maya blog: maya tutorials and maya information: 3D CG labo

Maya FAQ: How can I read a higher version of maya scene file?

2009-03-04T04:13:21Z

In this tutorial, I explain a method to rewrite a ASCII file of Maya
and to read by a lower version of Maya.
]]>

In Maya, there are two types of the scene file.
.mb　Maya Binary
.ma　Maya ASCII

You can't read the higher version of .mb type scene file.

In higher version of Maya, select
File > Save Scene
save your file as .ma type.

Open the .ma file with a text editor.
The version number is written in three places.
Rewrite them to the version that you want to read and save it.

Open it with the lower version of Maya.

When the function provided only in the higher version is used,
it is not a guarantee.

Maya FAQ: How do I get shadows?

2009-02-15T15:04:57Z

There is no shadows. How do I get shadows?
]]>

setting of the light

First of all, you should set the shadow to the light.
Turn on
Use Depth Map Shadows
or
Use Ray Trace Shadows

They are turned off in the default.

settings of the Render Stats

In Render Stats of the attributes of a object,
there are Casts Shadows and Receive Shadows attributes.
They are turned on in the default, you need not change them.
If you turn off the attributes, there will be no shadows.

The relation between Casts Shadows and Receive Shadows is as shown in the above figure.

Are the objects in the shadows?

Two above-mentioned items are basic of the setting of the shadows.

The shadows don't fall when the object on which the shadows are cast
is in the shadows.

For instance, if you make a big sphere as the sky, the shadows don't fall
(or you can't see the shadows) in the objects put in the sphere.

Turn off the Casts Shadows attribute of the sphere.

Maya tutorials: polygon modeling (4) symmetric modeling by the instance

2009-02-10T08:55:36Z

Symmetry by subdiv proxy is done to the local coordinate of the object.
You use the Instance option of Duplicate when you make the object symmetrical
around the origin of the world coordinates.
]]>

For the explanation about polygon modeling, please refer to
Maya tutorials: polygon modeling (1) basic operation
Maya tutorials: polygon modeling (2) operation of the polygon mesh
Maya tutorials: polygon modeling (3) Subdiv Proxy

symmetry by subdiv proxy

When you make the polygon mesh like the above figure symmetric by subdiv proxy,

the object is made symmetrical at the point where X coordinate is minimum.

symmetry by instance

Proxy > Subdiv Proxy
reset settings

make a subdiv proxy.

Select both the smooth mesh and the proxy mesh.

Edit > Duplicate Special
select Instance at Geometry Type, and set -1 to x scale.
push the Apply button

They become symmetric around x=0.

Japanese article
Maya tutorials: polygon modeling (3) symmetric modeling by the instance

Maya tutorials: installing V-Ray demo

2009-02-07T10:50:17Z

I am going to explain how to install V-Ray for Maya Demo
]]>

download the installer
Dowload the installer of V-Ray for Maya Demo at Chaos Group site.
Execute it, it will write Maya Plug-in to the Maya folder.

setting of Maya

Open the Plug-in Manager

Windows > Settings/Preferences > Plug-in Manager

click Loaded of vrayformaya2008.mll, then the plug-in will be loaded.

Materials are added as shown in the above figure.

2D Textures are added as shown in the above figure.

Env Textures are added as shown in the above figure.

Lights are added as shown in the above figure.

Utilities are added as shown in the above figure.

Render Settings are added as shown in the above figure.

the limitations of the demo

The limitations of V-Ray for Maya Demo is below.

resolution 600x450
lights 5
objects 200
the logo mark is rendered

Maya tutorials: polygon modeling (3) Subdiv Proxy

2009-01-28T08:27:18Z

In this tutorial, I am going to explain the smoothing of the polygon mesh
and the usage of the Subdiv Proxy.
]]>

For the explanation about polygon modeling, please refer to
Maya tutorials: polygon modeling (1) basic operation
Maya tutorials: polygon modeling (2) operation of the polygon mesh

Smooth

Select a polygon mesh
Mesh > Smooth

The faces are subdivided and smoothed.

In the Channel Box, you see the history of the commands,
and you can specify the object's smoothness by setting
the Divisions value.

Or you can specify the Divisions value
in the option window of the Smooth command.
Mesh > Smooth

Subdiv Proxy

Select a polygon mesh
Proxy > Subdiv Proxy
A smoothed mesh are generated in the proxy mesh.

When you edit
(transform, rotate, scale the vertices, edges, and extrude, cut faces etc)
the outside polygon (proxy mesh),
the inside polygon (smooth mesh) is similarly edited like being smooth.

Because the inside polygon doesn't follow
if you transform, rotate, scale the outside polygon in the object mode,

you should transform, rotate, scale it in the component mode.

Open the option window
Proxy > Subdiv Proxy

If you turn on Smooth Mesh In Layer
the smooth mesh is put in a display layer.
Moreover, Reference is set automatic and on,
and the layer enters the state of the reference (R mark).

Subdiv Proxy that keeps symmetry

Select the faces of the polygon mesh that are in -x,

delete them.
Select the polygon mesh in the object mode,

open the option window
Proxy > Subdiv Proxy

Select
Mirror Behavior　Full
Mirror Direction　-X
Push the Smooth (or Apply) button.

When you edit the outside polygon (proxy mesh),
you can do modeling with symmetry kept.

When the vertices that should be x=0 has shifted as shown in the above figure,
you choose the vertices around x=0,

open the Component Editor
Windows > General Editors > Component Editor...

Specify the value of x coordinates for 0.

Smooth Mesh Preview

In Maya 2008 (or later), you can display the polygon meshes smooth
with pressing 1, 2, 3 keys.

1 key, original polygon.

2 key, original polygon (cage) and smooth.

3 key, smooth.

Japanese article
Maya tutorials: polygon modeling (2) Subdiv Proxy

Maya tutorials: polygon modeling (2) operation of the polygon mesh

2009-01-17T01:40:47Z

In this tutorial, I am going to explain how to separate, extract, and combine
the polygon mesh.
]]>

For the explanation about polygon modeling, please refer to
Maya tutorials: polygon modeling (1) basic operation

what is polygon mesh
A polygon mesh is a unit of the polygon model selected in the object mode.
It is unrelated whether the faces are continuous or not.
(As for the NURBS object, the surface must be continuous unlike the polygon.)
Polygon mesh and polygonal object are the same meanings.

The above figure is the example of the polygon mesh.
A is a polygon mesh where faces are continuous and has no border edges.
B is a polygon mesh where faces are continuous and has border edges.
C is a polygon mesh where faces are not continuous and has border edges.
D is a polygon mesh where faces are not continuous and has no border edges.

In Maya, a group of continuous faces in a polygon mesh is called a Shell.

separate polygon mesh

Select a polygon mesh with two Shell or more as shown in the above figure.
Execute
Mesh > Separate
then,

you will see the Outliner like the above figure.
The two Shells are separated to two polygon meshes.

The transform1 is the history of the command.
If you delete the history with
Edit > Delete by Type > History
the transform1 will be deleted.

Or if you delete the transform1,
then the history will be deleted.

If you execute the Separate command to a polygon mesh which has only one Shell,
it becomes an error.

extract polygon mesh

Select the faces of a polygon mesh

Mesh > Extract
Select the
Separate extracted faces
option ON (default),
then the faces will be separated to another polygon mesh.

(If you select all of the faces of a Shell,
you get a same result of execution of the Separate command)

If you select the option OFF, you get faces of the same polygon mesh.

If
Edit mesh > Keep Faces Together
is ON, you get the extracted faces are continuous.

If it is OFF,you get the all faces are not continuous.

The above figure is an execution result of the Extract command.

The transform1 is the history of the command.
If you delete the history with
Edit > Delete by Type > History
the transform1 will be deleted.

Or if you delete the transform1,
then the history will be deleted.

combine polygon mesh

Select two or more polygon meshes
Mesh > Combine
they will be one polygon mesh.

The above figure is an execution result of the Combine command.

The transform1 and the transform2 are the history of the command.
If you delete the history with
Edit > Delete by Type > History
the transform1 and the transform2 will be deleted.

If you delete the transform1 and the transform2,
then the polygon mesh will be deleted.
You may delete the history first.

Japanese article
Maya tutorials: polygon modeling (4) operation of the polygon mesh

Maya tutorials: polygon modeling (1) basic operation

2009-01-12T01:34:07Z

In this tutorial, I am going to explain the basic operation of polygon modeling.
This is chapter (1), it will continue up to chapter (4).
]]>

polygon component

Polygon components are Vertex, Face, Edge, and UV.
UV is texture coordinates.

The masks corresponding to each Components are an above figure.
Or you can select the Component with click on the object.

split face

Select the polygon object.
Edit Mesh > Split Polygon Tool
and click the center of the edges,

hit the Enter key,
then it determined.

In Maya, you can make five or more sided polygon.
However, I recommend to make three-sided or four-sided polygon.
Because the rendering will be beautiful.

cut face

Select the polygon object.
Edit Mesh > Cut Faces Tool
and click the place without the object.
The line is displayed as shown in the above figure.
You release the mouse for the line in the direction
that you want to cut.

The faces are cut.

Selecting the faces not the object and
Cut Faces Tool

Then the selected faces are cut.

append face

Select the polygon object.
Edit Mesh > Append to Polygon Tool
and click the edge.
Then small arrows appear as shown in the above figure.

You click one by one the edge that you want to add the face.

Hit the Enter key,
then it determined.

Extrude Face

Select the face that you want to extrude
Edit Mesh > Extrude
Then a manipulator like the above figure is displayed.

The face is pushed out by operating the manipulator.

When you select two or more faces and do Extrude,
if Edit Mesh > Keep Faces Together is on,
then faces are pushed out together as the above.

If Edit Mesh > Keep Faces Together is off,
then faces are individually pushed out as the above.

Japanese article
Maya tutorials: polygon modeling (1) basic operation

Maya tutorials: twinkle effects

2009-01-08T11:12:40Z

In this tutorial, I am going to explain how to make twinkling effects.
I explain the method of making twinkling effects from Shader
and the method of making from light.
]]>

shader for particles and objects

Assign a material to the object,
set over 0 value to the Glow Intensity.
(Any material is good if there is Glow Intensity)

In this case, I assigned a Blinn material to a sphere object.
The above figure is an rendered image. .

There is the shaderGlow1 in Hypershade,
double-click it and open the Attribute Editor.

The shaderGlow1 has two group of the Glow Attributes and the Halo Attributes

Set
Glow Type - Linear
Halo Type - None
you get the effects by only Glow.
The above figure is an rendered image.

Set
Glow Type - None
Halo Type - Linear
you get the effects by only Halo.
The above figure is an rendered image.

The shine near the shining object is the Glow.
Parting from the object and extending is the Halo.

In this case, we set
Glow Type - None
Halo Type - Linear
and we will set the attributes of Halo.
(Because Glow and Halo of the shaderGlow1 have the same attribute,
you may set it by either.)

The attributes are the following.
Star Points - the number of points on the star
Halo Intensity - the brightness of halo
Halo Spread - the size of the halo
Halo Eccentricity - the brightness of halo
Halo Star Level - set over 0 value, halo will be star shape

Star Points　4
Halo Intensity　5
Halo Spread　0.3
Halo Eccentricity　0.1
Halo Star Level　0.7

Star Points　4
Halo Intensity　5
Halo Spread　0.3
Halo Eccentricity　0.1
Halo Star Level　2
The star shape changed.

Star Points　6
Halo Intensity　5
Halo Spread　0.3
Halo Eccentricity　0.1
Halo Star Level　2
The star points became 6.

If you put the check in Hide Source of the material,
the rendering only of the halo effect is done.

You do the same setting for the particles.
I set Blobby Surface to the Particle Render Type, and assigned a Blinn material,
the above figure is an rendered image.

Please refer to the following for the setting of the particles.
Maya Tutorials:basics of particle

You can set the shaderGlow1 only by one per one scene.
If you want to set two or more shape of the glow or halo,
you should individually do rendering, and composite them later.

light effects
With Point Light, Spot Light, Area Light
you can make light effects by setting
Light Effects > Light Glow

Click of Light Glow

Then opticalFX1 will be made.

It is set in default as follows,
Glow Type - Linear
Halo Type - None
Glow Star Level - 3

It will be rendered as a star shape.
The difference between Glow and Halo is the same
as the shaderGlow1.

Star Points - 4 (default)

Star Points - 6

You cannot express the star with Halo
because there is no Star Level attribute in the Halo of the light effects.

Maya tutorials: making eyeballs and building the materials (2) advanced method

2009-01-01T07:49:52Z

In this tutorial, I am going to explain a method of setting the material of eyeballs.
It is a method that is easy to correspond to the change in the size of the iris and pupil.
]]>

For the explanation about the basic method of making eyeballs, please refer to
Maya tutorials: making eyeballs and building its materials (1) simple method

a method that has of generality
The size of the iris and pupil greatly influences the character setting of the character.
I explain a method of the modeling and setting of the material
that changes the size of the iris and pupil easily.

The materials are same as Maya tutorials: making eyeballs and building its materials (1) simple method
We use a Layered Shader for the material of the cornea and the sclera(white of the eye).
It is made to correspond easily even if the size of the iris and pupil changes.

I think that this method is effective to make the scene where a lot of characters appear.

modeling

I made two parts. They are the iris and pupil, and the cornea and the sclera.

the material of the iris and pupil

The material of the iris and pupil is same as "(1) simple method".

If you make the image material from black and white
and set the Color Gain of the File Texture,
you can change the color easily.

the material of the cornea and the sclera(white of the eye).

Make a material of the cornea that is same as "(1) simple method".
Assign it to a sphere and confirm the material.

Make a material of the sclera that is same as "(1) simple method".
Assign it to a sphere and confirm the material.

Connect a Ramp Texture to the Transparency of the material of the sclera
to make transparent part.

The above figure was made transparent by Ramp Texture.
(Set UVs if you use a polygon model)

It is not transparent complete the part including the highlight and reflecting.
You will connect the value in which Ramp Texture is reversed
by using the Reverse utility.

Display the connection of the material of the sclera in the Work Area of the Hypershade.
(Select the material and click the Input and Output Connection button)

Click the Reverse in the Create Maya Nodes (the left area of the Hypershade),
then a Reverse will appear in the Work Area

Drag and drop the Ramp Texture to the Reverse with .
Then a window will open, select Other.

Then the Connection Editor will open, select outColor and input.

Drag and drop the Revers to the blinn material with .
Then a window will open, select specularColor.

The transparent part came off completely.

Make a Layered Shader, drag and drop the material of the cornea
and the material of the sclera from the Hypershade
to the area which is enclosed in red with .

Arrange it from the left in order of the cornea and the sclera.

Assign the Layered Shader to the sphere.

The connection graph was shown in the above figure.

Set the size of the iris and pupil on the scale of the modeling data.
Adjust the range for the transparent area of the eyeball with the Ramp Texture.

Maya tutorials: making eyeballs and building the materials (1) simple method

2008-12-18T08:14:44Z

In this tutorial, I am going to explain how to make eyeballs (eyes),
and how to set up their materials.
]]>

Outline

The above figure is rendering only of an eyeball.
Rendering was executed with MayaSoftware with Raytracing on.

It is necessary to note the contrast to show the eyeball vividly.
I made a strong contrast in a bright part of the reflection of the cornea
and a black part of the pupil.

I think it is not necessary to make complete anatomy model.
But I think that you should reproduce the structure of the reality to some degree.

reference page of anatomy structure of eyeball
The Eye and Its Parts

I explain a simple method in this chapter,
and I explain an advanced method that has of generality in the following chapter.

modeling an eyeball

I did modeling separately for three parts of
a cornea, an iris and pupil, a sclera (the white of the eye)

I made the cornea and the sclera with the polygon sphere,
and I made the iris and pupil with NURBS.

building the material of the cornea

The above is a rendering image only of the cornea.

It is a completely transparent material.
It has the highlight of Specular and two reflections of Reflected Color.

I named the reflections Reflection1 and Reflection2.

Assign a Blinn material to the cornea.
Set maximum value to the Transparency .
Set high value to the Specular and Reflectivity

Connect a Env Sphere of Environment Texture to the Reflected Color,
and connect a Ramp Texture (the below) to the Env Sphere.

A Ramp Texture was connected to the Env Sphere.
This is the Reflection1.
Select Box Ramp of the Ramp Texture, it will be square shape.
Adjust the place of the Reflection1 with the place2DTexture.

Connect a File Texture to the Color Offset of the Ramp Texture.
Set a photograph image of reflection to the File Texture.
This is the Reflection2.
Adjust the place of the Reflection2 with the place2DTexture.

The Connection Graph of the material of the cornea is shown
in the above figure.

You can make the Reflection1 and the Reflection2 as one picture file
with Photoshop.

In this example, it was divided into two like this.
It is because you can easily adjust the position of
the reflections individually with the place2DTextures.

building the material of the iris and pupil

Assign a Blinn (or Rambert) material to the iris and pupil.
Set 0 to the Specular, it will have no highlight.
Connect a File Texture to the Color.
Set a image of an iris and pupil like the above to the File Texture.

building the material of the sclera (the white of the eye)

Assign a Blinn material to the sclera.
Connect a Env Sphere of Environment Texture to the Reflected Color.
Set a photograph image of reflection to the File Texture.

Finished.

It continues to the explanation of a method that has of generality.
It is a method of changing the size of the iris and pupil easily.

Maya tutorials: making hair

2008-12-03T07:17:58Z

In this tutorial, I explain two methods of making hair.
It is a method of using transparent mapping on NURBS
and using Paint Effects.]]>

hair with transparent mapping

Prepare the texture images like the above figures.
Set them to the material
A　Color
B　Transparency and Specular Color　
C　Bump Mapping

(Set texture B to Transparency,
then drag-and-drop it to Specular Color with )

You will see the connection like the above.

Assign it to a NURBS plane.

You will see that the edge is not slightly transparent.

Uncheck WrapV (or WrapU) of the place2dTexture of the texture B.

WrapV (WrapU) means that the texture repeats toward V (U).
The pixels on the edge was blurred by the pixels on an opposite edge.
Therefore, the edge became opaque.

You deform NURBS and make the hairstyle.

（The rendering time is a little long because it is transparent.）

Basics of Paint Effects

Open the Visor
Window > General Editors > Visor...
and select a brush.

Open Paint Effects Window
Window > Paint Effects...
and check
Paint > Paint Canvas
Try painting.

Press b key and drug, you can change the size of the brush.

You can undo once, Canvas > Canvas Undo

The brush stroke is drawn on the plane of y=0
when dragging it on the Persp Window.

In the Outliner, you will see a node named stroke and a NURBS Curve.

Make a NURBS Primitive and select it,
and in the Render Menu Sets
Paint Effects > Make Paintable

Then you can draw the brush strokes on the NURBS surface.

In the Outliner, check Display > Shapes
you will see a NURBS curve (stroke path) under the NURBS object.

If you open the Attribute Editor of the stroke,
the attributes of the brush will appear.

Because there are quite a lot of numbers of the attributes,
I will explain only attributes necessary for making the hair.

Global Scale ... You cannot apply the scale to the Paint Effects brush with the scale tool.
you should apply the scale with this attribute.
you set 1, it is comprehensible to change all of the brush scale together.

Brush Profile > Brush Width ...brush width

Shading > Color1 ...the color of the tube of the brush roots
Shading > Tube Shading > Color2 ...the color of the tube tip

Tubes > Creation > Tubes Per Step ...density of the tubes of the brush
it will take the rendering time by increasing.
Tubes > Creation > Segments ...smoothness of the tubes
it will take the rendering time by increasing.
Tubes > Creation > Length Min ...length Min
Tubes > Creation > Length Max ...length Max
Tubes > Creation > Tube Width1 ...width of the tubes at the base
Tubes > Creation > Tube Width2 ...width of the tubes at the tip

Tubes > Creation > Tube Direction ...select Along Normal,
the tubes are generated along the surface normal
Tubes > Growth ...select off for hair, select on for plants

Tubes > Behavior > Displacement > Curl ...curl

making the hairstyle with Paint Effects

　
Make a NURBS curve near the tubes of the brush,
select them in order of the stroke and the curve,
Paint Effects > Curve Utilities > Set Stroke Control Curves
then the tubes of the brush will be along the curve.
Move CVs of the curve and set the direction of the tubes.

The curve (control curve) is even two or more acceptable.

Moving the curve on the surface, you can adjust the place of the brush.

Tubes > Behavior > Forces > Path Follow
degree how tubes grow along the stroke path
Tubes > Behavior > Forces > Path Attract
degree how tubes attracted to the stroke path
Tubes > Behavior > Forces > Curve Follow
degree along control curve set according to procedure above.
Tubes > Behavior > Forces > Curve Attract
degree attracted to control curve set according to procedure above.

To draw on the polygon by Paint Effects, it is necessary to set UVs.
You may put the NURBS in the polygon, and you may draw on it.

You can set the display accuracy in the workspace of Paint Effects brush,
Display > Rendering > Stroke Display Quality >

The display non-display of each window can be set,
Show > Strokes
　

As for Paint Effects, it takes rendering time.
I made a rough hairstyle from the NURBS object,
and added the hair of Paint Effects there.
They are above figures.

Maya tutorials:character setup (5): facial animation with Wire Deformers

2008-11-20T06:49:29Z

In this tutorial, I will explain the method of facial animation with Wire Deformers.]]>

For the explanation about the skeleton and skinning, please refer to
Maya: character setup (1): skeleton and skinning
For the explanation about adjusting skin weights, please refer to
Maya:character setup (2): adjusting skin weights
For the explanation about IK handle, please refer to
Maya tutorials:character setup (3): IK handle
For the explanation about Blend Shape Deformers, please refer to
Maya tutorials:character setup (4): facial animation

Make the NURBS curves in the place where you want to deform and create facial expressions.

Select Deform > Wire Tool

Select the object(s) that wants to be deformed, then press Enter key.

Select the curve(s) that wants to be used for the deformation, then press Enter key.

You will see the objects reverse red as shown in the above figure.

Select the one of the curves and open the Attribute Editor.

Put the distance value where each curve influences the object
to Dropoff Distance in the wire tab.

When the bind is done to the skeleton, you make the wires 'Child' of appropriate Joint.

You move the CVs of each curve and make the facial expression.
You will set the keyframes and complete animation.

Japanese article
Maya tutorials:character setup (5): facial animation with Wire Deformers

Maya tutorials:character setup (4): facial animation

2008-11-12T07:18:56Z

In this tutorial, I will explain the method of animation of face of the character
(facial animation).
I will explain the setting of the constraints and the blend shape deformers.
]]>

Preparation

Unbind the object to which you will apply the facial animation.
Select the object
Skin > Detach Skin

(You will leave the eyeball unbinded.
You will bind again the objects other than the eyeball later.)

Settings of the eyeball
　
Set The pivot point of the eyeball to the center of the object.
Select the eyeball
Modify > Center Pivot

Make the eyeballs the "child" of neck (the joint of head).

The easiest method is to rotate the eyeball in this place and to set the keyframes.
You may have the eyeball can controlled the glance ahead.

Make two locators
Create > Locator
then move them to the front of each eyeball.

Select the locator and the eyeball in this order
Constrain > Aim Constrain

If the eyeball turns Z axis first、Aim Vector 0 0 1

Make a group of the locators, make it the "child" of neck (the joint of the head).
You will move this group,
when you move the eyeballs to the same direction.

You will see the node of the aim constraint under the each eyeball.
(If you want to release the constraint, you should delete this node.)

Basics of the blend shape deformers

Duplicate a ball of polygon or NURBS.
Name them base, targetA, targetB, and targetC.
Deform targetA, targetB, and targetC by moving vertices or CVs
as shown in the above figure.

Select targetA, targetB, targetC, base in this order,
Deform > Create Blend Shape
The blend shape deformer node was made.

Objects whose shapes you want to use to deform the shape of another object
are called the target objects,
and the object being deformed is called the base object.
The base object's resulting deformed shape is called the blend shape.

　
Open the Blend Shape Editor Window
Window > Animation Editors > Blend Shape...

There are a target object name and a slide bar corresponding to it.
When you raise the slide bar up
the base object becomes the shape of the target object.

The numerical value enters under the slide bar
according to the position of the bar.
It is possible to input directly.(A minus value also).

When the Key button is pushed, a keyframe is set.

When the KeyAll button is pushed, the keyframe is set
to all target objects.

When the Select button is pushed, the blend shape deformer node
(in this case, blendShape1) is selected,
and you can display the blend shape deformer node in the Graph Editor
or if necessary you can delete it.

It is necessary to deform the target object in Component mode (i.e. vertices, CVs).
In Object mode, blend shapes are not deformed with transform, rotation, and scale.

Once you setup the blend shape,
you must not delete and not add vertices or CVs of the all objects.

Setting of facial expression with the blend shape deformer

　
You should duplicate the object.
The frequency is the same as the number of the facial expression that you need.
You deform the duplicated object, and you model the facial expression.

When it is not a single object, you should make them to the group.
You should make the order of the object in the group the same order.

The above figure is an example of the face objects and the teeth objects.

Select the target object (or group) sequentially,
and select the base object (or group) at the end.
Deform > Create Blend Shape

Open the Blend Shape Editor Window
Window > Animation Editors > Blend Shape...

Setup keyframes of the target objects and make your facial animation.

You may make two or more blend shape deformer of each object without making it to one group.
(for instance, face and tongue, etc.)

You can edit the keyframes of the blend shape deformer with opening the Graph Editor

After setting blend shape deformer,
you can deform the target objects again.
If necessary, you deform them and adjust the facial expression.

Setting of blink

　
Select the target object that shuts eyes in the Graph Editor,
Edit > Keys > Bake Simulation
Set 1(default) to Sample by value then push Bake button
You will get all frames keyframed.

(In general, Bake simulation is a command that converts the simulation
of the dynamics into the key frame.
Here, I used it to make the keyframes simply every one frame. )

You choose about three frames from one at random,
and lift up to 1 with the Translate tool.

（This is an easy setting method.
Of course, there is a smart method made random by MEL or Expression, too. ）

Moving blend shapes together

　
If the number of the target objects is not same as shown in the above figure,
you can't make them to groups,
and you also can't make them one blend shape.

Then, you make the blend shape of the face (bsFace),
and the blend shape of the teeth (bsHa).

Open the Set Driven Key Window
Animate > Set Driven Key > Set

(1) Push Select button of the blend shape of the face (bsFace).
(2) Push Load Driver button of the Set Driven Key Window.
(3) Push Select button of the blend shape of the teeth (bsHa).
(4) Push Load Driven button of the Set Driven Key Window.
(5) Click the face target object that moves together (faceOpen).
(6) Click the teeth target object that moves together (haOpen).
(7),(8) Set 0 to the value of target objects.
(9) Push Key button of the Set Driven Key Window.
(10),(11) Set 1 to the value of taget objects.
(12) Push Key button of the Set Driven Key Window.

Then, the slide bar of the teeth target object moves,
when you move the slide bar of the face target object.

Repeat (5) - (12) process for each target objects that move together.

It is also possible that you set two or more teeth target object to the face target object.

Japanese article
Maya tutorials:character setup (4): facial animation

Maya tutorials:character setup (3): IK handle

2008-10-31T01:36:23Z

　
In this tutorial I will explain the method of setting the IK handles.
]]>

When the joints are set to the models of the character, binds are done,
and the skin weight is adjusted,
you can make animation by setting the keys to the joints.

When operation to which the character grips the ball is done for instance,
each joints of the shoulder, the elbow, and the wrist are rotated from the upper-body,
and however, when the angle of the joint of "parents" is changed
even if the palm is taken to the position of the ball,
the hand is away from the ball,
and the angle adjustment of each joints are needed again.

Then, to control the joints from "child" of the joint,
you will set IK(inverse kinematics) handles.

For the explanation about the skeleton and skinning, please refer to
Maya: character setup (1): skeleton and skinning
For the explanation about adjusting skin weights, please refer to
Maya:character setup (2): adjusting skin weights

Setting of IK handles

Select Skeleton > IK Handle Tool
Click the joint of the shoulder and the joint of the wrist in this order.

The IK handle is made, and you can move it with the Move tool.

It is displayed by the icon like the above figure in Outliner.

Set the IK handles to both hands and both feet.

When you select the IK handle, and (Show Manipulator Tool) is clicked,
the pole vector is displayed in the shoulder
the twist disk is displayed in the wrist
as shown in the above figure.

You can move the pole vector with the Move tool.
You can move the twist disk by clicking directly.

You can control the direction of the elbow and the direction of the knee
by using both the pole vector and the twist disk.

(You can drag the manipulator of the pole vector
to the place where you can select it easily.)

You can make the animation by setting the key frame to the IK handles.

Setting of preferred angles

When the IK handles are set,
the joint might turn in the direction that you do not intend.
(Though it doesn't happen when you have applied the angle before binding the joints)

At this time, bend the joint in the direction where you want to bend it,
select the joint
Skeleton > Set Preferred Angle

Then you can set the IK handles.

Tree structure of the IK handle and the joints

　　
In the tree structure that there are no "parent and child" relations
in the IK handles and the joints as showing in the above figure of the Outliner,
you struck a key frame (once) to the IK handles of the arm and the foot,
and set the key frames to bodyRoot (the root joint).
Then, you will see animation where bodyRoot, the arm, and the foot
do not move together as shown in the above figure.

　　
You make the IK handles of the arm the "child" of bodyRoot.
Then, you will see animation where the foot is fixed
and bodyRoot and the arm move together as shown in the above figure.

In the animation of walking or running, the foot of the character grounds.
For that case, you will not make the IK handle of the foot
the "child" of the root joint.
It will be easy to set animation.

In animation that the character flies up and makes one rotation,
you will make the IK handle of the foot the "child" of the root joint.

Anyway, it is necessary to set "parent and child" relation between
the IK handles and the joints by the movement of animation.

IK spline handle

　
For instance, the IK spline handle is set
when a lot of joints are connected and move like a tail.

Select Skeleton > IK Spline
click the start and the end of the joints.
The NURBS curve is made with the IK spline handle as shown in the above figure.

The joints move according to the curve when you move the CVs of this NURBS curve.

The spans of the NURBS curve is 1 in default, you change it if necessary.
Select Skeleton > IK Spline Handle Tool　
change Number of Spans

Moreover, the NURBS curve is not generated automatically,
and you can control the IK handles making another NURBS curve.

Make a NURBS curve.
Select
Skeleton > IK Spline Handle Tool
uncheck Auto Create Curve
select the start of the joints, the end of the joints, the NURBS curve in this order.

Japanese article
Maya tutorials:character setup (3): IK handle

Maya tutorials:character setup (2): adjusting skin weights

2008-10-24T02:40:33Z

The deformation not intended might happen to the smooth binded skin.
You should adjust the skin weights and control the deformation.
]]> For the explanation about the skeleton and skinning, please refer to
Maya: character setup (1): skeleton and skinning

adjusting skin weights with the brush tool

The deformation with the joints is proportional to the distance from the joints.
The level of the deformation is called skin weights in Maya,
and you change it with the brush tool.

The skin weights is allocated to vertices in polygon and it is allocated in CVs in NURBS.

Select the object to which you adjust,
in the Animation menu set
Skin > Edit Smooth Skin > Paint Skin Weights Tool

The chosen object changes into the monochrome display as shown in the above

When it doesn't change into monochrome, or the display is changed while working,
click in the tool bar.

It is shown that near white or more, the stronger the influence of the joint is.

The deformation of the side is improper for the above figure.
You will paint the part black.

Moreover, the display changes into monochrome,
and the option window of the skin weights brush opens.

The list of the joints is displayed in Influence.
You select one joint that you want to adjust weight,
and you setup the following each item for painting.

Radius(U)	Brush Radius (Rdius(L) is minimum radius when using pen stylus)
Opacity	Brush Transparency. In this case, strength.
Paint Operation	Replace　When making it to black.
	Add　When making it to white.
	Scale　Scale
	Smooth　weight is made smooth.
Value	Brush Brightness. The higher, the whiter.

The cursor becomes the cursor of the brush tool in workspace, and you can paint.
The painting is done to Vertices in polygon, to CVs in NURBS.

This weights adjustment is done for each joints in each necessary objects.

If it is necessary, the weights is mirror copied.
Skin > Edit Smooth Skin > Mirror Skin Weights
The mirror copy in the direction of X specifies the Mirror Across ･YZ option.

When you want to input the skin weights value,
you choose the vertices of polygon in the component mode.
And, you open the component editor.

Window > General Editors > Component Editor...

The adjustment of skin weights was completed in the step to here.

The trouble of modeling might be found at this stage.
You will have to correct it from the stage of modeling.

If so, you should ...
(1)Select the Root joint, and Skin > Go to Bind Pose
(2)Select the objects you should change, and Skin > Detach Skin
(3)Correct the objects.
(4)Selects the objects and the joint, and Skin > Bind Skin > Smooth Bind
(5)Adjust the skin weights again.

Because the skin weights disappears when the object is detached, you should readjust them.

The objects that doesn't want to be deformed by the joints

　
If there are objects that need not be deformed with the joints
like a bat which the character holds,
you make them a child of the joints like the above figure.
Bind need not be done.

Japanese article
Maya tutorials:character setup (2): adjusting skin weights