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Essential Introduction to Maya Character Rigging 2nd edition [Pehme köide]

(Autodesk Certified Instructor in Maya; Professor at the University of Central Florida)
  • Formaat: Paperback / softback, 474 pages, kõrgus x laius: 254x178 mm, kaal: 980 g, 522 Halftones, color
  • Ilmumisaeg: 12-Feb-2021
  • Kirjastus: CRC Press
  • ISBN-10: 1138777986
  • ISBN-13: 9781138777989
  • Formaat: Paperback / softback, 474 pages, kõrgus x laius: 254x178 mm, kaal: 980 g, 522 Halftones, color
  • Ilmumisaeg: 12-Feb-2021
  • Kirjastus: CRC Press
  • ISBN-10: 1138777986
  • ISBN-13: 9781138777989
While some rigging books focus too much on the theory of rigging and provide little instruction, others do the exact opposite and offer no reasoning behind the button-pushing. An Essential Introduction to Maya Character Rigging, 2nd Edition, however, offers a perfect balance. Cheryl Briggs text is built for the classroom, with step-by-step tutorials that guide the reader through the rigging process. With vibrant screenshots and a plethora of helpful tips, this book provides a strong foundation in character rigging for anyone who wants to pursue 3D animation or more advanced rigging topics.

Features











Provides readers with fundamental techniques to give them a firm grasp on Maya character rigging.





Thorough step-by-step tutorials, which provides instruction on how to create biped, quadruped, and prop rigs.





Continuous updates and further support can be located at www.cherylcreates.com

Cheryl Briggs (formerly Cabrera) is an award-winning animated short film director. She has advised and guided aspiring animators, game artists, and visual effects artists for 20 years. Since 2009, Cheryl has taught all aspects of production in the Character Animation specialization in the School of Visual Arts and Design at the University of Central Florida. She also taught as Professor of Animation at the Savannah College of Art and Design from 2001 to 2009. Cheryl is currently on the Board of Directors for the Animation Hall of Fame. She also is a member of the Special Interest Group on Computer Graphics and Interactive Techniques (SIGGRAPH), the International Animated Film Society (ASIFA-Hollywood), Women in Animation, Women in Film and Television, and the Society for Animation Studies.

Cheryl is also an Autodesk Certified Professional and an Autodesk Certified Instructor in Maya. She is the author of An Essential Introduction to Maya Character Rigging (Focal Press, 2008), Reel Success: Creating Demo Reels and Animation Portfolios (Focal Press, 2013), and Animating Short Stories: Narrative Techniques and Visual Design (Bloomsbury Academic, 2019).

Cheryl holds a B.A. and M.Ed. in Education and an M.F.A. in Computer Art with a specialization in 3D Animation. She is a digital artist and animator that blends the lines between digital imagery and the traditional painting medium. She has participated is numerous group and solo exhibitions in the United States and her work is featured in several private collections. Her award-winning students have been featured in animation festivals worldwide, and many have gone on to work within the entertainment industry.
Preface xiii
Acknowledgments xv
About the Author xvii
Introduction
1(1)
Overview of the Interface
1(4)
Navigation
5(1)
Keyboard with Highlighted Hotkeys
5(2)
Setting Up Your Project Folder and Scene Files
7(1)
Setting User Preferences
8(3)
Chapter 1 Skeleton Setup
11(30)
Former Student Spotlight: David Bokser
12(1)
Biography
12(1)
Workflow
12(1)
Introduction
12(3)
Analyzing Motion
15(5)
Identifying Pivot Points and Rotations
16(4)
File Referencing [ File > Create Reference...]
20(3)
Changing the Referenced File [ File > Reference Editor]
21(2)
Setting Up Your Work Area
23(3)
Working with Joints
26(12)
The Joint Tool [ Skeleton > Create Joints]
26(1)
Display Size [ Display > Animation > Joint Size...]
27(1)
Local Rotational Axes
28(5)
Placing Joints
33(1)
Repositioning Joints
33(1)
Moving Joints (also Known as -- Translating Joints)
33(1)
Rotating and Scaling Joints
34(1)
Reorienting Joints [ Skeleton > Orient Joint]
35(2)
Mirroring Joints [ Skeleton > Mirror Joint]
37(1)
Additional Thoughts about Joint Placement
37(1)
Summary
38(3)
Chapter 2 Control Rig Setup
41(34)
Former Student Spotlight: Ryan Yokley
42(2)
Biography
43(1)
Workflow
44(1)
Introduction
44(1)
Kinematics
44(7)
Forward Kinematics
47(1)
Inverse Kinematics
48(3)
Attribute Control
51(1)
Rotation Order and Gimbal Lock
52(9)
Connection Editor [ Windows > General Editors > Connection Editor]
57(1)
Expressions [ Windows > Animation Editors > Expression Editor]
58(1)
Set Driven Key [ Key > Set Driven Key > Set...]
59(2)
Constraints
61(8)
Parent [ Constrain > Parent]
62(1)
Point [ Constrain > Point]
63(1)
Orient [ Constrain > Orient]
63(1)
Scale [ Constrain > Scale]
64(1)
Aim [ Constrain > Aim]
65(1)
Pole Vector [ Constrain > Pole Vector]
65(1)
Rivet [ Constrain > Rivet]
65(1)
Geometry [ Constrain > Geometry]
65(1)
Normal [ Constrain > Normal]
66(2)
Group Nodes or Null [ Edit > Group]
68(1)
Clusters [ Deform > Clusters]
69(1)
Combining Curves
69(4)
Summary
73(2)
Chapter 3 Bipedal Legs and Feet
75(28)
Former Student Spotlight: Ben Willis
75(1)
Biography
75(1)
Workflow
76(1)
Introduction
76(1)
Joint Placement for the Leg and Foot Skeleton
76(5)
Verifying the Joint Local Rotation Axis
79(2)
Creating a Control System for the Leg and Foot Rig
81(14)
Cleanup for the Legs and Feet
93(2)
Simplifying the Foot Controls
95(8)
Chapter 4 Bipedal Spine and Neck
103(40)
Workflow
103(1)
Introduction
103(1)
Creating a Ribbon Spine for a Biped
103(12)
Creating the Back Ribbon
105(3)
Creating a Control System for the Ribbon
108(6)
Cleanup for the Back Ribbon
114(1)
Creating a Ribbon Neck for a Biped
115(10)
Creating the Neck Ribbon
115(5)
Creating a Control System for the Ribbon
120(4)
Cleanup for the Neck Ribbon
124(1)
Creating an IK Spline Spine and Neck for a Biped
125(11)
Joint Placement for a Spine and Neck Skeleton
127(1)
Verifying the Joint Local Rotation Axis
128(1)
Creating a Control System for the IK Spline Spine and Neck
129(7)
Cleanup for the Back IK Spline
136(4)
Cleanup for the Neck IK Spline
140(3)
Chapter 5 Bipedal Arms and Hands
143(50)
Workflow
143(1)
Joint Placement for the Arm Skeleton
143(3)
Creating the Joints for the Arms and Clavicles
143(3)
Verifying the Joint Local Rotation Axis
146(1)
Control System for the Arm Rig
146(22)
Creating a Control System for the Clavicle
146(2)
Creating a Control System for the Arm
148(19)
Cleanup for the Arm Setup
167(1)
Joint Placement for the Hand Skeleton
168(7)
Verifying the Joint Local Rotation Axis
172(3)
Control System for the Hand Rig
175(11)
Creating a Control System for the Finger Joints
175(10)
Cleanup for the Hand Setup
185(1)
Wings
186(7)
Chapter 6 Quadruped Legs and Feet
193(68)
Workflow
193(1)
Introduction: Hoofs, Paws, and Claws
193(1)
Joint Placement for the Leg and Paw Skeleton
193(7)
Verifying the Joint Local Rotation Axis
198(2)
Control System for the Leg and Paw Rig
200(15)
Cleanup for the Leg and Paw Setup
213(2)
Control System for the Leg and Claw Rig
215(22)
Verifying the Joint Local Rotation Axis
218(19)
Additional Functionality for the Talons and Toes
237(11)
Verifying the Joint Local Rotation Axis
243(3)
Cleanup for the Leg and Claw Setup
246(2)
Control System for the Leg and Hoof Rig
248(13)
Cleanup for the Leg and Hoof Setup
260(1)
Chapter 7 Quadruped Spine and Neck
261(44)
Former Student Spotlight: Dana Corrigan
261(1)
Biography
262(1)
Workflow
262(1)
Introduction
262(2)
Creating a Ribbon Spine for a Quadruped
264(11)
Creating the Back Ribbon
264(3)
Creating a Control System for the Ribbon
267(5)
Cleanup for the Back Ribbon
272(3)
Creating a Ribbon Neck for a Quadruped
275(9)
Creating the Neck Ribbon
275(3)
Creating a Control System for the Ribbon
278(5)
Cleanup for the Neck Ribbon
283(1)
Creating an FKTail
284(5)
Verifying the Joint Local Rotation Axis
286(3)
Cleanup for the FKTail Setup
289(1)
Creating a Ribbon Tail
289(11)
Creating the Tail Ribbon
289(4)
Creating a Control System for the Ribbon
293(4)
Cleanup for the Tail Ribbon
297(3)
Adding a Scapula for a Quadruped
300(5)
Joint Placement of the Scapula
300(1)
Creating a Control System for the Scapula
300(2)
Cleanup for the Scapula Setup
302(3)
Chapter 8 Head
305(30)
Workflow
305(1)
Introduction
305(1)
Joint Placement for the Biped Head
305(4)
Creating the Joints for the Head, Hat, and Hair Skeleton
305(3)
Verifying the Joint Local Rotation Axis
308(1)
Control System for the Head, Hat, and Hair Skeleton
309(3)
Cleanup for the Biped Head Setup
311(1)
Joint Placement for the Quadruped Head
312(2)
Creating the Joints for the Ears and Collar
312(1)
Verifying the Joint Local Rotation Axis
313(1)
Control System for the Head, Collar, and Ear Skeleton
314(3)
Cleanup for the Ear Setup
317(1)
Dynamic Joint Chains: Antennae
317(18)
Creating the Joints for the Antennae
318(1)
Verifying the Joint Local Rotation Axis
318(2)
Creating a Control System for the Antennae
320(12)
Cleanup for the Antenna Setup
332(3)
Chapter 9 Facial Rigging
335(44)
Workflow
335(1)
Introduction
335(3)
Blend Shapes as an Approach to Creating Facial Expressions
338(3)
Tools Used for Modeling Blend Shapes
341(9)
Soft Modification Tool [ Deform > Soft Modification Tool]
343(1)
Sculpt Geometry Tool [ Surfaces > Sculpt Geometry Tool]
343(2)
Add blend shapes [ Deform > Create Blend Shape]
345(2)
In-Between Blend Shapes
347(2)
Update topology on blend shapes [ Deform > Edit Blend Shape > Bake Topology To targets]
349(1)
Deformation Order
350(1)
Creating Facial Expression Blend Shapes
351(3)
Flipping a Blend Shape Using the Shape Editor
354(1)
Corrective Blend Shapes
355(2)
Joints as an Approach to Creating Facial Expressions
357(2)
Creating a Control System for Facial Expressions
359(7)
Creating the Jaw and Tongue
366(9)
Creating a Control System for the Jaw
366(2)
Creating the Tongue Ribbon
368(3)
Creating a Control System for the Ribbon
371(3)
Cleanup for the Tongue Ribbon
374(1)
Creating the Eye Controls
375(2)
Cleanup for the Eye Control
377(1)
Summary
377(2)
Chapter 10 Props
379(14)
Workflow
379(1)
Introduction
380(1)
Deformers
380(2)
Nonlinear Deformers [ Deform > Nonlinear]
381(1)
Creating a Simple Basic Prop Rig
382(5)
Creating a Prop Rig with Squash and Stretch
387(4)
Cleanup for the Prop Rig
389(2)
Summary
391(2)
Chapter 11 Wrapping Up the Setup
393(22)
Former Student Spotlight: Tim Keebler
393(1)
Biography
394(1)
Workflow
394(1)
Introduction
394(4)
Cleaning Up the Scene File for Animation
398(1)
Preparing the Scene File for Skinning
399(2)
Creating a Bridge Shape
401(1)
Creating Additional Tools for Animation
402(2)
Adding Squash and Stretch to the ikSpline Spine
404(9)
Expression Solution for Squash and Stretch
405(3)
Utility Node Solution for Squash and Stretch
408(5)
Summary
413(2)
Chapter 12 Skinning Your Character
415(34)
Former Student Spotlight: Tonya Payne
415(1)
Biography
416(1)
Workflow
416(1)
Introduction
416(2)
Skinning Tools in Maya
418(7)
Creating the Skin Deformer [ Skin > Bind Skin]
418(1)
Adding influences [ Skin > Edit Influences > Add Influence]
419(1)
The Component Editor [ Window > General Editors > Component Editor]
420(1)
Smooth Skin Weights [ Skin > Smooth Skin Weights]
421(1)
Paint weights -- [ Skin > Edit Smooth Skin > Paint Skin Weights Tool]
422(1)
Mirror weights -- [ Skin > Mirror Skin Weights]
422(1)
Skinning a Character
423(2)
Adding Influence Joints
425(9)
Fixing Skin Weights Using the Component Editor
434(1)
[ Window > General Editors > Component Editor]
434(1)
Fixing Skin Weights Using Smooth Skin Weights
435(2)
[ Skin > Smooth Skin Weights]
435(2)
Fixing Skin Weights Using Paint Skin Weights
437(3)
[ Skin > Paint Skin Weights]
437(3)
Mirroring Skin Weights
440(1)
[ Skin > Mirror Skin Weights]
440(1)
Creating a geoLevel Switch for Polygonal Characters
440(3)
Final Cleanup of the Scene File
443(4)
Testing Rig Relocation
444(1)
Making Geometry Unselectable
445(1)
Colorizing the Controllers
446(1)
Summary
447(2)
Index 449
Cheryl Briggs (formerly Cabrera) is an award winning animated short film director and has advised and guided aspiring animators, game artists, and visual effects artists for 20 years. Since 2009, Cheryl has been teaching all aspects of production in the Character Animation specialization in the School of Visual Arts and Design at the University of Central Florida. She also taught as Professor of Animation at the Savannah College of Art and Design from 2001 to 2009. Cheryl is currently on the Board of Directors for the Animation Hall of Fame is a member of SIGGRAPH, ASIFA-Hollywood, Women in Animation, Women in Film and Television, and the Society for Animation Studies.









Cheryl is also an Autodesk Certified Professional and an Autodesk Certified Instructor in Maya; Author of An Essential Introduction to Maya Character Rigging (2008, Focal Press), Reel Success: Creating Demo Reels and Animation Portfolios (2013, Focal Press), and Animating Short Stories: Narrative Techniques and Visual Design (2019, Bloomsbury Academic).









Cheryl holds a B.A. and M.Ed. in Education and an M.F.A. in Computer Art with a specialization in 3D Animation. She is a digital artist and animator that blends the lines between digital imagery and the traditional painting medium. She has participated is numerous group and solo exhibitions in the US and her works are featured is several private collections. Her award-winning students have been featured in animation festivals worldwide, and many have gone on to work within the entertainment industry.