Maya Character Rigging

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  1. An Essential Introduction to Maya Character Rigging by Cheryl Cabrera Chapter 6 Control Rig Setup for a Biped Character: IK and FK

  2. Character by Mark McDonald (2007).

  3. Trigger by Ryan Yokley (2002).

  4. Control Rig Workflow.

  5. Eyeball man by Neil Helm (2005).

  6. Rotating the spine (right image) with an FK arm repositions the entire arm.

  7. IK in the legs and feet provide the ability to keep the feet planted on the ground when moving the torso down (right image).

  8. A three joint chain blend. The image on the left is the IK control, the image in the middle is the mid-blend position, and the image on the right is the FK control. The geometry is controlled by the third joint chain, which blends between the IK and the FK control arms.

  9. The character’s right leg (your left) has an SC solver running through the joint chain. The character’s left leg (your right) has an RP solver, which provides the additional ability of rotating the knee from the hip joint.

  10. The character’s spine is controlled by an IK spline solver.

  11. The character’s controllers are all made with NURBS curves.

  12. The rotate tool settings window.

  13. After rotating the character in Local mode on the Y axis, further rotation on the Z axis also causes the X axis to rotate.

  14. Rotating the sphere in Gimbal mode on the X axis.

  15. Rotating the sphere in Gimbal mode on the Z axis carries both the X and Y axis rings with it.

  16. Rotating the sphere in Gimbal mode on the Y axis (left) carries the X axis ring with it – all the way to Gimbal lock (right).

  17. The connection editor can be used to make a direct connection from one attribute to another.

  18. The connection editor can be found in the Window menu under the General Editors submenu.

  19. The expression editor can use mathematical equations to create attribute control.

  20. The Expression Editor can be found in the Window menu under the Animation Editors submenu.

  21. Set Driven Key can be used to create animated motion linked to other attributes. In the shopping cart example, I have added the ability to steer the front wheels by turning the steering wheel on the Z axis.

  22. Set Driven Key can be found in the Animation menu set by pressing (F2) on the keyboard in the Animate menu under the Set Driven Key submenu.

  23. Constraints can be found in the Animation menu set by pressing (F2) on the keyboard under the Constrain menu.

  24. An empty group, a group of one object, or a group of several objects as seen in the Hypergraph.

  25. Clusters can be found in the Animation menu set by pressing (F2) on the keyboard in the Create Deformers menu.

  26. Ping by Ben Willis (2004).

  27. An Essential Introduction to Maya Character Rigging by Cheryl Cabrera Assignment 6.1: Creating a Control System for the Spine Skeleton

  28. Adding the IK prefix to the spine joint chain.

  29. Renaming the duplicated IK chain as an FK chain using search and replace.

  30. Removing extra joints in the FK spine.

  31. Repositioning the FK spine joints.

  32. Creating the upperBody_ctrl. ●

  33. Parenting the FK_spine1 to the upperBody_ctrl, then changing the rotate order to ZXY.

  34. Reorienting the FK_spine1 joint chain.

  35. Typing a MEL script in the MEL command line.

  36. Scaling the nurbsCircleShape1 to fit around the character’s geometry.

  37. Displaying the shapes in the OUTLINER.

  38. Renaming the nurbsCircleShape1 to LowerSpineShape.

  39. Creating the spine ikHandle.

  40. Selecting a CV on the spine_curve.

  41. Creating the clusters on the spine_curve.

  42. Creating the spine_shoulder_ctrl.

  43. Creating the hip_ctrl.

  44. Parenting the clusters to the the spine_shoulder_ctrl and hip_ctrl.

  45. Notice the wireframe of the skinned character on the left as compared to the character on the right. The character on the left is simply rotating the top of the spine, while the character on the right shows how the twist attribute creates natural rotations down the spine when the character turns from right to left.

  46. Setting the Advanced Twist Controls.

  47. Integrating the IK spine into the FK spine.

  48. An Essential Introduction to Maya Character Rigging by Cheryl Cabrera Assignment 6.2: Creating a Control System for the Neck and Head Skeleton

  49. Reorienting the neck joint chain.

  50. Adding a nurbsCircleShape1 to the neck joint.

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