Pixar in a Box
- Start here!
- Welcome to rigging
- 1. Rotate deformers
- Rigging rotation deformers
- 2. Translation deformers
- Rigging translation deformers
- 3. Scale deformers
- Create a younger model using scaling
- 4. Putting everything together
- Rigging scaling deformers
- Bonus: Animate a rigged character
- 5. Make a face
- Rigging Knick's face
- Getting to know Brian Green
Welcome to rigging
Overview of what rigging is all about.
Want to join the conversation?
- What software do they use for code and animation?(3 votes)
- Probably Blender, but it might be something else.(6 votes)
- Is editing for a cartoon hard?(2 votes)
- Well even though this comment was made two years ago, I'm still going to answer this: Animating is difficult, it takes much time and patience, but after lots of hard work and practice the process becomes easier than before.(8 votes)
- Does it take a lot of time to Rig? And how do you use the codes?(4 votes)
- is this possible on scratch.mit.edu ?(3 votes)
- Hey, what's you user on scratch? i'll follow you! btw, I'm A_Coder_10010(2 votes)
- How do you get the bugs movements to the characters?(3 votes)
- 0:52- Brian's just being funny.(3 votes)
- You guys are smart and amazing(3 votes)
- thank you UnorthdoxBox(1 vote)
- Wait.....I went to the next video and is said we did a activity. I didn't....What..(3 votes)
- <o/ <o/ <o/ dabs <o/ <o/ <o/(1 vote)
- what software does the modeling run on(1 vote)
- What's the difference between motion and life? What's the difference between this mechanical smile and this friendly smile? It's a little harder to find, but there's just something about the way a living being moves. And we work incredibly hard to capture with our characters here at Pixar and that something start with a stage we call rigging. Hi, I'm Brian Green, a Rigging Technical Director here at Pixar. Rigging is a process of adding controls to a digital model to allow animators to move it around and act. When you look at the way a living being moves, every motion they make causes a reaction in every other part of their body. For instance, when I smile, it's not just my lips have moved, my cheeks bulge, the skin around my eyes crinkle. My chin stretches out to accommodate the emotion. We call this defamation and displacement. Arrlalalala. In rigging, we have a toolbox of hundreds of different deformers and we can attach to the surface mesh of our characters. All of them represent mathematical formulas that define a relationship between the many points that are affected by the motion. For instance, I can start rigging Sully's mouth by adding a simple deformer called a rotate. The underlying math here is trigonometry. I'm going to add another tool called a repulsor. This basically puffs things in and out. Add this to the cheeks, and link them. And then when we move his jaw, his cheeks bulges. That's better, but it's still just the beginning. Sully's face alone uses over 500 deformers and that's just his face. We can take a similar approach to rigging the characters' bodies too. Adding deformers that define a relationship between the knees and the calf, the tail and the rump, or this tentacle and that tentacle. After we got the physiology right, we need to remember that these characters are film actors. So the kind of motion that they may need to make might be a little more extreme than a regular monster. So we push it a little, gives them extra life so they can be extra exciting on the screen.