WEBVTT

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Hello, this is Eun-Yong Lim from Anijak Co., Ltd

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This time, in the general process of creating animation,

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we'll look at how character modeling is done,

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and how to rig the character after modeling is finished

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Let's take a look at the basic process

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Character Modeling

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Before we actually get to the modeling part
there is something you have to prepare

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It's the design materials

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Also known as design sheets,

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These contain very detailed information about

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the front and side views,

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and the back views of a character

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And any accessories

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that is necessary to model the character

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They usually consist of

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drawings from 3 different points of view

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So usually modeling is done based off of these materials

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Now let's look at

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the final model made from this sheet

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I had loaded it here in advance

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This is a model

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of a TV series protagonist

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And if you compare it to the initial sheet

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You can see a lot of differences

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Especially the hair, which was completely changed

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Though the basic concepts, such as gender

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approximate age, or color schemes are similar

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Changes in detail like this

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always happens during the modeling process

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The arms got slightly longer

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And the head got smaller

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Change at this scale can happen any time

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That is why, even if you download a design sheet like this

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and use it to create your own model

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I cannot recommend modeling

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by simply tracing the sheet

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When you are working on something

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Especially if it's a group project

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The directors, modelers and animators

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have to all cooperate with each other

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I'm sure everyone has experienced this

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It's always like that

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Good ideas pop up later

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And you keep spotting things you want to fix

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That's not uncommon at all

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Which is why you have to always put into consideration

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that changes to the model might occur

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And why I do not recommend

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putting all of your skill and effort

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into making the model perfect

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and rather recommend first creating

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a more temporary initial model like this

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Now I'll introduce to you

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how to create a temporary model

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based on a design sheet

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Take a look at this clown girl character

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This is the design sheet

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which I will now take

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and use as material for our temporary model

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The temporary model stage is where you

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create an approximate version of the model in a short amount of time

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The purpose of this is to

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create a 3D render of the image in your head

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as efficiently and quickly as possible

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before you begin the actual modeling part

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So how you create the temporary model

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does not matter as long as it doesn't take too long

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You can recycle a previous work

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Or because AI can now generate models too

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you could use an AI model generator

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Personally, especially for cartoonish characters like this one

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I make the body out of basic solid figures

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that most modeling tools provide

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Then give that model color

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to get a feel of what it would look like

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Here's a quick demonstration

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The foot part of this character

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as you can see, requires a lot of detail

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Right now we can ignore that

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and just use this lump instead

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The arm is also just a placeholder

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So there's no need to spend time on making the fingers

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The only thing you should put some effort into
is getting the proportions right

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So now we have the approximate shape

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I recommend doing some coloring and shading

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along with the shape

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for a better preview of the actual model

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So at about this stage

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it will be more efficient to try posing the model
than working on it further

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And see if the body proportions are done right

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such as the length or thickness of the arms and legs

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This is the complete temporary model

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This is where you should get some opinions from other staff or clients

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Of course, if it's a solo project, your own feedback is important too

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You can find and fix a lot of flaws

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that you couldn't check through 2D designs

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And temporary modeling also gives the model

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some solid structure before you get to the main modeling process

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Minor tweaks or design changes aren't as much of a problem in this stage, either

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Even in the worst case scenario, it's much easier to start over

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What I will show you now is a more refined model

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that I put in the neutral pose, or T-pose

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So it can be properly modeled

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Now let's get to the main modeling

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In the main modeling stage

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the temporary model should be put on a separate layer

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So you can easily hide and show it

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Putting it in reference mode keeps you from accidentally selecting it

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Here you can see some triangles

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You also might sometimes find some pentagonal or hexagonal polygons

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Whenever you see any non-tetragonal polygons

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you should get rid of them right away
You can do this process at the end

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but I recommend fixing any one that you see as you go

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Right now I'm trying to fix the wireframe a bit

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So that the wires in the area around the eyes are curved

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Fix that up quickly

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And that creates some undesired polygons

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you can merge them to get rid of them

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So the entire process is going to take a long time

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The part I just showed you was the head modeling

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And what is on screen right now

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is the finished model

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with some basic textures on it

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The finishing process for any model

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is the cleanup, nothing special

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The cleanup is important because

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no matter how clean the model looks in this viewport

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In the animating process

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this model is going to be rendered

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And any messy polygons that you didn't take care of in the renderer

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is going to cause a variety of problems

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It might not be that bad with a couple of characters

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But if multiple flawed characters, along with the background

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keep interacting during production

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In the end these problems will accumulate

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and the renderer might refuse to work

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So a lot of bad things can be caused by not cleaning up properly

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So in order to prevent that from happening

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Every time a model is finished

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you should always use the Cleanup Options tool

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to see if there's anything wrong with the polygons

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And tidy up the model

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Here are some options you can use for that

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There are Cleanup matching polygons

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in which Maya does the cleanup for you

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Then there's Select matching polygons

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where you have to select the polygons yourself

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Personally I prefer

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just fixing the polygons myself

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I think it would be better

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to hide the main model for now

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The model I made has been cleaned up already

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So I'll just quickly create a bad model

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You can tick on Apply to Selected Object

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to apply these options on just the selected object

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Or you could apply them to all of the polygons in this scene

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So you can use the option you need

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The important part is the options down here

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In Fix by Tesselation

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There aren't many instances to use 4-sided faces

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because 4-sided polygons are ideal for rendering

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Faces with more than 4 sides

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So if there was an extra vertex here

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Maya would notice that

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You can see that now

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this polygon has 5 sides

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so Maya will find and fix it

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And a concave face means that even if the polygon is a quadrangle

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its sides could go inwards like this

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Which causes overlap like you can see right now

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the overlapping part will flicker darkly

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So selecting Concave faces will take care of that

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You should get rid of that because it will cause problems while rendering

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Then there's Faces with holes

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This literally means that if there's a hole in the plane

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Maya will catch that

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Next is Laminar faces in Remove Geometry

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Lamina faces means two completely overlapping faces

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What that means is that while modeling

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something like this happened

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You duplicated an object

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erased some polygons, and kept modeling

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Some of the remaining polygons

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would exist in the exact same place

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as the original

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Like these two planes

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You can see that there are two in the sidebar

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Imagine that they were combined in this state

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Even experienced modelers might not be able to catch something like this

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Because there are actually two planes here, with their own edges

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if you merge them in this state

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they will become impossible to find

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But our cleanup tool

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can find those for us

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So overlapping faces like this can also be removed using this tool

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Next, what is Nonmanifold geometry for?

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The ideal flow for wireframe models is neat quadrangles like this plane

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But while modeling, something like this could happen

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If you take an edge

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and extrude it like this

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The renderer will have now way of knowing which should come in front

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There are some other instances that could happen as well

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for example if the normals are flipped

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or if vertices meet in a single spot

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With this option, you can remove geometry that the renderer cannot understand

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So like this extrusion

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The tool will remove imperfections like these

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So eventually you can get a perfect plane, like how it originally was

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Let's try selecting this object, and set it to Select matching polygons

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Now in the script editor

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There's a message that says No items found to clean up

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A state like this, where the program can't find anything to fix

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would be the best
And after the cleanup there will be a lot of history stacks

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I should probably delete them

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So that part was to tell you

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how important it is that the model you worked so hard on

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does not run into any problems in the rendering process

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Character Rigging

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Before I get to rigging

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there's something important I have not told you yet

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and that is about the concept of Nodes

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The same thing is called Mesh in other software

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I just created a sphere in Maya, you can see in the outliner it's called a sphere

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If you take a closer look

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You can see it actually consists of the dots, lines, and planes

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that make up the sphere, called vertices, edges, and faces

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And then the transform node, the thing above the sphere in the outliner

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is what adjusts the translation, rotation, and scaling

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of the object in the viewport

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The node and shape together make up a single model

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And then there is BlendShape, which you may have heard of

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If there is more than one shape

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the model will shift between them

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It's called BlendShape because it blends the components to become another shape

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I went off on a bit of a tangent there

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Anyway, if you take a rigging tutorial

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you will see that in Maya's rigging tools is options like

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Constrain, Deform, Skin, and Skeleton

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There are quite a few, so you might get overwhelmed at first

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But most Constrain tools form relationships with each other
using transform nodes

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Let's create a cube here

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If we set the sphere to be the parent of this cube

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You can see it's marked blue here
which means that the transform node is constrained

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Now if we move the sphere

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The cube will move along with it
But the shape of the cube will not change

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So there's no problem with changing the cube's shape

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You can see that the relationship between the sphere and the cube is unchanged

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because the cube's transform node is still constrained

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Let me take a different approach now

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Here's the sphere

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I could animate it

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by using the transform node

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to change its x, y, and z values and make a key animation

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But

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the shape node, so vertices

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can also be moved to give the same effect

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Then, technically I'm moving the sphere without touching its transform node

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So you can create the same movement

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by giving changes to different components

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Right now I'm moving the sphere through the vertex

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And now I'm animating using the transform node

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Then this is an option

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you will use often while rigging

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You create a joint

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Then you select the joint

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and add it to the sphere's skin

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00:21:47.460 --> 00:21:50.090
Now the joint is moving

268
00:21:50.090 --> 00:21:54.090
and moving the joint

269
00:21:54.090 --> 00:21:57.330
is the same effect as moving the vertices of the sphere

270
00:21:57.330 --> 00:21:59.930
Then where is the sphere's transform node?

271
00:22:01.330 --> 00:22:10.840
The moment the joint was bound, it was fixed to the origin point

272
00:22:10.840 --> 00:22:13.190
So now you can use the joint's transform node

273
00:22:14.161 --> 00:22:20.451
to animate the sphere

274
00:22:20.451 --> 00:22:22.261
I'll give it a key

275
00:22:23.353 --> 00:22:24.103
a key

276
00:22:25.111 --> 00:22:28.570
through which the sphere can be animated

277
00:22:29.770 --> 00:22:38.260
But what you're actually doing is changing the sphere shape through the joint

278
00:22:39.010 --> 00:22:41.850
And the transform node stays here

279
00:22:41.850 --> 00:22:49.700
If you really get into rigging, it's extremely complicated

280
00:22:49.701 --> 00:22:51.801
You need a lot of math knowledge

281
00:22:51.850 --> 00:22:55.821
And there are so many rigging tools

282
00:22:55.890 --> 00:22:59.390
that it might overwhelm you

283
00:22:59.479 --> 00:23:09.799
But by distinguishing these two first, you can approach it more easily, so I wanted to mention this first

284
00:23:09.799 --> 00:23:15.599
Another important concept in rigging is the node history

285
00:23:15.600 --> 00:23:17.479
Node history is a bit of a mouthful

286
00:23:17.499 --> 00:23:24.688
So I will now show you what that is step by step

287
00:23:24.690 --> 00:23:27.090
We have a new sphere here

288
00:23:28.788 --> 00:23:32.479
and for this example I'll wipe the previous history

289
00:23:32.479 --> 00:23:35.599
I'll call this Sphere 1

290
00:23:36.599 --> 00:23:38.468
So name it Sphere01

291
00:23:39.689 --> 00:23:41.839
Next, copy and paste it

292
00:23:43.668 --> 00:23:47.678
to create an object

293
00:23:48.878 --> 00:23:50.869
that will become a target for Sphere01

294
00:23:55.558 --> 00:24:00.678
and change its modeling a bit

295
00:24:00.678 --> 00:24:06.919
If you know about rigging, you will already know
what I'm going to show you

296
00:24:06.919 --> 00:24:12.039
I'm trying to show you what BlendShape can do

297
00:24:13.739 --> 00:24:15.239
So what did I just do?

298
00:24:16.429 --> 00:24:21.479
I took a sphere, copied and pasted it,

299
00:24:21.479 --> 00:24:27.239
so that the two spheres have the exact same number of
vertices, edges, and faces

300
00:24:27.239 --> 00:24:32.839
then I modeled the new sphere to look a bit different

301
00:24:33.789 --> 00:24:37.339
So what is this new sphere for?

302
00:24:37.339 --> 00:24:41.358
If I change the translate value

303
00:24:41.358 --> 00:24:46.168
to be (0, 0, 0), the location of this sphere

304
00:24:46.169 --> 00:24:50.607
will become the origin, the same as the original sphere

305
00:24:51.318 --> 00:24:57.159
Remember that what I just did was using the transform node

306
00:24:57.159 --> 00:25:02.458
Now I will set up BlendShape using these two spheres

307
00:25:02.459 --> 00:25:03.889
So in the rigging options

308
00:25:04.139 --> 00:25:08.039
BlendShape is in the Deform menu

309
00:25:08.288 --> 00:25:16.828
The BlendShape node has been updated to have many functions

310
00:25:16.829 --> 00:25:19.055
but for now I'll use the default setting

311
00:25:20.389 --> 00:25:22.989
Name this mode TestBLS, and

312
00:25:23.428 --> 00:25:30.637
I would want the Check topology option rather than In-between
since the two models have the same number of components

313
00:25:31.739 --> 00:25:33.789
Set Deformation order to Automatic

314
00:25:33.937 --> 00:25:36.388
So now I have

315
00:25:37.839 --> 00:25:41.639
a basic BlendShape

316
00:25:42.538 --> 00:25:43.678
So now Sphere01

317
00:25:45.518 --> 00:25:48.318
can change shape through the BlendShape deformer

318
00:25:48.318 --> 00:25:52.188
BlendShape is used mostly for facial expressions

319
00:25:52.188 --> 00:25:58.038
like the character closing their eyes or raising an eyebrow
or even lip sync

320
00:25:58.257 --> 00:26:02.838
can be done using BlendShape

321
00:26:02.839 --> 00:26:10.914
With this sphere, I have just created a very basic mouth movement

322
00:26:13.788 --> 00:26:15.888
Let's put this back at the origin

323
00:26:16.288 --> 00:26:19.038
And now I'm going to give this

324
00:26:19.908 --> 00:26:25.677
a simple joint

325
00:26:26.288 --> 00:26:29.488
so bind it to this spot

326
00:26:30.477 --> 00:26:34.838
And now let's pretend this is a body rig

327
00:26:34.839 --> 00:26:37.638
select these two joints

328
00:26:38.288 --> 00:26:42.288
and select Bind Skin

329
00:26:42.338 --> 00:26:47.258
You can either bind to the joint hierarchy or just the selected joints

330
00:26:47.258 --> 00:26:55.838
Allowing multiple bind ports isn't necessary right now, 
because there's just two joints

331
00:26:57.438 --> 00:27:01.638
So now this "character" has a basic skin

332
00:27:01.638 --> 00:27:05.057
though it's not that amazing

333
00:27:05.538 --> 00:27:08.838
now the character can move within the world using its joints

334
00:27:10.057 --> 00:27:11.838
And it can even make

335
00:27:12.188 --> 00:27:13.838
facial expressions, kind of

336
00:27:15.788 --> 00:27:21.488
What I'm trying to say is, from the perspective of the vertex

337
00:27:21.488 --> 00:27:28.998
how the process goes is, first I created a facial expression

338
00:27:28.999 --> 00:27:30.878
using the BlendShape TestBLS

339
00:27:30.898 --> 00:27:38.018
Then I used a skin cluster, so a joint to move the character here

340
00:27:38.019 --> 00:27:39.198
Right?

341
00:27:39.218 --> 00:27:44.347
Sphere 1's shape was blended, then the SkinCluster was added

342
00:27:44.348 --> 00:27:47.538
What would happen if this process was reversed?

343
00:27:50.388 --> 00:27:54.038
This might cause an error, but let's test it out anyway

344
00:27:54.048 --> 00:28:01.747
If you select Inputs and All Inputs, there is an old Maya function
that lets you change the order around

345
00:28:01.887 --> 00:28:04.847
Let's make the Skin Cluster go in front of BlendShape

346
00:28:05.497 --> 00:28:08.727
You can do that by middle clicking

347
00:28:08.727 --> 00:28:11.127
So now the order is

348
00:28:11.127 --> 00:28:14.767
Skin Cluster joint comes first

349
00:28:14.767 --> 00:28:16.967
and BlendShape comes after that

350
00:28:16.967 --> 00:28:21.807
So now I'll try the same animation as before

351
00:28:21.807 --> 00:28:25.007
and move the joint

352
00:28:25.007 --> 00:28:27.907
to get this sphere character on this side of the world

353
00:28:27.907 --> 00:28:30.557
What would happen

354
00:28:31.337 --> 00:28:32.337
if I now change its expression?

355
00:28:33.127 --> 00:28:36.807
It returns to the coordinates that is targeted by BlendShape

356
00:28:38.806 --> 00:28:40.306
Why does this happen?

357
00:28:40.306 --> 00:28:44.906
Because BlendShape was processed last

358
00:28:44.906 --> 00:28:47.886
So whatever happened before it

359
00:28:47.886 --> 00:28:51.236
BlendShape is structured so that

360
00:28:51.236 --> 00:28:56.136
it follows the shape of the target object

361
00:28:56.136 --> 00:28:58.537
So whatever pose the character was in before

362
00:28:58.537 --> 00:29:02.076
BlendShape will change it to become that of the target object

363
00:29:03.276 --> 00:29:05.577
From the vertices' perspective, of course that would happen

364
00:29:05.577 --> 00:29:08.276
The joint had sent them over there

365
00:29:08.276 --> 00:29:12.226
But BlendShape is set to put them in this state

366
00:29:12.276 --> 00:29:15.326
So even with the same two nodes

367
00:29:15.326 --> 00:29:19.776
You can get different results depending on the order they're in

368
00:29:19.776 --> 00:29:25.157
The first thing you learn about rigging is what joints are

369
00:29:25.157 --> 00:29:29.756
So now let's learn about what FK and IK are

370
00:29:29.827 --> 00:29:34.026
and how to switch the joints

371
00:29:34.026 --> 00:29:37.526
between FK and IK

372
00:29:37.526 --> 00:29:41.166
First let's create an FK joint

373
00:29:41.166 --> 00:29:46.207
by clicking on Create Joint

374
00:29:49.207 --> 00:29:53.007
To make it easy to see them, set the Radius to 0.5

375
00:29:53.007 --> 00:29:54.607
The Radius value has no actual function

376
00:29:54.607 --> 00:29:57.806
It just lets you see the joint in the viewport

377
00:29:57.806 --> 00:30:01.457
And to make it easy to differentiate the joints

378
00:30:01.836 --> 00:30:10.636
I'll also name them, like fk_jnt01

379
00:30:10.636 --> 00:30:12.636
and 02, 03

380
00:30:14.316 --> 00:30:20.956
So now there's a hierarchy of FK joints

381
00:30:22.156 --> 00:30:26.156
And this is how FK works, it stands for Forward Kinematics

382
00:30:26.186 --> 00:30:27.436
which simply means that if you move the parent

383
00:30:28.556 --> 00:30:33.276
the child joint moves along with it

384
00:30:33.276 --> 00:30:37.755
Now I'll copy and paste these FK joints and create some IK ones

385
00:30:37.755 --> 00:30:42.245
IK stands for Invert Kinematics

386
00:30:42.246 --> 00:30:45.226
It literally means that the operation is reversed

387
00:30:45.595 --> 00:30:48.795
which might sound complicated,
but let's try it out ourselves

388
00:30:48.795 --> 00:30:51.836
This is a copy of the joints I just created

389
00:30:51.916 --> 00:30:56.156
So that I won't confuse it with the FK ones

390
00:30:56.156 --> 00:31:01.196
I'll put the Radius at 0.2 and hide the FK

391
00:31:03.356 --> 00:31:08.556
So now, the thing about IK is

392
00:31:08.556 --> 00:31:13.836
In Maya, there's something called a Preferred Angle

393
00:31:13.836 --> 00:31:20.475
the IK solver will calculate the flexure using this value

394
00:31:20.475 --> 00:31:25.435
If I bend it like this, the rotation is about -30 degrees

395
00:31:25.435 --> 00:31:31.755
The exact value doesn't matter right now

396
00:31:31.756 --> 00:31:33.986
I have given the IK solver

397
00:31:34.855 --> 00:31:39.765
orders about how to bend the joints

398
00:31:41.086 --> 00:31:42.786
And now I will create

399
00:31:43.565 --> 00:31:44.556
an IK handle

400
00:31:44.556 --> 00:31:47.435
This is the operator, called an IK solver

401
00:31:47.675 --> 00:31:51.276
Right now we should use the most basic solver

402
00:31:51.276 --> 00:31:55.516
which is the Rotate Plane Solver

403
00:31:55.516 --> 00:31:58.316
And add it to all of the joints

404
00:31:58.316 --> 00:32:03.115
Now you can see an IK handle in the Outliner

405
00:32:03.115 --> 00:32:09.435
So the animator can use either FK or IK depending on the situation

406
00:32:09.435 --> 00:32:13.836
If you wanted to animate the character waving goodbye,
for instance

407
00:32:13.836 --> 00:32:15.996
FK would be better for that job

408
00:32:16.395 --> 00:32:21.276
In contrast, IK would be better for when

409
00:32:21.276 --> 00:32:25.276
the character is doing push-ups, or picking up an object

410
00:32:25.276 --> 00:32:29.836
or is leaning against a wall

411
00:32:29.836 --> 00:32:33.836
But to put these two systems in one character

412
00:32:33.836 --> 00:32:40.875
people usually create a set of joints that can switch between systems

413
00:32:40.875 --> 00:32:44.395
then use FK for one type of motion

414
00:32:44.395 --> 00:32:47.356
and use IK for other motions

415
00:32:47.356 --> 00:32:53.636
So you can switch between them as necessary

416
00:32:54.535 --> 00:32:57.235
So now let's create a set

417
00:32:58.336 --> 00:33:01.195
of three switching joints

418
00:33:03.345 --> 00:33:06.425
We'll name them, for example

419
00:33:07.535 --> 00:33:08.635
Skin

420
00:33:09.675 --> 00:33:12.885
I'll name these joints Skin Joint

421
00:33:13.035 --> 00:33:16.776
since these three joints will actually

422
00:33:18.076 --> 00:33:19.336
be bound to the object skin

423
00:33:20.636 --> 00:33:25.196
Change the Radius value for differentiation

424
00:33:25.197 --> 00:33:30.026
Now bind the FK joints and IK joints

425
00:33:30.046 --> 00:33:32.076
to these Skin joints

426
00:33:32.076 --> 00:33:34.875
There are a lot of ways to do the binding as well

427
00:33:34.875 --> 00:33:39.586
But I'll use the most basic option that I mentioned before

428
00:33:41.515 --> 00:33:44.475
which is through Constrain>Parent Constrain

429
00:33:44.476 --> 00:33:46.505
So ik_jnt01 is now Parent Constrained

430
00:33:46.525 --> 00:33:50.796
to skin_jnt01

431
00:33:50.797 --> 00:33:52.876
Number 02 to number 02

432
00:33:52.896 --> 00:33:59.356
and number 03 is constrained to skin_jnt03

433
00:33:59.356 --> 00:34:06.076
Then bind the FK joints to the Skin joints the same way

434
00:34:06.076 --> 00:34:09.276
Now you can see that these two values are at 1

435
00:34:09.276 --> 00:34:11.755
and because they are pulling with the same value

436
00:34:11.755 --> 00:34:13.996
the actual movement will be exactly halfway between them

437
00:34:13.996 --> 00:34:15.885
We'll see how that looks a bit later

438
00:34:16.985 --> 00:34:17.985
So now

439
00:34:21.285 --> 00:34:23.895
FK and IK

440
00:34:24.795 --> 00:34:26.635
we bound IK first, by the way

441
00:34:26.635 --> 00:34:32.235
So IK and FK are using the same method

442
00:34:32.235 --> 00:34:34.955
to constrain the skin joint

443
00:34:34.955 --> 00:34:36.235
So they're pulling on it

444
00:34:36.235 --> 00:34:38.716
Now let's see how that looks

445
00:34:38.795 --> 00:34:41.036
Now it's moving by FK

446
00:34:41.036 --> 00:34:42.235
Wait, that's not true

447
00:34:42.236 --> 00:34:43.185
If you move the FK joint

448
00:34:44.385 --> 00:34:45.776
the movement of the Skin joint

449
00:34:46.435 --> 00:34:47.835
will be the intermediate

450
00:34:49.276 --> 00:34:54.156
of the IK and FK joints' movement

451
00:34:54.156 --> 00:34:56.196
So if

452
00:34:56.577 --> 00:34:58.227
one of the Constrain values

453
00:34:59.284 --> 00:35:00.684
was set to 0

454
00:35:01.934 --> 00:35:04.784
For example, if I set the FK value to 0

455
00:35:05.784 --> 00:35:09.994
the Skin joints will follow the IK joints

456
00:35:09.994 --> 00:35:13.934
Which is why usually

457
00:35:14.284 --> 00:35:16.184
you add a controller

458
00:35:16.234 --> 00:35:17.374
So now

459
00:35:18.384 --> 00:35:20.284
let's erase the history

460
00:35:22.393 --> 00:35:29.503
And for controllers you would most commonly use a NURBS curve

461
00:35:30.793 --> 00:35:35.933
So I'll add a switch

462
00:35:36.434 --> 00:35:37.434
and name it

463
00:35:38.034 --> 00:35:39.984
IKFK_switch

464
00:35:41.384 --> 00:35:42.384
Now for its properties

465
00:35:43.483 --> 00:35:46.574
I'm going to add a controller

466
00:35:48.024 --> 00:35:52.503
enter the name ikfk_switch here

467
00:35:54.284 --> 00:36:00.794
And once you add the properties you can select the data type here

468
00:36:00.795 --> 00:36:05.224
and Vector means the three values that indicate direction and location

469
00:36:05.244 --> 00:36:09.484
Integer is just that, String is a text string, and Float

470
00:36:09.485 --> 00:36:15.854
is a real number that can have a decimal, Boolean is true/false

471
00:36:15.874 --> 00:36:18.484
And lastly Enum stands for enumeration

472
00:36:19.034 --> 00:36:23.734
We are going to add a numeric attribute property

473
00:36:24.534 --> 00:36:26.934
that has a maximum of 1 and minimum of 0

474
00:36:27.634 --> 00:36:28.934
Now let's continue working

475
00:36:29.484 --> 00:36:32.114
So now we have the controller

476
00:36:32.834 --> 00:36:36.284
And now that the controller is created

477
00:36:36.284 --> 00:36:44.874
let's try setting the value to 1
Now the joint will follow IK when set to 1, and FK when set to 0

478
00:36:44.875 --> 00:36:45.684
So, go to Connection Editor

479
00:36:46.224 --> 00:36:53.914
There are a lot of editors in Maya,
but for rigging Connection Editor comes in handy

480
00:36:53.914 --> 00:36:58.873
ikfk_switch is currently set to 1

481
00:37:01.673 --> 00:37:07.383
Now let's connect the initial IK value to it

482
00:37:07.384 --> 00:37:08.983
which is 1

483
00:37:08.983 --> 00:37:13.804
So it's easy to set when IK is 1

484
00:37:13.805 --> 00:37:17.483
But at the same time

485
00:37:18.033 --> 00:37:19.433
the FK value has to be 0

486
00:37:19.554 --> 00:37:25.113
There are a lot of ways to do this, such as using key animation

487
00:37:25.113 --> 00:37:30.524
But right now I'll use nodes that riggers often use

488
00:37:30.525 --> 00:37:34.254
From the perspective of the controller, as you can see

489
00:37:34.274 --> 00:37:44.113
ikfk_switch is now connected to these 3 constraints
through the Connection Editor

490
00:37:44.113 --> 00:37:52.434
and it's set so that all three values become 1 when this is set to 1

491
00:37:52.434 --> 00:37:56.693
But one value has to be reverse

492
00:37:57.544 --> 00:38:02.791
so I'll type in 'createNode reverse'

493
00:38:03.393 --> 00:38:10.613
which will reverse the value
Here is the Connection Editor we used before

494
00:38:11.313 --> 00:38:16.944
this operator, reverse1, will reverse the value

495
00:38:16.945 --> 00:38:21.124
And you can get by default three values, x, y, and z

496
00:38:21.144 --> 00:38:28.834
We'll connect to the first one, x
It doesn't actually matter which one you connect

497
00:38:28.834 --> 00:38:32.654
So this operator has now reversed the value 1

498
00:38:33.733 --> 00:38:40.183
And this reverse node will again connect to a constraint

499
00:38:40.254 --> 00:38:44.633
this time to the FK value

500
00:38:51.383 --> 00:38:55.654
So now this value can move between 0 and 1

501
00:38:55.654 --> 00:39:02.119
and the animator can animate in the way they need

502
00:39:02.953 --> 00:39:13.274
So in this first class we took a look at the various modeling techniques
that I experienced firsthand during production

503
00:39:13.274 --> 00:39:23.113
and through that also looked at some things you need to 
know about rigging, and what IK and FK is

504
00:39:23.113 --> 00:39:31.834
Next time we will look at another function of IK, Spline IK
And how a character using that function is completed

505
00:39:31.834 --> 00:39:41.434
And also, how all of the backgrounds and props should be rigged
in preparation of production

506
00:39:41.435 --> 00:39:42.482
1. Character Modeling
Temporary Modeling

507
00:39:42.483 --> 00:39:43.782
Giving 3D shape to the character as efficiently and quickly as possible in order to get a feel of the character

508
00:39:43.783 --> 00:39:44.933
Focus on creating large chunks using basic 3D shapes and coloring
Supplement details that are hard to check in 2D

509
00:39:44.933 --> 00:39:46.283
Makes it possible to begin main modeling process with a sense of 3D shape
Easy to modify or reproduce

510
00:39:46.283 --> 00:39:47.232
Main Modeling
Polygons that are not quadrangles should be removed using Merge as soon as they are found

511
00:39:47.232 --> 00:39:48.412
Use Cleanup Options tool to clean up polygons as overlooked polygons may cause rendering problems

512
00:39:48.412 --> 00:39:49.582
2. Character Rigging
Types of Nodes

513
00:39:49.582 --> 00:39:51.082
Shape Node: Information about vertices, edges, and faces
Transform Node: Adjusts translator rotation & scale

514
00:39:51.082 --> 00:39:52.482
Blend Shape
Moves between two or more shapes

515
00:39:52.482 --> 00:39:53.982
Used often for closing eyes, raising eyebrows, lipsync, etc.
Use joints to move character within world and use BlendShape to create expressions

516
00:39:53.982 --> 00:39:55.382
Joint
fk_joint to raise or wave arms

517
00:39:55.382 --> 00:39:57.032
ik_joint for push ups, picking up objects, leaning on walls, etc.
Switching joint sets allows changing between IK and FK as necessary