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Gun Rig Tutorial Maya 2013
Hello everyone, this is David Belli andI'm going to demonstrate to you this gun rig I made and I'm going to tell you how to setthis up yourself nicely. so the first thing you want to do istake the whole model, the whole gun model and put it against his shoulder, then youwant to reposition your character's rig to hold the gun.Whether it's a military pose or a swat pose I usedlike here. And after that. you want to put a separate rig, a separate joint into your gun starting from the right wrist or
in the center, to. (With theend joint) to the left hand where he's holdingthe gun and after you've done that you want to rigid bind the joint to the main model. As for, separate models like the pin and theejector and the trigger you want those parented underneath the joint, as you can see here. the magazine isn't parented however, themagazine has a separate parent constraint since you don't want it to be stuck likein real life
to the gun the whole time it's going tomove separately when he's reloading it so you want to have a locator fit onto itwith a separate parent constraint. Now after that. you're going to use a parent constraint from your joint to the. right hand controller and since I have two separatecontrollers I've used an an orient constraint as well.
but if you have just one controllerright there serving for translation and rotation you might as well just use one singleparent constraint since a parent constraint also carries arotation feature now as for the left hand which most of us think is a problem hold on. I need to set these constraints on again there you go, now as for the left hand for it to move along
and rotate along nicely, that is going tobe tricky. What you do is whether you have two controllers or one, you're going to parent a locator onto those controllers or onecontroller. and you're going to use a parentconstraint going. from the locator to the end joint. That'swhere the trick is. That's the trick. so if. When you're using therotation feature It's going to use the rotation ofthis controller and the translation of this controller
or both of one single controller. that way, if I move the wrist around here, it'sgoing to rotate and translate the other hand flawlessly along with the gun. So that'spretty much how you set up a gunrig. so, if you want this for a game engine youmight want to use a characterset for the upper parts upper body parts, and you want to make a second characterset for the lowerparts
Creating a Character Rig Part 1 Common rigging pitfalls
In computer graphics, a character rig refers to the group of joints and controls that allow you to pose a character for animation. When designed and built carefully, a good rig can make an animator's life quicker and easier. Conversely, a bad rig can lead to frustration, as animators find themselves fighting against it rather than working with it. In fact, the difference in animating the same sequence with one versus the other can be a matter of hours, days, or even weeks. Rigging is a very nonstandard process. There is no such thing as a â€œone rig fits allâ€� solution.
The type of rig you build will depend largely on the types of motion your character is expected to perform, as well as the production pipeline it has to comply to. For example, biped rigs differ from quadruped rigs, or custom rigs may be needed to animate wings or tentacles. In this set of movies, we'll show you how to build a robust base rig for a typical bipedal character that you can use, and reuse, in future productions. However, before we do that, let's take a closer look at some of the common pitfalls that can befall less experienced character riggers.
Here is a fairly typical base character rig. As you can see, it includes Forward and Inverse Kinematics controls for the armsâ€¦ â€¦legsâ€¦ â€¦and torso. The first thing you'll notice when manipulating any of these controls is that the primary skeleton is already skinned to our character's geometry. However, calculating smooth skin is a highly systemintensive process that can impact interactive performance in your scene
depending on the resolution of your character. In this case, our character has a lower resolution than what you would expect in, say, a big budget movie, so this is less of a concern here. However, if you were to put several of them into a scene at once, your interactive performance would still slow considerably. Since an animator's job is to achieve detailed and subtle motions that depend on rhythm and pacing, it is crucial for them to have as close to realtime performance as possible.
Thus, to address this, many riggers build a much lighter â€œcharacter proxy rigâ€�. Rather than being skinned, the geometry is cut into pieces and parented to the bones to give a rough sense of the character's deformation and volume proportions. An animator can then animate using the much faster proxy, and later apply those animations back to their fully skinned rig when ready for later stages of their production, such as simulation and rendering. You'll also notice that our character rig was built using a single skeleton with every joint connected to the root.
Whether you work with a full skeleton or not will depend largely on the purpose of the rig for example, games vs movies, the dependencies of the system for example, an attached physics engine, and the specifications outlined by your technical director. That said, when possible, it can often be quite useful to organize your rig in a more modular setup. This way, you can isolate specific body parts for troubleshooting