CHARACTEr Rigging

The Werewolf was created on a solid foundation of several years of research and practice, building characters in Maya. Realistic animation and flexibility were Integral to the creation of all aspects of the setup, including mesh topology, bone placement and hierarchy, custom blendshapes and constraints, and more.

Given the large number of character controls I sought to simplify the process of node selection and grouped the various controls under intuitively named vector icons. All of the Werewolf's controls and selection handles are selectable both in the viewport and via the custom GUI.

See the Werewolf Demo Quicktime for more in depth information.

Character GUI controls built using the MEL script: abxPicker

CHARACTER GUI

With a focus on simplicity, I created a character control GUI that allows full access to all the character controls without the need for a viewport selection paradigm.

This allows you to really focus on the look of the shot, not distracted by overly complex rigging controls and selection widgets.

VIEWPORT CONTROLS

However, for maximum efficiency and speed when animating, I have also comprised a full set of viewport selection handles and vector controls that give access to all the controls in both the Head and Body character sets.

These viewport controls act as the core system for the whole character, with the GUI providing selection access to these same nodes as well.

Character Sets

Character sets are created for both the Body and Head, capturing the entire collection of controls in one node. This allows for a robust animation pipeline, particularly for the import / export of animation clips via the Trax Editor.

Animation clips can then be looped, stretched, scaled, and mixed with other clips. They can even be used on other characters via the Character Mapper.

Trax Editor

Using Maya's Trax Editor, separate clips are created, mixed and exported for future use, building an ever growing library of animations that can be used as required. The cycle, stretch and scale functions make the Trax Editor a great companion tool for all types of animation.

Using Character Sets + Trax Editor together is a powerful approach to the animation pipeline.

CHARACTER POSES

A library of dynamic poses were created for both the Body and Head, and continue to grow in number as the animation process continues.

Preset poses save time getting characters into the mood for a given shot. They can also serve as a strong foundation for pose-to-pose style animation.

You can selectively apply a pose to only certain nodes of the character, as well as mix in desired percentages with other poses... Very powerful.

Poses created with the MEL script: Poseman

Concept Art

Several concepts for the Werewolf were explored prior to commencement of the Maya process.

However, the artwork on the left remained the strongest of them all, with the elongated, dog-like snout and solid form that speaks strength.

Character Design

With the many Werewolf films now in circulation it was a challenge to come up with a design that really felt right. The Underworld films created Werewolves with a cat-like appearance and the Harry Potter Werewolf seemed ungainly and lanky.

Ultimately I wanted to capture the spirit of the original werewolf concept, that of a harmonious blend of Man and Wolf.

For this reason I eventually settled on a strong muscular base with strong canine features like the snout and teeth (which were based on true wolf anatomy, haunches and paws.

An interesting new challenge however, is the blend of geometry and how this looks when covered with hair. Hair creates bulk, which gives the illusion of greater volume.

Werewolf Anatomy 101

Another challenge was trying to find the right balance anatomically between wolf and man, allowing for a strong sense of power, yet able to function kinetically.

Animation tests during the rigging process drove the ultimate form and topology of the Werewolf allowing for flexibility and range of movement.

With thick, ape-like, long arms the Werewolf can swagger with a threatening presence and also run on all fours, tear-assing through the forest.