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Get a thorough overview of techniques for creating characters for video games or real-time rendered applications. Author Chris Reilly covers low-poly modeling, texturing and animation, using 3D model and texture assets created in Maya and Adobe Photoshop. The course also includes an overview of Unity 3, including importing characters and making interactive animations with the Script Editor.
So I went ahead and did the controls for the other leg and foot. I also created a layer called Controls that I'm just placing all of my NURBS curves and so that way if I need to, I can just toggle those on and off. So let's move onto the controls for the spine. Now, we think about the way the spine wants to move, the character would like to be able to bend, so let's say he is bending over to get something, but also to twist. So a good way to set up controls for the spine are to use a couple of different constraints.
So let's just get some curves in here to start with. I'm going to go to import the torso controls. Let's go ahead and switch off my Geometry layer here. Let's look from a Side view. So basically, I just have these four NURBS rectangles and I'll just snap them right to each spine joint and then rotate it, so that each rectangle lines up with the rib joint of the corresponding spine joint.
So let's switch back to Perspective. To set up these controls, we'll use two different constraints: a Point Constraint and an Orient Constraint. So that will allow us to rotate the spine and also move it around if we need to. So let's just set up this first one. I'm going to select this control. I'll bring up my Outliner as I'm doing this. So this is the Hips control. I want to use this to control the root joint, because that's again like the character's pelvis.
So I'll Shift+Select root joint, and I'll go to Constrain > Point, with options, and I just want to make sure that I check Maintain offset. So we'll add a Point Constraint and I'll also add an Orient Constraint. So I'll go to Constrain > Orient with Options and make sure Maintain offset is checked. We want to maintain the offset so that the control curves stay in the same place relative to the bones that they're controlling.
Okay, so let's see how that behaves. I'm just going to select this Hips control and let's bring up the Move tool. So now I can move the whole hips up, and down. I can also rotate. So I am going to rotate side to side, front to back. I'm just going to go through that same operation for the rest of the hips. So I'm selecting each of the controls, Shift+Selecting the spine joint, doing a Point Constraint and then Orient Constraint.
So same thing for SPINE_2. Constrain > Point, Constrain > Orient, and same thing for SPINE_3. One last thing is to look at the hierarchy of the controls. So if you think about the way that the hierarchy of the skeleton works, we start with root, we go up to SPINE_1, up to SPINE_2, up to SPINE_3. So that hierarchy should kind of be mirrored in the controls.
So I'm going to parent SPINE_3 to SPINE_2, SPINE_2 to SPINE_1, SPINE_1 to HIPS. So this way, now, when I grab the hips, all of these other controls should come along with it, and same thing if I rotate. But I can still go in and select individual controls as I need to. So that's how we set up controls for the spine. In the next couple of videos we'll look at the arms and the head.
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