Join George Maestri for an in-depth discussion in this video Overview of character geometry, part of Maya 8.5 Character Rigging.
Now that we understand a little bit what a Rig is going to look like, let's take a closer look at the model and how the geometry of the character needs to be before we start rigging it. So we're going to go ahead and open a file. We're going to Open Scene, Ch01_02, and this is the basic model that we're going to use. Now the first thing you'll notice is that it is in segments. Now you can model your character in one big piece, and a lot of people do it that way, and there's plenty of reasons to do it like that.
I segmented this out just so that we could have the head separate because sometimes it's easier conceptually just to see how the head works separate from the body just makes it a little bit easier to take a look at things by having a separate head. And in some ways it's also just easier to rig a separate head because then you don't have to worry about all the body geometry when you get to what are called the Blend Shapes which means you have to model entire bodies when you do Blend Shape. It makes it easier to have separate heads because the modeling tasks are a little bit easier, and it's a little bit easier to manage.
But again, it works both ways. So let's take a look at this. We have got a separate head, and in fact, if I move that head away you'll see I also have separate eyes and teeth, okay. So these eyes are spheres--they're basically spheres--and what I did was I textured the front couple of polygons to look like a pupil. And of course, you could do a texture map or whatever for that if you wanted to. I'll also have separate teeth, and the reason I have separate teeth is just easier when it gets to facial animation to have separate teeth because you can actually animate them out of the way if you need to, if you need to kind of do some little tricks with the teeth.
And then the body, we actually have the hands as part. Now some people will segment out the hands as well, so in addition to having a segment at head they'll have segments in hands. But we're going to go ahead and leave our hands as part of the main geometry. And then down on the feet here we have got--feet are also part of the body. Again, you can segment the shoes if you want to. So that's the basic topology of the character. And also, I have bowtie. I left the bowtie separate because there may be times where we want to animate the bowtie coming off, to keep that bowtie separate, so we're just going to go ahead and make it a separate object.
So that's the basics of how the character is put together. Now in the next one we're going to show you a little bit about the topology of the character and how the character is actually built.
- Understanding the uses of rigging
- Creating skeletons
- Making inverse kinematics and constraints
- Rigging characters
- Binding and editing skin
- Creating a skeleton and skin for a head
- Finalizing a rig
Skill Level Intermediate
Maya: Lighting and Rendering with mental raywith Eric Keller4h 56m Intermediate
2. Creating Skeletons
3. Inverse Kinematics (IK) and Constraints
4. Rigging Characters
5. Skinning Characters
6. Facial Rigging
7. Finalizing the Rig
- Mark as unwatched
- Mark all as unwatched
Are you sure you want to mark all the videos in this course as unwatched?
This will not affect your course history, your reports, or your certificates of completion for this course.Cancel
Take notes with your new membership!
Type in the entry box, then click Enter to save your note.
1:30Press on any video thumbnail to jump immediately to the timecode shown.
Notes are saved with you account but can also be exported as plain text, MS Word, PDF, Google Doc, or Evernote.