Friday, 13 May 2011

Bibliography

While I didn’t necessarily have a bibliography for this project, just thought I would mention Rigging101.com since the reverse footlock tutorial was my reference for my own reverse footlock

Free reverse footlock tutorial. Rigging 101. Available from:
(Accessed 03/05/2011)

Wednesday, 11 May 2011

"Final Word on Rigging"

As with the modelling at first rigging seemed as if it would be a terrifying and really tough concept to get around, but once you begin working with the tools and build a rig, pretty soon you learn fundamental rules:
-          A bad rig or severe mistakes often can cause an entire re-build of the rig. Saving when the rig works perfectly in incremental stages is a must as it could save huge amounts of time down the line should something happen.
-          Practice does make perfect. Across the two or less weeks I have been working with the leg rigs, I have either re-built my leg from scratch multiple times or helped with the building of several leg rigs. Because of it you both learn how to do each step perfectly (and increasing quickly) while at the same time begin to tire of the rig admittedly!
-          While I joke about the tiring of the rig in the above point, make sure that you are feeling energetic and at least slightly enthusiastic about the rigging while working with it, else the work will become difficult and slightly sanity draining.
-          More often than not the rig will be very “step” orientated. Sticking to the steps, making sure there are no mistakes and that work is methodical means it can run exceptionally smoothly.
-          When it comes to weight painting, time and effort are definitely noticeable. Bad weight painting can take the sheen of a really well executed animation or well-built rig.

Finished Rigging Animation


This is the finished animation for my Leg Rigging. As you can see, the actual animation isnt the greatest - but it demonstrates the flexability and robust nature of the leg rig.

Why use the Reverse Footlock?

The reverse footlock acts as an ingenious way to both have complete control over your entire leg, and individual control over the smaller elements such as the toe, ball or ankle. This is done really by an understanding of parenting and the parent / child relationship.
By creating the joint in the heel first before the subsequent ones that run along the Toe, Ball and Ankle, you are ensuring that all of those joints will ultimately follow the heel joint as they are the “children” and they will follow the parent in the hierarchy.

Furthermore, when you then parent the IK handles of each actual foot joint (be it toe, ankle or ball) to those reverse footlock joints, then wherever those RF joints are pulled, the IK handle follows. This means that while each individual RF joint has control over one joint’s movement, at the same time they all are moved by the Reverse Foot joint in the heel. It results in a sturdy, efficient and diverse method of moving the legs.

 Of course too much manipulation or not following the process correctly can often cause major problems – but one think I have learnt about rigging is that you have to follow the processes methodically. A slip of concentration can mean an entire rebuild. But when the rigging is finished having followed all of the steps, it is reliable and exceptional at animation.

A note on Pole Vectors:
Pole Vectors control the way a point is facing without having to alter the joints (in the case of the leg Rig, the direction of the Knee

Weight Painting

Unlike the other “tutorial – like” explanations, weight painting cannot really be explained in a cement fashion. Weight Painting is the process of dictating just how much influence particular joints have over the skin bind. This is done simply by “painting” on areas of the leg using the Weight Painting tool.
I found that that the largest issue with the rig having simply made it and not weight painted; really only laid with the knee. When bent, the skin tucked in too close to the knee. To solve this, it required a delicate process of adding and subtracting weight from either the Hip or the Ankle. This is why it cannot truly be said that an answer is correct when weight painting as it is very much an iterative process of trial and error that lies with the artist license of the rigger:

Creating a Reverse Footlock









Creating the "COG" and Smooth Binding