
Dean Slocum
Setup Artist
VIDEO SHOT BREAKDOWN
00:06 - 00:51 | Businessman Rig
Software used: Maya, Photoshop, Nuke, Premiere Pro
Responsibilities: rig, texture, compositing
Credits: Zech Hutton (model)
00:51 - 01:22 | Dragon Rig
Software used: Maya, MudBox, Photoshop, Nuke, Premiere Pro
Responsibilities: rig, re-texture, animation, compositing
Credits: 3d_Molier (model, original texture)
01:22 - 02:00 | Rigging Toolset
Software used: Maya, Sublime Text, Premiere Pro
Scripting Languages used: Python, MEL, PyMEL
Responsibilities: scripting, troubleshooting, compositing
Credits: Andrew Hwang (model)
ASSET BREAKDOWN
Alright, so the businessman rig is first. This was a fun rig to build with a lot of new challenges. It has all the basic attributes that you'd expect to see on a biped character. Some of which are: IK/FK arms and legs with auto switching, layered hand controls, RFL feet, layered COG, hip, and back controls, basic facial GUI, and several other systems. The fun really started when I began working on the cartoony stretching capabilities. I applied these effects to the back, arms, and legs. The foundation is a combination of IK/FK stretching and a technique similar to the ribbon spline technique known as the flexi plane technique. I needed to combine the IK/FK stretching with the flexi plane stretching because I had already implemented IK/FK auto switching. The IK/FK stretching was fairly easy to build. All that I needed to do was use a few locators for translation information and apply a few constraints and math nodes. This creates an auto scaling effect, which can be used to create stretch. I also created several on/off controls for easy manipulation. The flexi plane stretch is a whole over animal. But luckily once you create the first system, you can just use procedural rigging to replicate the system as many times as needed. I ended up with 9 separate systems. I used 2 for each arm and each leg. The back only needed 1 system. The reason the arms and legs needed 2 systems is due to the knee and elbow joints. So I would have 1 flexi plane start at the shoulder and end at the elbow and have another start at the elbow and end at the wrist. The same layout is needed for the upper leg and lower leg. This technique allows for correct anatomical control and movement. Now back to the guts of the flexi plane system. The flexi plane is essentially an updated and arguably more capable version of the ribbon spline. The main body is created using an elongated NURBS plane. The use of a NURBS plane over a polygon plane boils down to smoother edge curvatures. Next come the joints. In the basic form of this system there are 5 joints spaced evenly from one end to the other. We also create CV control icons for each of the joints and 3 main controls that are placed at both ends and in the center. This allows for more broad stretchy control. A 4th control can be added for volume retention during the act of stretching.

We also use clusters for general weighting and locators for translation data. The bulk of the math is done using various constraints and math nodes. The node network that gets created is fairly large and requires quite a lot of explanation. So I'll leave things short and to the point. After the flexi plane is constrained into place, the 5 joints will need to be weighted with the limb geometry. So instead of only needing to worry about 3 joints in the arms and legs, you now need to deal with 13 or so. But most of them only need a basic cylinder of control.
The dragon rig is next. I was able to use the flexi plane system for several areas of this rig as well. The legs were all done using a few no-flip methods that I'd found online. For the most part, this rig is relatively simple. However there were many challenges during the weighting process due to the anatomy and overall model creation The wings were the hardest to work with. I ended up using various IK/FK joint chains and blendshapes. There are other methods that I could have used instead, but I was limited by the restrictions of my PC. So simple corrective blendshapes and IK/FK joint chains ended up producing results that were similar to other faster methods.
The Final asset in the demo reel was a collection of rigging tools that I had built for myself to make my workflow more streamlined and efficient. Most of the coding was done using a combination of Python, MEL, and PyMEL script. I used QT Designer to create the basic designs and layouts for my GUI interfaces. However, I chose to create the GUIs manually. I wanted to expand my coding knowledge and this was a great way to do that. Most of the GUI elements were easy to build. The only aspect that was hard to understand was the "tabLayout" which I used inside the Rigging Kit GUI. It took a lot of trial and error to fully understand it. But the results were well worth the headache. Learning to tabs inside a GUI has proved to be a really useful bit of coding. It has allowed me to include so much more into smaller interfaces. Another new concept at the time was building interactive "radioButton"s and "checkBox"s. Going into it, I wasn't too sure how to use them. But luckily it was a simple matter of using if statements. The Rigging Kit was mainly a way to move a few shelves worth of scripts and tools into an single easy to use GUI. That way whenever I need to switch PCs or versions of Maya, I only need to import a single script. I had the same thought when I built my Renaming Kit and CV Controls Kit. All in all, I probably got rid of 3 shelves worth of buttons. This made my OCD very happy. So the Rigging Kit is divided into several sections. I made the divisions mainly using "formLayout". The windows section has "iconTextButton"s that open various Maya windows that I commonly use. The constraints section uses the same concept with constraints. I also used "checkBoxes" for easy access to the Maintain Offset option. Next there's a tabbed section with 3 tabs. The Joints tab has all the common joint tools I use with a few custom joint chain generators at the bottom. This way I can create joint chains with 5, 10, 20, and 50 joints with only a single click. These have saved me so much time. The Controls tab has all the custom scripts I use when adding CV control icons to my rigs. Using these simple scripts I can mirror the icons across the X axis for symmetrical rigs. I can do various pivot and parent snapping for exact translation and rotation values. There's also a padding script that I use for creating parent groups in the outliner to give me more control and allow for other systems to be added later on in the process if needed. The building tab contains several procedural systems, like the flexi plane, so I don't have to recreate them every time I want to use them. I also included a few pre-made attribute sets for hands and feet. This alone can save me upwards of ten minutes worth of repetitive clicking and typing. Another tool I needed to build was an IK/FK system generator. This script allows me to quickly create an arm, leg, or other appendage that requires the functionality of an IK/FK setup. All I need to do is select the joints and icons, then load them into the tool and press go. The script will create the IK, FK, pole vector, and auto switch with the appropriate custom attributes. It saves a lot of time having a tool like this. The next interface is my CV Controls Kit. The layout is similar to the Rigging Kit and the color scheme is the same. This is the primary toolset I use when adding and creating the control icons for a rig. I have 12 pre scripted CV curves that I use on a constant basis. Then I have several buttons that change the color of the control via the drawing overrides under the shape node. I could just change the color of the entire node, but just changing the shape node color allows me to just change that particular curve and not have to worry about hierarchy. Then I have some basic CV tools that make building a CV control icon fast and easy. Also, since I usually work in Maya, CV curves don't like to render. So I've come up with a simple pipeline to combat that issue. Basically I attach a brush to the curve, convert the paint effects to polygons, and then parent the result under the original cv node for a clean outliner. The third and final GUI is the Renaming Kit. Basically it's just a modified version of Maya's own renaming tools. These custom versions are just a little more intuitive and more centrally located.