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Rigging Quadrupeds in Maya

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Lesson 37. Working on the connections of the Reverse Lock Joints
In this lesson we will learn how to connect our Reverse Foot to our current rig using Point and Orient Constraints
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Software used
Maya 8.5 or higher
What you will learn
Learn time-saving rigging techniques and the principles of building solution-based rigs and controls for more efficient animating. Contains nearly 7 hours of project-based training. Perfect for intermediate artists. Popular highlights include: Constructing Effective Hierarchies; Broken Hierarchy Systems; Building Rig from Reference Skeleton; Building an FK Spline System; Incorporating MEL for Speed; Custom Shelf for Tools; Characters Sets; Sub-Character Sets; Set Driven Keys; IK Solvers for Proper Limb Functionality; Constraints; Advanced Hip Control; Painting Weights; Connection Editor; Reverse Lock System; Muscle Deformation with Influence Objects; Corrective Shapes for Mesh Deformations.
Partner
Tutor
Delano Athias

68 Lessons

226 likes / 53,104 views
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2. Setting up a Display Layer and a Custom Shelf
07:10
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3. Wrapping up the Custom Shelf
05:29
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4. Ironing out a solid naming convention
01:32
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5. The use of Groups for scene cleanliness and organization
07:40
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6. Beginning the construction of the skeleton
10:55
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7. Mirroring the Joint Chain of the left Pelvic Limb
05:01
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8. Building the Thoracic Limb Joint Chain
06:33
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9. Creating the bones for the upper body
07:27
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10. Examining the local Rotation Axis of the upper body Joint Chain
03:05
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11. Working on the ears
06:23
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12. Building the tail
02:45
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13. Bringing the rig together- the Pelvis
04:24
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14. Setting up the tail to help avoid Counter-Keying
04:35
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15. Finishing Joint Connections and cleaning up the scene
02:29
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16. Binding the horse
04:56
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17. Exploring wire frame coloring
05:26
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18. Using Maya's Paint Weights tool to edit influences
11:07
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19. Painting weights around the Thorax
10:54
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20. Working on completing the top of the Thoracic Limb
07:58
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21. The effectiveness of Maya's Component Editor for modifying weights
05:19
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22. Fixing the deformations of the left Fetlock
03:02
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23. Weighting the Pastern
04:00
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24. Finalizing the deformations of the Thoracic Limb
03:16
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25. Bringing our attention to the left Pelvic Limb
02:08
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26. Adjusting the Pelvic weights
04:38
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27. Working on the hip bone
04:04
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28. The Stifle Joint's influence
03:07
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29. Focusing on the Tarsal Joint
03:04
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30. Utilizing Corrective Blend Shapes
08:10
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31. Using Set Driven Keys to tie attributes together
02:53
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32. Weighting the Fetlock of the Pelvic Limb
05:09
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33. Finishing up the left Pelvic Limb
05:14
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34. Exploring Maya's time-saving Mirror Weights tool
05:20
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35. Starting the process of building Control Objects
05:32
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36. Setting up the Reverse Lock feature for the Phalangeal Joints
05:23
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37. Working on the connections of the Reverse Lock Joints
07:32
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38. Building the curves to control the horse's legs
07:38
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39. Continuing the work of the control curves
04:21
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40. Finishing the set up of the limb control curves
13:17
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41. Adding the Carpal and Tarsal controls
06:49
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42. Finishing the connections of the knee controls
06:42
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43. The Thoracic shoulder controls
07:48
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44. Creating the bones for the Spline FK back vertebrae
03:36
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45. Connecting the Spline IK
06:29
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46. Constraining clusters to the FK Driver Joint Chain
04:31
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47. Starting the controls for the back vertebrae
06:55
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48. Joining the upper body controls
02:57
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49. Adding the Broken Hierarchy System
06:56
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50. Setting up the hips
07:27
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51. Commencing with the Neck rig
05:03
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52. Constraining the neck clusters to the Neck Driver Chain
03:07
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53. Setting up control curves for the Neck
03:27
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54. Continuing the set up of the control curves for the Neck Joints
08:26
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55. Adding custom attributes to control the base of the horse's neck
05:16
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56. Troubleshooting techniques
04:22
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57. Working on the head
04:28
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58. The ear controls
05:50
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59. Starting the tail rig
04:24
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60. Working on control curves to drive the tail
12:03
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61. Finishing the set up of the tail
03:12
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62. Adding a visible Global Control
08:52
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63. Cleaning up the display of the scene
03:34
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64. Character and sub-character sets
10:40
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65. A concept for the jaw control
15:34
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66. Establishing influence objects for muscle jiggle
13:01
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67. Using influence objects to get rid of unwanted deformations
07:55
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68. Conclusion
00:50
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