This will replace the skeletal hierarchy with the updated one, trying to keep the rest of the rig hierarchy like controls, spaces, and custom bones intact.Ĭontrol Rig has three modes: Setup Event, Forward Solve, and Backward Solve. The Rig Hierarchy can be updated by right-clicking and selecting Refresh Hierarchy, then choosing the correct Skeletal Mesh. First, we updated the Rig Hierarchy and the Preview Mesh to the new geometry. To create the Control Rig for the robot, we started with the Control Rig from the MetaHuman project and made a couple modifications: AncientOne_Body_CtrlRig. To add new geometry to the rig, geo was imported into UE, then dragged under the BodyParts component. The AttachMeshesToRig function simply iterates through all children of the BodyParts component in the BP and uses Attach Component to Component. It also meant the same function would automatically attach new geometry and bones as they were added. By taking this approach, we were able to quickly derive how the geometry should be attached to the skeleton using a small function in BP_AncientOne. Geometry and materials were organized in folders by body region to keep the project organization easier to navigate, for example, head, clavicles, legs. Each mesh element followed a specific naming pattern that was paired with the bone names in the skeleton. We approached the organization problem in a similar way that we would approach building a level, with clear naming schemes and folder structures. This meant every articulating element needed to be a unique mesh, requiring well-defined organization if we were to avoid madness. Rather than relying on Skeletal Meshes and traditional skinning, the robot was designed to be rigidly articulated with high-resolution Nanite meshes attached to the skeleton via a Blueprint. This introduced several design and workflow considerations.
This course will teach you how to prepare all that, so you can create very smooth animations with good timing.When concepting The Ancient One, we knew we were going to use Nanite to push the geometric detail on the creature. You can even control the acting of your character with Live Motion Capture.
Instead of having to draw frame by frame every single drawing for every single change of the face, the position of the eyes, the head, etc… I am going to show you how to set up your characters to be animated by using some very powerful controllers inside Cartoon Animator 4. After you complete this hour and a half training, you will be able to create character expressions that look organic, alive, instead of robotic and fake.Īnd I will show you how to be able to do those animations really really fast, using Cartoon Animator 4 Pipeline. In this course I am going to show you how to do really fast facial animation.