Preparation before rigging

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Preparation before rigging

every creature is unique, as are the needs of each creature you should always ask yourself certain questions: 

• - What will your creature do in terms of movements throughout the production? -
• what dose the creature physically resemble?
• Are there special rigs that need to provided for a few spesific shots? If so , in what way to do they need to be special?
• Who is animating the creature and  what do these artist like in their rigs?

Once you have answered these qustions, you need to decide what is most important for the creature. Is it the need of an animator of the need of the show? it is up to you (with input from your lead animator). To make that kind of decision and then make the rig as easily animatable as possible for the masses using it

One thing you will always end up doing is looking at real anatomy and wondering how things work and why they move they way to do. To create a succesfull creature rig, it is essential to understand what is happening underneath the skin of living things. FIll your creature reference arsenal with anatomy books in an effort to gather as much information as possible

Ground texture

Ground Texture

Ground bump map texture

bump map texture

Ground normal map texture

normal map ground

Ground specular map texture

specular map ground

Free Brick texture

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Brick texture

Brick color map texture

Brick texture

free texture

 Bump map Brick texture

tekstur tembok

 Specular map Brick texture

texture 

The last thing after modelling a model

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The Last thing afre modelling a model

Polishing the model

This should the last stage. Now that you have covered all of the technical issue regarding edge rings and topology, you can concentrate solely on the aesthetics. The best way to polish the model is to use the sculpt Geometry Tool to push, pull and smooth the geometry. This is a perfect tool at this stage because it really gives you the feeling of sculpting in 3D.

Looking at your model useng hardware lighting

ewhile refining the surface with the Sculpt Tool, It is a good idea to examine how the light affects the surfac. To do so , the followingL

- Assign a Blinn material to your geometry.

- Create a directional light.

- Press 7 on you keyboard to enable the hardware lighting.

- Rotate hthe light to find areas that may not be as organic as you would like and smooth them out.

When rotating a directional light in your scene, you can discover many areas on you model that still need refinement.

Final Checklist

Before you can pass the model off to the texture artists and character set-up artists, you must first make sure the scene follows some basic cretaria:

- The hierarchy of models is wiwll remain in a consistent order throught the pipeline

- All geometry in the scene has a unique name following a naming convention.

- All geometry has frozen transformations.

- All history has been deleted bia the Edit - Delete all types - History command

- All geometry has the default lambert assigned.

-All extraneous nodes have been removed via the File - Optimize screen Size Command

Realistic skin shader

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Realistic skin shader

The goal of a skin shader is to achieve what is called sub-surface scattering. Sub surface scattering is the techinical term for the effect of light reaching the skin, penetrating it, getting scattered in the flesh and then emerging wight a fleshy color that may vary from place to place on the body, especially in the facial area. Although there is no direct mathematical calculation for explicity calculating a sub-surface algorithm you will learn about building your own skin shader network.

In the order ti achieve a decent  skin shader, it is recommended to use a renderer such as mental ray, which offers ambient occlusion, final gathering and global illumination. Combining those render passes together will ultimately achieve a decent looking fake sub-surface scattering.

real skin shader (from facebook.com/cgmee up)

Definition of character rigging

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Definition of character rigging

before we can animate, we need to have a rig built for our character. Many terms are used for the process pf character rigging; you may hear it called set uo, rigging, or puppeting , to name a few.

rigging character

Rigging is , by far , the most confusing and typically misunderstood procedure in the 3D pipeline process. it can be the most challenging. yet you may find it to be the most rewarding as well. As a rigger, you will most likely find that you are the one everyone relies on to solve problems, create workflows, design and make tools and simply make everything work.

you have to continually conscious of making your rig too complex and ultimately unanimatable by you or your animator. it is very easy to fall into the " wow! wouldn't that be cool!" trap.
In the end , the best solution almost always ends up being the simplest one: nothing automated. Thing easily found in the hierarchy and very animator friendly.

Default pose

Default pose 

Default pose is the pose given to a character when modeled. This pose will be used every where else in the pipeline. For instance, the texture artist will start from this pose to unfold UVS and the rigging artist will start from this pose to rig and skin the character.

A character's default pose is also very important to establish when considering your project's spesific needs. For instance, if you want to apply any simulations to creature, such as cloth, u should consider modeling your creature's arm out to side and its legsspaced out slightly more than u would normallly stand.

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best default pose

Not T pose