Maya technique Rig hand/finger control setup

Maya technique Rig hand/finger control setup

you will learn techniques for reusing control rigs in Maya to work more efficiently. Throughout the tutorial you will learn techniques for re-purposing rigs to save time in your character setup pipeline. We'll start by merging a completed rig into our character's scene. At that point, we will start modifying the rig to match the proportions of our character. Moving on from there, we will then add controls that are necessary to accommodate any new accessories that require controls.ted & Numbered List tips
Character Rigging In Maya Continued
Select the LHip joint, and then Shift Select the COG joint, now press P to parent the LHip to the COG Joint, a bone will appear between them : - 
Now do the same with the Left_Clavicle and Neck joint, and then again with the first joint on each of the fingers and the thumb and parent to the Left_Hand joint, you'll end up with something like this : -

Ok, we've now set up and parented all of our joints, now there's one last thing to do now before we've finished with the skeleton, and that's to Mirror our Joints from the Left Side over to the Right Side. Select the Left_Clavicle joint and then from the menu select Skeleton > Mirror Joint and open the options box, within the options, select YZ as the Mirror options and Orientation as the Mirror Function : -
Select Mirror, and you should now have the right arm set up, including the parented joint :-

Do the same now for the LHip and then again for the LReverse_Foot, that's it, we now have all of our joints mirrored across. We don't need our Local Rotation Axes displayed anymore, so select each joint one by one, and then issue the command DISPLAY > COMPONENT DISPLAY > LOCAL ROTATION AXIS, or press G to repeat the last command. Once you've done that to all the joints, open up the Outliner. We need to rename our joints that we have mirrored across, essentially we need to differentiate the two sides, so Left and Right is enough to do that, so rename all the mirrored joints so that they are R - Right related, as in

buy cheap autodesk maya 2013 pc mac

  It is not a OEM or tryout version.

  We offer worldwide shippment .

  You can pay by paypal.

full version autodesk maya 2013 pc mac $64 

using HumanIK maya for pipeline

using HumanIK maya  for pipeline

Developments in CG animation technology are rapid.

Startup developers frequently purport to be bringing to market the next groundbreaking suite of software that will create movie-quality motion at the press of a few buttons.

With such bold claims, it's important to see if such assertions stand up in the real world.

Guildford-based IKinema is one such startup. Armed with tech reportedly distilled from research into spacecraft control, it's developed a plug-in for Maya that boasts true full-body animation of any hierarchy, without the need to go through an intermediary rig or characterisation process (à la HumanIK).

Coupled with this, a straightforward retargeting interface and real-time streaming from popular mocap packages makes for an impressive résumé.

Not to leave game developers out in the cold, runtime implementations for consoles and the ability to add physics constraints to dynamically alter existing motion are also on offer.

Physics infl uences allow characters to react dynamically to real-world forces in a lifelike manner, both at runtime and offl ine

A quick set-up process first creates an instance of the solver at the root of your hierarchy.

Once populated, you can specify what IKinema calls tasks (essentially constraints), which drive a particular joint in position or orientation.

For a generic biped, this would amount to position tasks at the hips, hands, feet, shoulders and neck base, plus an orientation on the head.

The simple workflow is akin to setting up standard chain IK.

If desired, task nodes can be parented under primitive control objects of the kind one might find in a traditional rig.

Tasks are manipulated in the viewport, and the solver determines the most believable pose over the full-body rig while satisfying these tasks.

The end result is of course tunable: you have the ability to set limits restricting movement on a given axis, and sliding an additional mobility attribute has the effect of stiffening the joint up or allowing for more flexibility.

Tasks can also be assigned differing priorities: the solver will bias the posture to satisfy any tasks that you've awarded higher importance.

The benefits of this workflow are clear compared to traditional character set-up, which demands highly specialised skills to build complex rigs with myriad controls.

Being able to work on unconventional hierarchies is a major advantage too.

In this Maya tutorial we will be learn techniques, workflows and best practices for use with Maya's HumanIK (HIK) toolset. Throughout these lessons we will be learning some of the MEL commands needed to add HIK to a character rigging pipeline. Along the way we will look at some of the limitations with the HumanIK toolset and how we can work around them. By the end of the this tutorial, you will comfortable with HIK whether you are an animator with no rigging experience or a TD looking to add HIK to your rigging pipeline. About Digital-Tutors Since 2000, we've been a dedicated team of artists, professionals, representatives and problem-solvers who are truly passionate about teaching the people around the globe who make movies and games. But enough about us, let's talk about you. No matter your skill level or experience, you need an educational resource that helps you conquer complicated topics so you can focus on your future. So whether it's graduating from school, advancing your skill set or getting a promotion, you can access the world's largest online CG training library and find the solution you need in seconds.

buy cheap autodesk maya 2013 pc mac

 It is not a OEM or tryout version.

 We offer worldwide shippment .

 You can pay by paypal.

full version autodesk maya 2013 pc mac $64 

the best way to make thick, packed fur in maya

To run Maya, select Start > All Programs > Alias Wavefront > Maya 5.0 > Maya Unlimited 5.0. Let's first learn how to create objects and move the camera. When Maya starts, it brings up a window asking you to view a few tutorials. These are each about a minute long, and it's worth it to watch the first three of them, which show how to move the camera; move, rotate and scale objects; and create objects.
A. Moving the camera
Maya opens up a perspective view of an empty scene by default. To manipulate your view of the scene, use the <Alt> key in combination with one of the three mouse buttons: <Alt>+<Left button> rotates the scene, <Alt>+<Middle button> translates the camera in the plane (pans), and <Alt>+<Right button> zooms in and out.
B. Creating and manipulating objects
In Maya, you can create either NURBS objects or polygonal objects. Let's first create a NURBS sphere. To do this, click on the Create menu and select NURBS Primitives > Sphere (the little boxes on the right side of the menu options bring up advanced options, which we won't need in this tutorial). This creates a sphere at the origin, which is shown as a wireframe object.

To manipulate the sphere, use the toolbar along the right-hand side of the screen. Here's what the toolbar looks like, as well as a description of each tool.

The Select Tool: Select objects in the scene.

The Move Tool: When the Move tool is active, a widget with three arrows will appear, centered on the selected object, one for each of the X, Y, and Z axes. Clicking on one of the arrows will allow you to move the object along that axis. In addition, by clicking on the little yellow window that appears where the three axes meat, the object can be moved in a plane passing through the object, perpendicular to the view direction.

The Rotate Tool: When the Rotate tool is active, three circumferences of a sphere appear around the selected object, one around each of the X, Y, and Z axes. Clicking on one of the circumferences allows you to rotate the object about the respective axis. A fourth circle, colored yellow, allows you to rotate the object about an axis parallel to the view direction.

The Scale Tool: Finally, the Scale tool brings up a widget similar to the move widget. In this case, dragging one of the three arrows scales the object non-uniformly along that axis; clicking and dragging the center of the widget scales the object uniformly.
C. Rendering the scene
To create a rendering of the scene, just hit the Render the current frame button in the toolbar at the top of the screen. After a few seconds, a rendering will appear. By default, this is a 320x240 image, rendered from the current viewpoint. Although you may not have created any lights, you will probably still be able to see the objects in the scene; apparently a default light is used if none are specified.

To change the rendering options, open the Render Globals window by clicking on the Display Render Globals window button . Later on, we will show you how to render multiple frames of an animation.
II. Creating Fur
A. Using a preset hair style
While Maya objects are bald by default, giving them a nice coat of lush fur is extremely simple. Just follow these steps:

Create an object to apply fur to (either use the one you created in part I.B. or create a new scene and select Create > NURBS Primitives > Sphere).
Select the sphere using the Select tool .
Select the Fur tab in the tabbed toolbar near the top of the screen:

This toolbar has a set of pre-defined hair and fur styles, from bear to wet otter. Select the Lion Mane style.

After a moment, you will see wavy lines grow out of the sphere. This is a visualization of how the hair will look when the scene is rendered. Render the scene (see Section I.C. above) to get an idea of how the furry sphere looks.

The hair may not be lit well at first, so you may want to add some lights to fix this. To do so, select Create > Lights > Directional Light (or create a different kind of light, such as a spot light). Lights can be manipulated with the same set of tools as objects.
B. Changing the fur parameters
The Lion Mane fur is just a set of preset parameters controlling the style and look of the hair, as are all of the pre-defined fur styles. You can experiment with these parameters by doing the following:

1. Select the fur by clicking on one of the strands (note that this is different from selecting the sphere itself).
2. Open the Attribute Editor pane, by clicking on the Show or hide Attribute Editor button , found in the toolbar in the top right corner of the screen.

This pane should open up on the left side of the screen, and looks like this:

buy cheap autodesk maya 2013 pc mac

 It is not a OEM or tryout version.

 We offer worldwide shippment .

 You can pay by paypal.

full version autodesk maya 2013 pc mac $64 

Motionbuilder and HumanIK pipeline maya tutorials

Motionbuilder and HumanIK pipeline maya  tutorials

Animating a character flipping or spinning around can be a hurdle in 3d. A character will forward flip over a different center of gravity then if it were to spin around 180 degrees on its right heel. Typically the solution is to set up a hierarchy of groups with pivots at different locations in which the animator can choose to rotate individually as needed. The problem with this solution, besides the redundancy of having so many group nodes to dig through, is that it takes a heavy amount of preplanning to pull it off cleanly. The idea here is to make one control that will easily move around the character's center of gravity in order to rotate the character as a whole around that center.

Let it be clear that this is a MOVABLE pivot not an ANIMATABLE pivot. What that means is that it is generally a one time deal per shot. Once the control starts rotating, translating it can cause some very funky results. If you have a character that is walking and then you use the movable pivot to make it turn left 90 degrees on its heel, trying afterwards to move the pivot over to the right heel will cause the character to translate oddly. However, if the character does a forward flip 360 degrees (essentially rotating the control back to its initial orientation), then the control can be moved and used again.

1. Create a locator (create > locator), name it "objectLocator"
this will represent the character rig or object to be rotated at different centers

2. Group objectLocator to itself and name the group "locatorBuffer"
this is where the movable pivot will do its work leaving the objectLocator free to be transformed as needed underneath

3. Create a nurbs circle (create > nurbs primitives > circle), name it "movable pivot"
this will represent the movable pivot control that is simply translated into place and then rotated4. Open the connection editor (window > general editors > connection editor), select the movablePivot control and click Reload Left in the connection editor then select the locatorBuffer group and click Reload Right in the connection editor

5. Find and click the translate attribute on the left side to select it and then find and click rotate pivot on the right side to make the connection. This will lock the Rotate Pivot of the buffer node to the translate values of the movable pivot. Next we need to connect the rotation of the movable pivot to that of the buffer node so find and click rotate on the left side to select it and then find and click rotate on the right side to make the connection | save my driven keys?

buy cheap autodesk maya 2013 pc mac

 It is not a OEM or tryout version.

 We offer worldwide shippment .

 You can pay by paypal.

full version autodesk maya 2013 pc mac $64