Rigging Syllabus for Animation 5th Sem 2017 Pattern Mumbai University

Rigging detailed Syllabus Scheme for Bachelor in Animation (Animation), 2017 regulation has been taken from the University of Mumbai official website and presented for the Engineering students. For Course Code, Course Title, Paper Type, Marks Assigned, Theory Hours/Eqvt, Practical Hours, Credits and other information, do visit full semester subjects post given below.

For all other Mumbai University Bachelor in Animation 5th Sem Syllabus 2017 Pattern, do visit Animation 5th Sem 2017 Pattern Scheme. The detailed syllabus scheme for rigging is as follows.

Rigging Syllabus for 3rd Year 5th Sem 2017 Pattern Mumbai University

Rigging

UNIT 1

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UNIT 2

PLACING THE SKELETON: PLACEMENT OF A SKELETON IS PERHAPS THE EASIEST PART OF THE RIGGING PROCESS. FOR THE MOST PART, JOINTS SHOULD BE PLACED EXACTLY WHERE THEY WOULD BE IN A REAL WORLD SKELETON, WITH ONE OR TWO EXCEPTIONS. JOINT HIERARCHY: IN ORDER FOR A RIG TO WORK PROPERLY, THE BONES AND JOINTS MUST FOLLOW A LOGICAL HIERARCHY. WHEN SETTING UP A CHARACTER’S SKELETON, THE FIRST JOINT YOU PLACE IS CALLED THE ROOT JOINT. EVERY SUBSEQUENT JOINT WILL BECONNECTED TO THE ROOT EITHER DIRECTLY OR INDIRECTLY THROUGH ANOTHER JOINT. 2

UNIT 3

FORWARD KINEMATICS: FORWARD KINEMATICS (FK) IS ONE OF TWO BASIC WAYS TO CALCULATE THE JOINT MOVEMENT OF A FULLY RIGGED CHARACTER. WHEN USING FK RIGGING, ANY GIVEN JOINT CAN ONLY AFFECT PARTS OF THE SKELETON THAT FALL BELOW IT ON THE JOINT HIERARCHY. INVERSE KINEMATICS: IK RIGGING IS THE REVERSE PROCESS FROM FORWARD KINEMATICS, AND IS OFTEN USED AN EFFICIENT SOLUTION FOR RIGGING A CHARACTER’S ARMS AND LEGS. WITH AN IK RIG, THE TERMINATING JOINT IS DIRECTLY PLACED BY THE ANIMATOR, WHILE THE JOINTS ABOVE IT ON THE HIERARCHY ARE AUTOMATICALLY INTERPOLATED BY THE SOFTWARE. AN IK CHAIN CONSISTS OF A GROUP OF JOINTS WHOSE ROTATIONS ARE MANIPULATED BY AN OBJECT CALLED AN EFFECTOR. THE FIRST JOINT IN AN IK CHAIN IS KNOWN AS THE ROOT OF THE CHAIN. ITS ALSO THE ROOT OF THE HIERARCHY, BUT MAY NOT BE THE ROOT OF THE ENTIRE SKELETON. THIS JOINT MAY ALSO CONTAIN DATA THAT HELPS POSITION THE CHAIN, DEPENDING ON THE SOFTWARE. 4

UNIT 4

UNIT 5

SQUASH AND STRETCH – ANOTHER CONSIDERATION THAT MUST BE MADE IS WHETHER THE RIG WILL SUPPORT SQUASH AND STRETCH, OR WHETHER THE CHARACTER WILL BE CONSTRAINED TO REALISTIC MOTION. SQUASH AND STRETCH IS AN IMPORTANT PRINCIPLE IN EXAGGERATED CARTOON ANIMATION, BUT TYPICALLY DOESN’T LOOK RIGHT IN REALISTIC FILM/VFX WORK. IF YOU WANT YOUR RIG TO MAINTAIN REALISTIC PROPORTIONS, IT’S IMPORTANT TO SET A CONSTRAINT TO LOCK THE POSITION OF EACH JOINT IN RELATION TO THE REST OF THE RIG. 4

UNIT 6

FACIAL RIGGING – A CHARACTER’S FACIAL RIG IS USUALLY ALTOGETHER SEPARATE FROM THE MAIN MOTION CONTROLS. IT’S INEFFICIENT AND INCREDIBLY DIFFICULT TO CREATE A SATISFACTORY FACIAL RIG USING A TRADITIONAL JOINT/BONE STRUCTURE, SO MORPH TARGETS (OR BLEND SHAPES) ARE USUALLY SEEN AS A MORE EFFECTIVE SOLUTION. 2

UNIT 7

UNIT 8

MANIPULATING A CHAIN YOU MANIPULATE THE IK CHAIN USING THE EFFECTOR. AS YOU MOVE THE EFFECTOR, THE JOINTS OF THE CHAIN ROTATE ACCORDINGLY. THIS MAKES POSING AND ANIMATING A CHARACTER EASY, BECAUSE YOU NEED TO CONSIDER THE POSITION OF ONLY A SINGLE EFFECTOR, RATHER THAN THE ROTATION OF MANY JOINTS. WHAT HAPPENS WHEN YOU PULL THE EFFECTOR BEYOND THE LIMITS OF THE JOINTS? MOST SOFTWARE KEEPS THE JOINTS AT A FIXED LENGTH, SO THE FULLY EXTENDED CHAIN SIMPLY AIMS ITSELF AT THE EFFECTOR. SOME SOFTWARE, HOWEVER, CAN ALLOW THE JOINTS TO STRETCH, EXPANDING THE LENGTH OF THE ENTIRE CHAIN TO MEET THE EFFECTOR. THIS SORT OF EFFECT CAN BE USED FOR CARTOONY SQUASHING AND STRETCHING MOTIONS. 2

UNIT 9

JOINT LIMITS TO PREVENT JOINTS FROM BENDING THE WRONG WAY, YOU MAY NEED TO INFORM THE SOFTWARE EXACTLY WHAT THE LIMITS ARE FOR A SPECIFIC JOINT. MOST PACKAGES ALLOW FOR THESE LIMITS TO BE CONFIGURED ON A JOINT-BY-JOINT AND AXIS-BY-AXIS BASIS.SOME PACKAGES HAVE DIFFERENT TYPES OF JOINTS AND LET YOU SPECIFY A JOINT AS EITHER HINGED (TWO-DIMENSIONAL) OR BALL AND SOCKET (THREE-DIMENSIONAL). 2

UNIT 10

UNIT 11

CONTROLLING IK CHAIN DIRECTION YOULL ALSO NEED TO CONSIDER THE OVERALL DIRECTION OF THE CHAIN ITSELF. THE KNEES ARE A GOOD EXAMPLE: A CHARACTERS KNEES CAN POINT EITHER STRAIGHT AHEAD OR OUT TO THE SIDES. BOTH OF THESE SOLUTIONS ARE ACCEPTABLE, BUT MANIPULATING THAT ANGLE REQUIRES SOME EXTRA CONTROL. DEPENDING ON THE SOFTWARE, SEVERAL METHODS CAN BE USED TO SPECIFY HOW THE JOINT SHOULD BEND. THE ANGLE IS OFTEN A SEPARATE ATTRIBUTE THAT CAN BE MODIFIED OR ANIMATED.

UNIT 12

MIXING FORWARD AND INVERSE KINEMATICS WHILE IK IS ALMOST ALWAYS USED FOR LEGS, IT’S NOT ALWAYS THE BEST OPTION FOR OTHER PARTS OF THE BODY. SINCE FORWARD KINEMATICS IS BASED ON ROTATIONS, ITS DEFAULT MOTION CAUSES THE JOINTS TO MOVE ALONG ROTATIONAL ARCS, WHICH LOOKS MORE NATURAL BECAUSE IT IS THE WAY REAL SKELETONS WORK. THIS IS MUCH MORE DESIRABLE THAN IK’S DEFAULT MOTION, WHICH IS A STRAIGHT LINE. OF COURSE, THERE ARE MANY TIMES WHEN YOU WILL NEED IK TO LOCK DOWN THE HANDS, BUT WHEN THE HANDS ARE FREE, FK CAN BE MUCH EASIER TO ANIMATE. IN ORDER TO MEET THESE DIFFERING NEEDS, MOST ADVANCED PACKAGES OFFER SOME METHOD OF SWITCHING BETWEEN FK AND IK, OFTEN BY LETTING YOU CHANGE THE INFLUENCE OF THE IK EFFECTOR. WHEN IT’S AT 100 PERCENT, IK IS FULLY ENGAGED; CHANGE THAT INFLUENCE TO ZERO AND FK IS FULLY ENGAGED. 2

Reference Books:

REFERENCE LINK

https://WWW.LIFEWIRE.COM/WHAT-IS-RIGGING-2095
HTTP://WWW.PEACHPIT.COM/ARTICLES/ARTICLE.ASPX?P=483773
https://www.pinterest.com/eigenkazuki/rigging-tips/

For detail syllabus of all other subjects of Bachelor in Animation (Animation), 2017 regulation do visit Animation 5th Sem Subjects syllabus for 2017 regulation.

InI MH