An overview of everything that will be taught throughout the first volume of Advanced Character Rigging.
Here we demonstrate the setup of a few tools that were created in previous volumes of the Technical Director Series.
A discussion of the type of functionality that we'd like to implement into our character's rig.
With the discussion of the leg out of the way, we can begin creating the necessary bones for the foot.
This lecture includes an overview of how we're going to create stretchy IK for the character rig leg.
Now that we understand how the leg system will be created, in this video we actually put it all together.
A brief lecture that discusses how we're going to handle leg twisting in our leg setup, including the necessary maths.
The overview being complete, we can now move forward and beging the actual leg twist setup inside of Houdini.
This quick lecture discusses a simple correction to the Look At system to make sure that our rotation is taking place in the proper space.
This whiteboard lesson discusses the process we're going to use to set up the feet for our rig.
After discussing our setup, we now jump into Houdini and continue through the practical setup process.
A whiteboard-based overview of how we'll be dealing with the arm setup for our character rig.
We now begin implementation of the rig for our arm, incluidng the bones and the FK controls that will be used.
Here we set up basic stretchy IK for our arm using our custom tool, as well as establish the twist for the arm.
This lecture covers the process of setting up a stretchy FK system for the arm that includes blending with the IK.
It's time to take what we discussed in the previous video and start working the stretchy FK/IK system into the rig.
Here we demonstrate why we have some extra considerations when blending between FK and IK within a digital asset.
Now we can take everything we've learned so far and implement it into the arm rig to match FK to IK.
What we can do prevent the animator from jumping all the way into a locked asset while allowing editability.
We can already match the FK to the IK of our arm, and in this video we begin setup of the vice versa scenario.
Continuing with IK to FK matching, we now need to discuss how we're going to match the twist of the wrist.
Now that we've drafted out how the rotation will be handled, we only need to get it implemented in our arm.
In this video we show how to set up the clavicle bone and other necessary controls for the shoulder.
The arm is essentially set up, so now we move on to the wrist. We start by whiteboarding now our controls will work.
We have covered how the wrist will be created, so our next step is to create the bones for the character's hand.
This video begins the initial setup of our Super Wrist Control object, getting the initial asset into place.
We now add two more control objects for attached and detached rotations, as well as promoting the appropriate handles to control them.
Here we blend between the two control objects and get the palm to follow, as well as setup of a control object to select the wrist.
The conclusion of the Super Wrist Control, allowing us to match the attached version to the detached, and vice versa.
Here we whiteboard out a special addition to the rig that allows for better deformations along the forearm.
This video marks the beginning of the deformation rig process for our arm, cloning the lower arm.
We now get our two deformation bones into place and get them set up for appropriate motion.
This whiteboard lecture covers how we'll be setting up the hands for our character and the nature of our approach.
This video demonstrates setup of the finest and middlemost levels of control for a single finger on our hand rig.
We now show how you can write a script that will create the same controls on the remaining fingers automatically.
With the finest and middle levels of control in place, we now need to set up the lowest level fo control.
Our last step is to get the FK controls established for our thumb, and then to set up a control for switching between the levels of detail.
This brief video shows how we can go about mirroring the leg and its relevant controls mirrored to the righthand side of the character.
With the leg mirrored, we have only to mirror over the arm as well, which is a little more of a complex process than the leg.
This video concludes Advanced Character Rigging I, giving an overview of what we've accomplished thus far.