Rigging 3D ModelsRigging 3D Models with Maya © 2018 Aptech imited All rights reserved. No part of this book may be reproduced or copied in any form or by any means- graphic, electronic or mechanical, including photocopying, recording, taping, or storing in information retrieval system or sent or transferred without the prior written permission of copyright owner Aptech Limited. All trademarks acknowledged. APTECH LIMITED Contact E-mail: ov-support@onlinevarsity.com Edition 1: May 2018 Disclaimer: Arena Multimedia is a registered Brand of Aptech LtdPreface This module introduces you to Rigging Models using Maya ‘The ARENA Design team has designed this course keeping in mind that motivation coupled with relevant training and methodology can bring out the best. The team will be glad to receive your feedback, suggestions, and recommendations for improvement of the book Please feel free to send your feedback to the ARENA Design team at the Head Office, Mumbai. ARENA Design Team Onlinevarsity WHERE THE EXPERTS SPEAK THE EXPERIENCEONE PLATFORMTable of Contents Session 01: Introduction to Rigging Definition of Rigging Concept of Rigging in Maya Relation between Objects Designing a Chair Rig Summary Exercise ‘Session 02: Working with Constraints and Set Driven Key Set Driven Key Creating a Functional Rig Setup of a Cuckoo Clock Summary Exercise Session 03: Mechanical Rig (Usage of constraints, utilities, SDK) Aim Constraint Developing a Functional Mechanical Rig Summary Exercise Session 04: Deformers - Lattice, Wrap, Cluster What are Deformers? Lattice Deformer Working with Lattice Deformer Wrap Deformers Working with Wrap Deformers Cluster Working with Clusters Summary Exercise Session 05: Working with Sculpt, Jiggle, and Wire Deformers Sculpt Deformer Working with Sculpt Deformer Jiggle Deformer Working with Jiggle Deformers Wire Too! Deformer Working with the Wire Tool Summary ExerciseSession 06: Introduction to Character Rigging Concept of Character Rigging Introduction to Joints Joint Creation Process Develop a Joint System for a Character Summary Exercise Session 07: IK and FK Controllers Definition of Inverse Kinematics Definition of Forward Kinematics IK Solvers IK and FK Setup for a Cartoon Character Summary Exercise Session 08: Introduction to Skinning Skinning - An Overview Fundamentals of Skinning in Maya Working with Skin Deformers Summary Exercise Session 09: Advance Skinning Mirror Skin Weights Working with Mirror Skin Weights Copy Skin Weights Tool Working with Copy Skin Weights Add Influence Too! Working with the Add Influence Too! Summary Exercise Session 10: Facial Rigging Concept of Morphing Blend Shape Deformer Facial Rig Setup for Character Summary ExerciseSession 11: Introduction to Muscle System What is Muscle System? Muscle Workflow Exercise - Creating Simple Muscle System Summary Exercise Session 12: Working with Muscle Rig Creating and Defining a Muscular Object Defining Muscle Poses Editing Muscles Adjusting Muscle Length Sculpting Muscles Growing Muscles Mirroring Muscles Summary Exercise Answer KeyDownload from Google Play StoreSession 01 Introduction to Rigging Learning Objectives In this chapter, you will be able to: > Explain the concept of rigging and the most commonly used types of rigging in Maya » Establish a connection between multiple objects using the child parent hierarchy, grouping techniques, and constraints available in Maya > Use constraints, transformations, and controllers for creating a rig of any character Hy Definition of Rigging Rigging, according to a textbook definition, is a system of ropes or chains employed to support a ship's masts and to control or set the yards and sails. In simpler terms, rigging refers to a mechanical control system that supports and controls movements of a ship through its mechanical setup. Refer to Figure 1.1 Figure 1.1: Ship Control SystemConcept of Rigging in Maya Typically, rigging is associated with creating a joint setup for a character before animating it. However, in Maya, the concept of rigging goes a level higher. It not only involves creating a joint setup but also connects multiple objects to develop a control system that is complicated to achieve. Typically, in Maya, rigging can be categorized as mechanical rigging and character rigging. 1.2.1 Mechanical Rigging Mechanical rigging refers to rigging an inorganic model. Technically, it is the process where object-to- ‘object connections are vital, pivot points are crucial, and generally position, rotation, and scale values of one object are controlled by the other object In this type of rigging deformation of the rig setup is minimal. Examples of this category include, crane rig, pixar lamp rig, tripod rig, and robot rig. Refer to Figure 1.2 for an example of mechanical rig. Figure 1.2: Example of Mechanical Rig 1.2.2 Organic Character Rigging Organic character rigging is the process of throwing life into a character. In this type of rigging, the Joint setup Is used as a base of the character rigging process. Additionally, the mesh can be deformed using joints with skin deformation. On using this technique, It is possible to apply advance concepts of deformations, such as morphing and muscle system. This helps in achieving hyper-realistic output. Examples of this type of rigging include human character rig and horse rig setup. Refer to Figure 1.3 for an example of character rig.Figure 1.3: Example of Character Rig Relation between Objects Before beginning the rigging process, it is important to understand the basic concept of establishing connection between objects. This is the foundation for all kinds of rig setup. The concept of rigging is primarily dependant on the connections between two or more objects so that the connected child object Teacts to the transformation of the parent object. With connections between multiple attributes, it is possible for users to develop a customized system or rig setup to achieve a complex task collectively. Maya provides some very powerful tools like Child Parent Linking, Group, and Constraints for object linking process. 1.3.1 Child Parent Linking Child parent linking, as the name goes establishes a relationship between two objects. In other words, it creates a child to parent hierarchy, where the child inherits the transformations of the parent, by default. To apply the concept of the child parent linking, begin by selecting the child object in the viewport, then select the parent object. It is possible to select more than one object by keeping the Shift key pressed. Then, press P to establish a link between the parent and the child, Refer to Figure 1.4 that depicts the child parent relationship between objects.fen Figure 1.4: Child Parent 1.3.2 Group Grouping, as the name goes, combines more than one object into a single grouped object. Once the grouping is complete, all the objects in the group are connected to form a single dummy object. The pivot point and local transform coordinate system of this newly formed dummy object defines the master for the entire group. To create a group that comprises multiple objects, select the objects from the viewport. Then, from the Edit menu, Select Group. Alternatively, you can press the CTRL + G keys. Refer to Figure 1.5.1.3.3 Constraints Constraints are used to control the position, rotation, or scale of an object through a binding relationship with another object. Point constraint and Orient constraint are the most commonly used constraints in Maya. Refer to Figure 1.6 for a list of constraints available in Maya. rage eonety | Tee | Panton poly CocestPont Pale yet ololoooog|oo00q Remove Target SetRestPoston Modify Conran A. Figure 1.6: Constraints » Point Constraint Point constraints are used to cause an object to follow the position of the target parent object or the weighted average position of several parent objects through distributed weight value. To apply the point constraint between the child and parent objects, begin by selecting the parent object within the Maya viewport. Then, while keeping the Shift key pressed, select the child object. It is also possible to select more than one child objects. Then, from the Constrain menu, select Point. In the Point Constraint Options box that appears, select the Maintain Offset check box. This will retain the initial offset between the objects. Refer to Figure 1.7.TUNKeH TRE RERBTT 4 oi0ee qm F 6 s8ice Figure 1.7: Position Constraints > Orient Constraint Orient constraints are used to make an objects’ orientation follow the orientation of the target Parent object or the weighted average orientation of multiple parent objects. This is done using distributed weight value. To apply the orient constraint between child and parent object, begin by selecting the parent ob- Ject inside the Maya viewport. Then, with the Shift key pressed, select the child object. From the Constrain menu, select Orient. in the Orient Constraint Options box that appears, select the Maintain Offset check box to retain the initial offset between objects. Refer to Figure 1.8.Figure 1.8: Orient Constraints yp Through this example, you will attain a basic understanding of the rigging fundamentals. Here, object linking and constraints are used to develop a rig setup of a chair model, ing a Chair RigTypically, following aspects have to be borne in mind while creating the rig of a chair: > Connection between different parts. > Adjusting the pivot position of different objects. > Including a single global controller in the rig setup to control the overall position, rotation, and scaling of the entire chair object. It is of utmost importance to carefully place the rigged setup within the scene setup and position it correctly with appropriate scaling. Refer to Figure 1.9 for an example of the chair model. Figure 1.9: Chair Model 1.4.1 Mesh Preparation Before starting the rigging process, itis imperative to observe the model carefully. Additionally, ensure that each and every part with individual movements are separate For example, back rest of this chair model has to be separated from the other parts as it may have some different rotation while animating the rig of the chair. Refer to Figure 1.10.Figure 1.10: Back Rest Separated 1.4.2 Pivot Adjustment Another important aspect is the pivot point that has to be checked carefully. Alterations should be done, If required, to avoid any abnormalities in the rotation Step 1: To make changes in the pivot position of the back rest rod, begin by selecting the object inside Maya viewport. Then, press the Insert key to activate the pivot edit mode. Step 2: At this stage, it is possible to define the point from where the object will rotate. To complete the process, press the Insert key to exit from the pivot edit mode. Refer to Figure 1.11. Figure 1.11: Pivot Editing ModeStep 3: Adjust the pivot position of the back rest such that it relocates at the bottom of the seat. This is, the position from where the back rest will rotate. Refer to Figure 1.12. Figure 1.12: Pivot Position of Back Rest Rod Step 4: Similarly, alter the pivot position of the seat height adjustment lever on the top of it as shown In Figure 1.13. Figure 1.13: Pivot Position of Seat Height Adjustment Lever Step 5: Lastly, change the pivot position of each wheel on the center of it. Refer to Figure 1.14.Figure 1.14: 1.4.3 Freeze Transformations What follows the pivot position adjustment process is the importance to freeze the transformation value of each object to eliminate any garbage value and define the transform and rotation value as 0 at the current state. To do so, after selecting all the objects, from the Modify menu, select Freeze Transformations as shown in Figure 1.15. Figure 1.15: Freeze Transformations Command1.4.4 Linking You will now proceed to link objects using the child parent hierarchy. Step 1: Begin by selecting the back rest object as child. Then, select the back rest rod object as parent. Press P on the keyboard to establish the child parent linking. For multiple selections, keep the Shift key pressed while pressing the P key. Refer to Figure 1.16. Figure 1.16: Establishing the Parent Child Relationship (Connection) Step 2: In the similar manner, establish the parent child linking between the seat handles, back rest Tod, and seat cushion. The link should be at a point where the seat cushion will be assigned as parent of the handles and back rest rod. Refer to Figure 1.17 Figure 1.17: Child Parent ConnectionStep 3: Next, assign the seat cushion and seat cushion base as child of the seat holder. In addition, assign the knob and seat height adjustment lever as child of the seat holder. Refer to Figure 1.18. Figure 1.18: Linking Step 4: Next, assign the seat holder as child of the 3rd center rod. Refer to Figure 1.19. Figure 1.19: Child Parent Linking Step 5: Now assign the 3rd center rod as child of the 2nd center rod. Refer to Figure 1.20.Figure 1.20: Connection Step 6: Now assign the 2nd center rod as child of the 1st center rod. Then, assign the 1st center rod as child of the center metallic base. This will be the parent of all objects. Refer to Figure 1.21. Figure 1.21: Connection Step 7: Next, assign the wheels and wheel cover as child of the wheel cylindrical base. Refer to Figure 1.22lcs Figure 1.22: Connection Step 8: Next, assign the wheel base as child of the wheel holder. Refer to Figure 1.23. Figure 1.23: Connection ‘Step 9: Lastly, assign the wheel holder as child of the center metallic base. This will complete the linking process between multiple parts of the chair. Refer to Figure 1.24,Figure 1.24: Connection 1.4.5 Controllers and Constraints Controllers control the rotation of different parts of the chair. You will now move on to create controllers. Step 1: To begin, create circular shapes at the bottom of the back rest rod as shown in Figure 1.25. Figure 1.25: ControllersStep 2: Then, select the controller as parent and select the back seat rest rod as child. To do so, from the Constrain menu, select Orient. Step 3: In the Orient Constraint Options dialog box that appears, select the Maintain offset check box. Refer to Figure 1.26. Saas soa Sa a ae ea HlesUHe@RlerrSPmnEn «miuene “a Bo6 oicioes Figure 1.26 :Controllers Connection The resultant effect is as shown in Figure 1.27. As shown in the figure, post applying the orient constraint, on rotating the controller, the entire back seat will rotate with it.Figure 1.27: Controllers Connection Step 4: Repeat the process to apply the orient constraint between the seat adjustment lever and the controller, where the controller will be parent. Refer to Figure 1.28. Figure 1.28: Controller Constraint ‘Step 5: Repeat the process to apply the orient constraint between the seat holder and the controller after creating a circular shape. Position it near the seat holder to define it as controller for the same, The controller will be parent and the seat holder will be child, Refer to Figure 1.29.Figure 1.29: Controller Constraint Step 6: Apply the point constraint between the controller and the 3rd center rod to control the position of the 3rd center rod with the controller. This has to be done while adjusting the height of the seat. Refer to Figure 1.30. Sa UNRIeS (sieIsteiaislal? 4 Imes, Sti Figure 1.30: Controller ConstraintStep 7: Create another circular shape to define it as a controller for 2nd center rod object. ‘Step 8: Apply the point constraint between the controller and the 2nd center rod. This will help in controlling the position of the 2nd center rod with the controller while adjusting the seat height. Refer to Figure 1.31. Figure 1.31: Controller Constraint Step 9: Lastly, create another circular shape to define it as a controller for individual wheel base. Then, apply the point constraint between the controller and the wheel base to control the rotation of the wheel base with the controller. This will complete the controller creation process. Refer to Figure 1.32. Figure 1.32: Controller Constraint1.4.6 Global Controller Global controller is the primary controller used to control the position, rotation, and scale attributes of the entire rigged set up. ‘Step 1: Create a circular shape to define it as global controller for the chair rig by positioning it at the origin. Step 2: From the Modify menu, select Freeze Transformations on the global controller before connecting it with the entire rig. Refer to Figure 1.32. = ara ro AGS TEST aS SaNe_Ba Gana OE Fae PST Beit Melele al? Wee e OC} eole 1 SG eh Pe Figure 1.32: Global Controller ‘Step 3: Before connecting the global controller, you need to establish connections between the previous: controller. To do so, begin by selecting the back rest controller and seat height adjustment lever controller. Then, assign the chosen parent nodes as a child of the seat rotation controller. Refer to Figure 1.33.feens Figure 1.33: Controller Connection ‘Step 4: Next, assign the seat rotation controller as child of the 2nd center rod controller. Refer to Figure 134. Figure 1.34: Controllers Connection Step 5: Next, assign the 2nd center rod controller as child of the global controller. Refer to Figure 1.35.Figure 1.35: Global Controller Connection Step 6: Assign individual wheel controller as child of the global controller. In addition, also assign the center metallic base object as child of the global controller. This will complete the global controller connection for the chair rig. Refer to Figure 1.36, Figure 1.36: Global Controller Connection‘The final rig of the chair is as shown in Figure 1.37. Figure 1.37: Final Rig > Rigging does not restrict itself to characters. It can be used to rig mechanical parts and lights. > [tis imperative to apply the Freeze Transformation command on every object and controller. > To perform the child-parent linking, you need to select child object first > tis important to apply the desired constraint to select the parent object.1) In Maya, rigging can be categorized as rigging and rigging. (a) Mechanical, Organic Character (b) Human, Animal (c) Mechanical, Human 2) In Maya, itis possible to create groups using a single object. (a) True (b) False 3) constraints are used to cause an object's orientation to follow the orientation of the target parent object. (@) Point (b) Scale (c) Orient 4) While assigning a constraint, the child object has to be selected first (a) True (b) False 5) The controller is the controller used to contral the position, rotation, and scale attributes of the entire rigged set up. (a) Main, Primary (b) Global, Primary (©) Global, SecondaryOnlineSession 02 Working with Constraints and Set Driven Key Learning Objectives In this chapter, you will be able to: Understand the concept of Set Driven Key Understand the connection between multiple objects Apply linking and grouping commands on constraints Apply Set Driven key Apply Freeze Transformations command Develop controllers Set Driven Key Set driven keys (SDK) are used to establish an association between pairs of attributes, where one attribute value (or multiple attributes values) drives the value of another. On accessing the SDK window, itis possible to link objects, such that attributes of one object can drive or dictate the attributes of another object 2.1.1 Linking Attribute Value Step 1: To link attribute values using SDK, from the Animate menu, point to Set Driven Key, and then click Set. The Set Driven Key window appears as shown in Figure 2.1[Fs SIGee ee ecime Gein d 3 Figure 2.1: Set Driven Key Window Step 2: To assign the spherical object as driver, first select the spherical object inside the Maya viewport. Then, click the Load Driver button inside Set Driven Key window. Now the spherical object with all attributes will be available inside the Driver section of the Set Driven Key window. Refer to Figure 2.2.Step 3: With pSphere1 driver selected, select an attribute form the driver list, and then click Key. This will create an association between the selected attributes and current values. Repeat the process for the driver, pCubet. Refer to Figure 2.3. The resultant image is as shown in Figure 2.4 Figure 2.3: Key Initial State NOTE: It is possible to create as many different associations, as required, using the similar process.Figure 2.4: Set Driven Key Creating a Functional Rig Setup of a Cuckoo Clock In this exercise, you will learn the rigging workflow of a mechanical model, a cuckoo clock. The mechanics of a tripod is the perfect example of a mechanical rig set up, where every part has different movements. Accuckoo clock model has been selected for you as shown in Figure 2.5.Figure 2.5: Cuckoo Clock Mode! Typically, a rigging workflow is classified as follows: Mesh preparation Freeze transformations Linking Assigning controllers Assigning constraints Defining the global controller Finalizing the rig setup vvvyvy v v 2.2.1 Mesh Preparation Before starting the rigging process, it is imperative to analyze each and every part of the model. For example, if the minutes and hour hands of the cuckoo clock are attached with the main body, they have to be separated as individual objects. This is because every element will be rotated individually for the animation. Refer to Figure 2.6. Figure 2.6: Minutes and Hour HandsStep 1: After analyzing the mesh, you will move on to define the pivot position of objects, such as the minute and hour hands and pendulum to define the rotation center of that objects from where they are going to rotate. To change the pivot position, select the object in the viewport, then press the Insert key to activate the Pivot Edit mode. Refer to Figure 2.7. Figure 2.7: Pivot Edit Mode ‘Step 2: Adjust the pivot position as desired. Once done, press the Insert key again to exit the Pivot Edit mode. Refer to Figures 2.8 and 2.9 for the altered pivot position of the minute and hour hands of the pendulum. Figure 2.8: New Pivot Position of Minute and Hour HandFigure 2.9: New Pivot Position of Pendulum 2.2.2 Working with Locators After adjusting the pivot position for some objects, proceed to place the locators to define the custom pivot for the cuckoo platform and the cuckoo. Step 1: From the Create menu, create two locators one for the platform and one for the cuckoo. Step 2: Position the first locator near the edge of the platform and the second locator at the bottom of the cuckoo from where it will be rotated. Refer to Figure 2.10.2.2.3 Linking After positioning the locators, you will now move on to link the different parts of the cuckoo clock before establishing the actual rigged connections. Step 1: Begin by selecting the minutes and hour hands and assign them as child of the main body by pressing the P key. Refer to Figure 2.11. Figure 2.11: Linking Hands Step 2: Establish the child parent relationship between the individual weight and weight rod. Make the weight child of the holder by pressing P on the keyboard after selecting the weight as child and rod as parent inside the viewport. Repeat process for all the weights. Refer to Figure 2.12. Figure 2.12: Linking of WeightsStep 3: Repeat the process to assign the pendulum weight as child of the pendulum holder. Refer to Figure 2.13. Figure 2.13: Linking of Pendulum Weight Step 4: Select all the weight holders and pendulum to assign as child of the main body object. Refer to Figure 2.14. Figure 2.14: Linking Weight Rods Step 5: Next, select the door object to assign it as a child of the main body object. Refer to Figure 2.15.Figure 2.15: Linking Door Object Step 6: Lastly, select both the locators that you have created for the cuckoo platform. Then, assign them as child of the main body. Refer to Figure 2.16. Child Figure 2.16: Linking of Locators 2.2.4 Freeze Transformation Post completing the linking process, itis important to remove any garbage transformation value from all the objects and locators. This can be done using the Freeze Transformation command. Step 1: To do so, select all the objects, including the locator inside the Maya viewport. From the Modify menu and select Freeze Transformations. Refer to Figure 2.17.Figure 2.17: Freeze Transformations 2.2.5 Controllers Post removing the unwanted elements, you will now apply controllers to the scene. Controllers help in controlling the movement of the minutes hand. To assign a controller, begin by creating a circular shape and place it in front of the minutes hand. Then, from the Modify menu, select Freeze Transformations, Refer to Figure 2.18.fener Fe isieieteistatr sai eecoescime es) OOI9OOO KG Figure 2.18: Controller for Minute Hand 2.2.6 Constraints Post applying the controllers, you will move on to apply constraints to the scene. Constraints help in Controlling the rotation of the minutes hand in co-ordination with the hour hand Step 1: To apply the Orient constraint, begin by assigning the hour hand as parent and minutes hand as child, Then, from the Constrain menu, select Orient. Refer to Figure 2.19.a a SS EI) 2 ao th Bs SIH [Role TelmilAT? a ime S eras | sve | Ros |e | sor | iain | Drone teeere | rt q vy While applying the constraint, select the Maintain Offset option to eliminate any unwanted changes in transformation. Locator can be used to define the pivot position of multiple objects by assigning them as child to the locator. Remember to apply Freeze Transformations on every object and controller. Hide all the locators and any other objects from the viewport that are not required for the animation.y attribute eliminates any unwanted transformation changes while applying the constraints. (2) Keep Offset (b) Safe Offset (c) Maintain Offset 2) While doing the linking in Maya, child object needs to be selected first (a) True (b) False 3) Locator can be used to define the position of multiple objects by assigning them as to the locator. (2) Initial, child (b) Pivot, parent (6) Pivot, child 4) An orient constraint matches the of one object to one or more other objects. (a) Transformation (b) Position (c) Orientation 5) A point constraint causes an object to move and follow the position of an object, or the ____ position of several objects. (a) Average (b) Connected (c) DistributedOnlinevarsity ANYTIME | ANYWHERESession 03 Mechanical Rig (Usage of constraints, utilities, SDK) Learning Objectives In this chapter, you will be able to: > Explain aim constraints and its uses > — Explain the rigging workflow of a fully functional mechanical model by assigning controllers, constraints, and the Freeze Transformations command EX Aim constr Anaim constraint constrains an object's orientation such that it aims at other objects. Typically, the aim constraint is used for aiming a light or camera at an abject or group of objects. In a character setup, the aim constraint is used to define a locator that controls eyeball movement it ‘To apply the aim constraint, select the parent object, Then, from the Animation menu, point to Constraint to apply the aim constraint, Refer to Figure 3.1 Figure 3.1: Aim ConstraintDeveloping a Functional Mechanical Rig This exercise talks about the rigging workflow of a fully functional mechanical model; in this case a crane model is used as shown in Figure 3.2. The mechanics of a crane Is the perfect example of a mechanical rig set up, where every part has different movements. Figure 3.2: Mechanical Crane Model Typically, this rigging workflow is addressed through the following stages: Mesh preparation Linking Freeze transformations vv Assigning controllers Assigning constraints Defining the global controller Finalizing the rig setup vvvvy 3.2.1 Mesh Preparation Before starting the rigging process, it is imperative to analyze each and every part of the model. For example, when the mechanical hands are attached with the main body, they have to be separated as individual objects. This is because every element can have individual rotation for the mechanical crane. Refer to Figure 3.3.Figure 3.3: Separated Mechanical Hand Parts 3.2.2 Pivot Adjustment Another important aspect is the pivot point that has to be checked carefully and altered, if required, to avoid abnormalities in the rotation behavior. Step 1: To make changes in the pivot position of the back rest rod, begin by selecting the object inside Maya viewport. Then, press the Insert key to activate pivot edit mode. ‘Step 2: You can now change the pivot position to define the point from where the object will rotate. To complete the process, press the Insert key once again. Refer to Figure 3.4. Figure 3.4: Pivot Editing ModeStep 3: At this stage, the pivot position of the mechanical hand should be relocated at the center of the main cylindrical lever from where the mechanical hand will rotate. Refer to Figure 3.5. Figure 3.5: Pivot Position of Mechanical Hand Step 4: Similarly, change the pivot position of the mechanical hand adjustment lever on the top of it Refer to Figure 3.6. Figure 3.6: Pivot Position of Mechanical Hand Adjustment LeverStep 5: Next, change the pivot position of the other side of the mechanical hand adjustment lever to the bottom center. Refer to Figure 3.7. Figure 3.7: Pivot Position of Mechanical Hand Adjustment Lever Step 6: Using the similar pivot adjustment process, change the pivot position for all the separated parts to define their rotation point properly. Refer to Figures 3.8 through 3.13 for the adjusted pivot position for the different mechanical parts. Figure 3.8: Pivot Position of Mechanical Piston PartFigure 3.9: Pivot Position of Mechanical Piston Bottom Part Figure 3.10: Pivot Position of the Bucket HolderFigure 3.11: Pivot Position of Mechanical Piston Part Figure 3.12: Pivot Position of Mechanical Piston Bottom PartFigure 3.13: Pivot Position of Base Holder 3.2.3 Linking You will now move on to link objects using the child parent hierarchy. Step 1: To begin, select the top mechanical hand adjustment lever as child. Then, select the mechanical bucket, while pressing the Shift key for multiple selection. Press the P key to establish the child parent linking. Refer to Figure 3.14 Figure 3.14: Child Parent Linking between the Mechanical Hand and Palm BucketStep 2: Establish the child parent linking between the mechanical hand, adjustment lever bottom part, and top of the 2nd adjustment lever. Then, assign them as child of the 2nd part of the mechanical hand. Refer to Figure 3.15. Figure 3.15: Child Parent Linking - Mechanical Hand, Adjustment Lever Bottom Part, and Palm Bucket Step 3: Repeat the process to do the child parent linking between multiple parts. This will ensure the mechanical system of the crane works properly. Refer to Figures 3.16 and 3.17 for the child parent linking between different objects. us Figure 3.16: Linking the Remaining PartsFigure 3.17: Final Image 3.2.4 Freeze Transformations What follows the child parent linking process is the importance to freeze the transformation value of each object. This will eliminate any garbage values and assign the transform and rotation values as 0 at the current state, To do 50, after selecting all the objects, from the Modify menu, select Freeze Transformations. Refer to Figure 3.18. Figure 3.18: Freeze Transformations3.2.5 Controllers You will now create controllers to control the rotation of the different parts of the chair Step 1: To begin, create a circular shape and a rectangular shape at the top center of the crane. Refer to Figure 3.19, Figure 3.19: Creating Circular and Rectangular Shapes Step 2: Using the Curve tool, create two additional sets of circular-shaped controllers along with their bounding areas. By doing so, the movement of the controller will be limited inside this area. Refer to de Figure 3.20: Creating Controllers Figure 3.20Step 3: Apply the Freeze Transformations command on all the controllers to remove any unwanted garbage value from the controllers. To do so, from the Modify menu, select Freeze Transformations. Refer to Figure 3.21 Figure 3.21; Freeze Transformations Command Step 4: For a couple of controllers you have to limit its transformations such that they move only within the bounding area. To do so, with the specific controllers selected, press Ctrl+A keys on the keyboard. Step 5: The Attribute Editor window appears. In the Attribute Editor window, expand the Translate group. Select the Trans Limit X, Trans Limit Y, and Trans Limit Z check boxes. The resultant image is as shown in Figure 3.22 that depicts the values for each fieldyoni a oe rosiney P55 «|S 5 EP swsimtz Fb — «fsa — 2 foe — F _———SSSSS re Figure 3.22: Limit information Step 6: Repeat the process to limit the other controllers, Refer to Figure 3.23. a oe oe Fomtity foo <|fon — s|foo. seuss fhe afew afer Figure 3.23: Limit information3.2.6 Connections ‘After completing the controller creation process, you will now establish connections between the controllers, and the different mechanical parts. This will help in animating the different mechanical parts. Step 1: To begin, open the Connection Editor window. To do so, from the Window menu, point to General Editors, and then select Connection Editor. Refer to Figure 3.24. son I z 4 5 A asl Es = a Figure 3.24: Connection Editor Window ‘Step 2: Select the first circular controller from the viewport. Then, click the Reload Left button to assign the chosen controller as parent. Refer to Figure 3.25Figure 3.25: Controller Assignment ‘Step 3: Select the base object of the mechanical part and assign it as child inside Connection Editor window by clicking the Reload Right button. Refer to Figure 3.26. Figure 3.26: Object AssignmentStep 4: Expand the rotate attribute for both the objects inside the Connection Editor window. Then, establish a connection between the rotateY of the controller to the rotateY of the object by clicking the axis name sequentially. Refer to Figure 3.27. Bh Connection Editor - a x i ABST aa aa ae = © body yotston_controker ‘mangody. a ri as a ee = epee = ne ao Sy Sy = = i «fe a fy ot ae aol aa Ta i = a Figure 3.27: Connection You will observe that on rotating the contraller on the Y-axis, the entire mechanical part of the crane also rotates on the Y-axis. Refer to Figure 3.28. Figure 3.28: Object rotation with ControllerStep 5: For the next controller, apply the SDK. To do so, from the Animate menu, point to Set Driven Key, and then choose Set, Refer to Figure 3.29. Figure 3.29: Set Driven Key Windows Step 6: Select the rectangular-shaped controller from the viewport and click the Load Driver button inside the Set Driven Key window. This will assign a driver to the rectangular-shaped controller. Refer to Figure 3.30. Figure 3.30: Load DriverStep 7: Next, select the main body object from the viewport and click the Load Driven button inside Set Driven Key window to assign it as driver or child. Refer to Figure 3.31. Figure 3.31: Load Driven Step 8: Define the initial state for the connection. Select the Translate Z axis for the controller and Rotate X axis for the abject. Then, click the Key button to define the initial state for the connection while both the attribute values are 0.0. Refer to Figure 3.32. Figure 3.32: Initial State‘Step 9: Next, change the controller Translate Z value to -1. Additionally, change the body object rotation value to -2 to define the next state. Click the Key button inside the Connection Editor Window to record the next state. Refer to Figure 3.33, Figure 3.33: Next State Step 10: Change the controllers’ Translate Z value to 1 and object's rotation bold value to 2. Additionally, key the last state. This will complete the SDK process to controller body objects rotation on both positive and negative directions through the controllers’ Translate Z attribute. Refer to Figure 3.34 Figure 3.34: Next State of Set Driven KeyStep 11: Repeat the process to establish a connection between the Translate X axis of the controller and the rotate Z of the body object to define the other rotation direction. Refer to Figure 3.35. Bi sstneniey loss Ostet H eo oc) Figure 3.35: Translate X connection ‘Step 12: Next, repeat the SDK concept to establish a connection between the Rotate X axis of the mechanical hand object and the 2nd controller's Translate X. Refer to Figure 3.36. Figure 3.36: Mechanical Hand RotationStep 13: For the 3rd controllers’ Translate Y and Translate X attributes connect them to the different parts of the mechanical arm. For the Translate Y establish a connection to the base of the mechanical arm. Similarly, for the Translate X, establish a connection with the top of the mechanical arm Step 14: Apply the SDK concept to establish the connections. Refer to Figure 3.37 and Figure 3.38. Te a PEGE On Fo ocean : Mechanical Arm Top PartStep 15: After establishing the connection using SDKs, change the controller position to do the different part moving. You will observe the mechanical lever does not work properly. Refer to Figure 3.38. To rectify the lever movement, begin by selecting both the levers, one after the other, and apply the Aim constraint. To do so, from the Constrain menu, select Aim. On applying the Aim constrain you will observe the first selected object will be assigned as parent. In addition, while applying the aim constraint remember to select the Maintain Offset attribute inside the option box. Refer to Figure 3.39, o jo o a a a a a o o a a Figure 3.39: Aim Constraint ‘Step 16: Alter the selection sequence for the chosen object to define the previous parent object as child. Then, alter the other object as parent to assign the Aim constraint. Refer to Figure 3.40.pete cast Sets Sin Pores SB0) Ga see o| Parent o| Georery 5] Toner o| Paint Ono o| atest o| as 5) Renove ast Figure 3.40: Reverse Aim Constrain Step 17: Repeal the process for the other levers available in the mechanical crane objects. Post completion, alter the position of the controllers to observe the correctness of the lever mechanism. Refer to Figure 3.41 Figure 3.41: Lever MechanismThis completes the connection process to control the different mechanical parts. 3.2.7 Global Controller You will now move on to apply the Global controller. This controller is the primary controller used to control the position, rotation, and scale attributes of the entire rigged set up. Step 1: Create a rectangular shape to define it as global controller for the chair rig; position it at the origin. Step 2: Create another circular shape to control the wheel rotation and place it near the first wheel Step 3: From the Modify menu, select Freeze Transformations on both the controllers before establishing a connection with the rig. Refer to Figure 3.42. Figure 3.42: Global Controller Step 4: Select the wheel controller as parent and individual wheel as child. Then, from the Constrain ‘menu, select Orient. This will control the rotation of the wheel using controllers. Repeat the process for all the wheels. Refer to Figure 3.43.aia ahem ieirinfelelelsiel? 6G) ete en PRor SSO) Wo semS Figure 3.43: Orient Constraint Step 5; Select the main body object along with all the individual wheels. Then, make a group. To do 0, Now select the main body abject and all the individual whee! and make a group to define a master group for all the physical mesh objects. Refer to Figure 3.44. Figure 3.44: Mesh Group‘Step 6: Now select the global controller as parent and the mesh group as child and apply parent and scale constraint sequentially on the selection to connect the global controller with the mechanical object. Refer to Figure 3.45 and Figure 3.46. = Zibe uilaiea lstriri-feisisial? w@iatet amiwes = wo 31c Figure 3.46: Global Controller Scale ConstraintStep 7: Assign all the remaining controllers as child of the global controller to complete the rig process. Change the transformation of the controllers to thoroughly check the functionality of the different parts of the rig set up. The final rig of the mechanics is as shown in Figure 3.47. Figure 3.47: Final Rig vvvy EE Rigging does not restrict itself to characters. It can be used to rig mechanical parts and lights Itis imperative to apply Freeze Transformations command on every object and controller. To establish the child parent linking, it is important to select the child object first. To apply any constraint, it is important to select the parent object first.Ce Ciel) vy constraints are used to cause an object's orientation to follow the orientation of the target parent object. (@) Point (b) Scale (©) Orient 2) While assigning any constraint, itis important to define the child object. (a) True (b) False 3) The controller is the controller used to control the position, rotation, and scale attributes of the entire rigged set up. (a) Main, Primary (b) Global, Primary (©) Global, Secondary 4)_______is used to eliminate any unwanted transformation changes while applying constraints. (a) Keep Offset (b) Safe Offset (©) Maintain Offset 5) A point constraint causes an object to move to and follow the position of an object, or the ______ position of several objects. (@) Average (b) Connected (©) DistributedENHANCED EARNING, EXPERIENCES OnlineSession 04 Deformers - Lattice, Wrap, Cluster Learning Objectives In this chapter, you will be able to: Understand the concept of deformers Understand the concept of Lattice deformer Work with Lattice deformer Understand the concept of Wrap deformer Work with Wrap deformer Understand the concept of Cluster Work with Cluster [Ey what are Deformers? Deformers are used to change the shape of an object using deformation effects. These deformation effects are applied at the component level. Deformers can be applied to an object or to a selection of points thus a deformable shape is one composed of points. You can use deformers to improve the animation ofa character by changing its surface over time, such as giving the illusion of skin being changed by the underlying muscles. However, deformers are extremely useful modeling tools, allowing you to achieve shapes that would otherwise be hard to create using normal modeling methods. Deformers operate on the component level by applying their effects to a set of points. When you create a deformer, Maya will create a deformation set that holds all of the points to be considered by the deformer. You can use various operations on them to change the number of points in a set andtherefore edit the effect of a deformer on the shape of an object Maya provides lots of different deformer tools to achieve different types of deformation on the surface. Lattice, Wrap, Cluster, and Wire are the most commonly used deformers for rigging purpose. Refer to Figure 4.1iginal Mesh Alattice is a cuboid array of points that surrounds a selected surface or points. Each of the lattice’spoints has a local effect on the nearby points of the object. It is for this reason that deformation is created when the lattice’s points are moved. These points can be moved in the same manner as anyother points can and can be keyed. Alattice comes in two parts - an influence lattice and a base lattice. The difference in shape between these two parts determines the amount of deformation that is applied to the surface or points. A lattice allows you to create freeform deformations (FFDs) upon a surface. It is for this reason that a lattice and its base are prefixed with fid Refer to Figure 4.2 Figure 4.2: Lattice PointsTo apply a lattice deformer on a surface, begin by selecting the surface inside the viewport. Then, from the Create Deformers menu, select Lattice. The resultant image is as shown in Figure 4.3, where the lattice covers the sphere. It is represented by a connected network of points in a cuboid shape. RMB marking menu, select the lattice points. Refer to Figure 4.4. Figure 4.3: Applying Lattice DeformerFigure 4.4: Accessing Lattice Point Next, transform the lattice points in space to create local deformations on the object. On moving the lattice, the entire surface moves; this is because the lattice is controlling all the points. However, on maving the base, the surface will undergo a deformation. This is because the 3D relationship between the relative shapes of the lattice and its base will change. On selecting an object and translating it, the surface will also deform in relation to its position within the base lattice’s volume. This effect can create interesting deformations based on the position of the object in reference to the lattice. Refer to Figure 4.5. Figure 4.5: Lattice Deformation on SurfaceAfter creating the lattice deformer from the Channel Box, itis possible to change the S, T, and U divisions’ value to change the number of lattice points for the lattice deformer. Refer to Figure 4.6. Figure 4.6: Control Number of Lattice Points Working with Lattice Deformer Lattice deformers can be used to rig the squishing action of an inflated tyre as it hits the floor. Step 1: To start with the rigging process, begin by opening the start file. This has been done for you as shown in Figure 4.7.Figure 4.7: Start File Step 2: Next, select the tyre on which the rig has to be applied. To do so, from the Create Deformers menu, select Lattice. This will apply the Lattice deformer on the chosen tyre. Refer to Figure 4.8. Figure 4.8: Applying Lattice Deformer‘Step 3: After applying the Lattice deformer, select the deformer inside the Maya viewport. Then, from the Channel Box, select ffd1LatticeShape node to expand the attributes and change the number of control points. Step 4: Enter 3, 15, and 2 in the S Divisions, T Divisions, and U Divisions text boxes. This will help in deriving at the sufficient numbers of lattice points to get the inflated tyre effect. Refer to Figure 4.9. [fers ines a x57 Figure 4.9: Lattice Deformer Attributes Step 5: Select the lattice point at the bottom of the lattice deformer. Then, using the Scale and Move tools modify the shape of the Lattice deformer to derive at the inflated deformation of the tyre object. Refer to Figure 4.10.Figure 4.10: Lattice Deformer Modification After deriving at the inflated shape of the tyre, you will observe the shape of the tyre returns to its original shape while trying to translate the tyre beyond the boundary of the lattice deformer. This can create deformation issues as shown in Figure 4.11Step 6: This issue can be rectified by working on the lattice properties. To do so, with the lattice shape selected, press the Ctrl + Akeys to access the Attribute Editor window. Step 7: In the Attribute Editor window that appears, click the ffd4 tab to derive at the freeform deformation attributes panel. ‘Step 8: Under Freeform Deformation Attributes rollout, click the Outside Lattice drop-down arrow and select All. This will control the deformation effect when the mesh tends to move outside the boundary of the lattice shape. Refer to Figure 4.12. re Figure 4.13: Inflated Tyre DeformationWrap Deformers ‘The wrap deformer uses another object's shape and transforms attributes to locally deform the surface of an object (these objects are known as wrap influences). More than one object can be used to deform a selected shape; however, if you are going to use more than one object, it is important to group all those objects together before creating the wrap deformer. NOTE: It is possible to wrap influence objects after a wrap deformer is created. This is because the shape of the influence objectwill deform a selected shape. This is worthwhile to ensure that the influence object has evenly distributed points and lesser points than its intended target. Step 1: To understand the concept of wrapdeformers, begin by creating a high poly cylindrical object inside the viewport. Step 2: Additionally, create another polygonal cylindrical object that comprises less number of vertices and position it over the high poly mesh. Refer to Figure 4.14. Figure 4.14: Low and High Poly Mesh Step 3: To apply the wrap deformer, begin by selecting the high poly mesh in the viewport. Then, with the Shift key pressed, select the low poly mesh. Step 4: Apply the Wrap deformer. To do so, from the Create Deformers menu, select Wrap. Refer to Figure 4.15,aS i ope. 8 Of) mais) me Gre) = SS Figure 4.15: Mesh Selection After applying the Wrap deformer, it is possible to select the vertices of the low poly mesh and alter the position of the selected vertices. The resultant image is as shown in Figure 4.16 Figure 4.16: Deformation on High Poly MeshEQ] Working with Wrap Deformers Step 1: To understand the wrap deformer and implementation in a functional rig, begin by opening the start.mb file. This has been done for you as shown in Figure 4.17. ‘Step 2: As shown in the figure, the file consists of a car polygonal model. You will now apply the wrap deformers to deform and animate the accidental damage rig for the car. Refer to Figure 4.17. Figure 4.17: Start File Step 3: To apply the Wrap deformer, introduce another low poly version of the car model. To do so, create a low poly model using the Polygon tools and a cube that will place the low poly model on the same world space of the high poly car. Refer to Figure 4.18. Figure 4.18: Low Poly Model Step 4: Since the high poly car is made of different pieces or objects, itis important to group them before applying the Wrap deformer. To do so, with all the objects selected, from the Edit menu, select Group. Refer to Figure 4.19.a ae folnbelaly a a) tutes. 6 G36 er | oes | ener | rics |r| nase | ee [ine | bie | cn Blas Figure 4.19: Grouping Step 5: After grouping the objects, begin by selecting the high poly mesh inside the viewport. Then, with the low poly wrap cage selected, from the Create Deformers menu, select Wrap. Refer to Figure 4.20.poseciscimess) Testis [ar |e | is he Tos [ee Doe Te Pe Figure 4.20: Wrap Deformer Step 6: After applying the Wrap deformer, tweak the position of the vertices to simulate the car accidental damage on the low poly mesh. You can also select and modify the position of edges to do the same. Refer to Figure 4.21. Figure 4.21: Damage on Low Poly MeshStep 7: Hide the low poly mesh to understand how the vertex deformation actually transfers from the low poly mesh to high detailed mesh using the Wrap deformer. Within the viewport appears a deformed high poly car mesh as shown in the Figure 4.22. Figure 4.22: Deformed High Poly Mesh Step 8: Interestingly, after applying the Wrap deformer, you will derive at the Drooffattribute on the on the low poly model. The default value for this attribute is 4.0. It is possible to animate the attribute value to change the car damage deformation from normal to damaged one. Refer to Figure 4.23. Figure 4.23: Dropoff AttributeNOTE: On changing the Dropoff attribute value to 0, there will be no deformation on the car model. Refer to Figure 4.24. Gr sre ocioen Figure 4.24: Dropoff Value 0 Step 9: Enter 2 in the Dropofftext box. The resultant figure is as shown in Figure 4.25, where there is 50% damage. i eit Eu H Figure 4.25: Dropoff Value 2 Step 10: Lastly, on entering 10 in the Dropoff text box, you will observe 100% damages on the high poly mode! as shown in Figure 4.26.Clusters help users transform a set of vertices in 3D and each vertex in the set can be given a different weight that will change the original transformation. In a gist, a cluster can be referred to as s smart group of points. ‘Step 1: To understand the concept of the Cluster deformer, begin by creating a poly sphere inside the viewport. Then, select vertices on the top of the viewport. ‘Step 2: Apply the cluster deformer on the chosen vertices. To do so, from the Create Deformers menu, select Cluster. Refer to Figure 4.27.