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Are the shoulders of your rigs collapsing? Do your characters legs deform weirdly? Do the wrists and forearms of your characters collapse in mid-twist?
This course presents different techniques for creating corrective deformations to compensate for the inherent problems with joint based deformations. Helper joints and Blend Shapes are the two main Maya features the author explores and combines these with Set Driven Key techniques. The author also presents a node-based, Pose-triggered corrective technique using Maya's internal node structures.
Rigging can be a very excruciatingly technical step in creating animatable characters. This class aims to present a step-by-step guide to creating a functional character rig that will allow the animator to deliver a believable performance. Being able to rig characters from scratch empowers the animator to be able to create characters of their own free from the constraints of automatic rigging solutions. Make no mistake, such solutions are great timesavers, but they can tend to limit the animator.
We will create this rig using Manlo, the character we modeled, UV mapped and surfaced in Model a Low-Polygon Character in Maya 2018, so if you are new to Maya, you should at least have that course under your belt. Also, please note that this is an intermediate class. The author assumes you have a functional understanding of basic Maya tools as the move, rotate, and scale tools, shelf and tool locations and using Maya's hotbox to access them; concepts like X, Y, and Z movement and axes, object vs. world space movement and rotations and hierarchies. The author will address these ideas in terms of rigging characters, however, they may be unfamiliar to beginners.
That said, at the end of this course, you will have both a rigged character that you can use in your own animations AND the skill set to create animated characters of your very own!
In this course, we are going to explore low polygon modeling techniques as they apply to a “simple” (and I use that term in quotes) character. Working in low polygon’s means we get to pare down the generally complex character modeling process into a sub-2000 polygon character. Many of these techniques can be "scaled up" to use on characters with higher polygon budgets, but in this era of smartphone games, having the ability to model in lower polygon counts is very relevant and useful.