Rigging a biped is a complex task, but it's still one of the most commonplace types of animations you'll be expected to know how to do. This course, Introduction to Rigging in Maya 2017, will present many techniques for rigging in Maya 2017 and integrate them with the gestalt of the character. First, you'll plan the rig features you intend to include in the final rig, including FK/IK switchable arms and back, stretchy spine, grouped foot, and shoulder controls. Next, beginning with the hips, you will work down the leg creating IK controls for the legs with knee pole vector and an "inverse grouped" foot. You'll also go over creating controls for the arms and fingers, as well as see an overview of skinning techniques focusing on binding and problem areas. When you're finished with this course, you'll be ready to create rigs while emphasizing feature-based planning as a beginning point to rigging while divining the individual needs of each rig. Software required: Maya 2017.
Eric Kunzendorf has been teaching computer graphics and animation at the college level for the last two decades at such varied institutions as Jacksonville University, the New Hampshire Institute of Art, the Atlanta College of Art, and the School of Visual Arts’ Savannah campus. He holds a Bachelors of Arts in Art history from Columbia University and a Masters of Fine Arts in Drawing and Painting from the University of Georgia.
Course Overview Hi everyone! Eric Kunzendorf here. Welcome to my course, Introduction to Rigging in Maya 2017. I'm an associate professor of animation at Jacksonville University, and I have over two decades successfully teaching modelling and animation at the college level. In this course, we're going to explore some basic information concerning the at-times excruciatingly technical discipline known as rigging. I'll show you how to simplify the placement of joints and align the rotational axes, set up skeletons for rigging, create rigging controls, and the like. I'll also discuss binding and weighting the character. In this course, we'll cover planning your rig with an eye toward what your character may have to do, joint placement and axis orientation using industry standard MEL scripts, abstracting controls, that is, controlling large numbers of attributes and objects using as few attributes as possible, rigging controls using FK, IK, and spline IK, and binding and weighting techniques for efficient character animation. By the end of this course, you'll have an introductory level knowledge of rigging and take away an animatable character for use in your own productions. Before beginning this course, it would be helpful for you to have some familiarity with Maya's interface and rigging and binding tools, but it isn't necessary. I hope you'll join me on this journey to begin learning to rig in Pluralsight. So let's get started.