#Box modeling maya 2016 tutorial install#
#Box modeling maya 2016 tutorial update#
#Box modeling maya 2016 tutorial skin#
#Box modeling maya 2016 tutorial full#

I made sure to colour the bones in a way that makes it easy to see what is what: the left side is pink, right side is green, central bones are blue and the bag is yellow.ДЇrom here, I added up-nodes, gizmos and IK targets to allow for easy animation. Including all the finger bones and an additional bone for her bag. I then continued to add bones for the rest of the body.

#Box modeling maya 2016 tutorial full#

The CAT system is really effective because if you create one leg in full you can simply copy and вЂњpaste mirrorвЂќ for the other leg. Then I added a hub bone (the pelvis) and some legs. This was much more efficient as I have worked with CAT rigs before. So, in order to be able to finish this pipeline this Trimester, I have instead created a custom CAT in 3DsMax.

However, as I have not used Maya before, this proved extremely difficult, frustrating and I was running out of time. Initially I had hoped to create a skeleton in Maya and then create a rig. Having finished the modelling stage, I moved onto the next step: rigging. I am continuing to work through the production pipeline of creating a game character. From there I adjusted the individual vertex weights in the problem areas until I had fixed all the issues.Д«elow is a short video of my skinned model:ДЄfter uploading this, I noticed an issue with the belt and the hip moving inwards and clipping through the body. I fiddled around with the voxel binding settings until I found something that worked and applied that to my model at a high resolution. Of course, it still needs much adjusting. I tested this on my model with the default settings at the lowest resolution.ДЄs you can see it has already fixed one of the biggest issues. You can also just the вЂњaccuracyвЂќ of the binding, 64 being the lowest. With this you can control the falloff of the binding and the maximum number of bones that can have an influence on any given vertex (if you leave it as 0 the program will work out if out for you). To use the Geodesic voxel binding you scroll down to Weight Properties, select Voxel and click the little вЂњвЂ¦вЂќ box on the right. With no settings adjusted, the modifier will attempt to mold the mesh to the bones but is usually very inaccurate.

#Box modeling maya 2016 tutorial skin#

That is, you simply add a Skin modifier and add the bones (as you normally would). The Geodesic voxel binding is magic and literally saved me an hour or so of correcting vertex weights.

#Box modeling maya 2016 tutorial install#

These tools are not included in the main download of Max but you can get them if you install the Service Package 1 and then Extension 1. However, Steve told me about the Geodesic Voxel Binding and Heatmap tools in 3DsMax 2016. I hate skinning because it is fiddly, tedious and never seems to work for me. So, after finishing the rig, I began the horrible next step: skinning.

#Box modeling maya 2016 tutorial update#

For this reason I kept a standard naming convention for my files allowing me to quickly and easily update my textures and animations. All that is required is for it to have the same file name (you can also do it manually if you have differently named files). The Unreal engine has the ability to update assets currently in the scene with a newly imported asset. This allowed me to use the same skeleton for the run and idle animations which enabled me to create a blend space between the two.Д®xporting and importing the labyrinth was even simpler as I exported as a FBX (with no animation) and imported it as a static mesh. This worked well when I imported the animations: when importing FBX files Unreal asks you if it is a skeletal mesh and, if so, does share a skeleton with one already in the project. I did this by exporting the two animations as separate FBX files where the animation was baked in. Once my character was finished and had a basic run and idle animation I exported it into the Unreal engine. Once I had worked this out and fixed it everything went smoothly but it is something I will need to remember for the future. I had a couple of issues with importing my labyrinth file into the Unreal engine as I had forgotten to reset my X-forms. While the poly count is not going to be so critical in my mini demo/test it was good practice for the future as larger projects will require stricter poly counts. My environment (a quickly created labyrinth) was originally over 8000 polys which I managed to reduce to around 300 polys. My character is around 3000 polys which I should have reduced more, especially in the eyes and horns. For this reason I have kept everything to a relatively low poly. Throughout my entire game character project I have been mindful of how my assets will import and run in a game engine. Through the course of my game character project I have kept the following technical specifications in mind so that my assets work efficiently in the Unreal game engine.