Ronnie Leah, BA (Hons) Computer Animation Arts, UCA Rochester.

Toolkit 2 Reflection  Jetpack Jones was an interesting experience. One of the main reasons I joined the course was to learn how to create a character and then have the ability to fully model, rig and eventually animate them. Jetpack Jones gave me the ability to learn and apply these skills, and I felt this more engaging than the previous toolkit. I enjoyed modelling the characters head the most as it was the most rewarding as I had taken a drawing and made it into 3D. Although not perfect I feel my model still resembles that of the character. I appreciated the in-depth process of painting skin weights, something I was unsure about and struggled with in my previous projects. The videos did a good job of simplifying and explaining the process. However at the same time I felt that the whole process could have been made more interesting rather than sitting alone at a computer watching videos. I understand that their isn't much more you can do apart from learn this way but by making t...

 The final thing to rig was the eyebrows. This was interesting as I got to use a different paint skin weight tool.  My angry eyebrow does not look perfect like the video version, however this is the best I could make it look. I had trouble using the smooth tool to shape the eyebrow.  Once I had done each of the different expressions I then connected them into the main head. I then made one more star control so that the eyebrows could be moved in the channel box.  The final video showed me how to clean up the scene ready for texturing 

 I started by setting up the joints in the eyes  I then began painting the weights for the joints ready to create the blink. I found it hard to do the eye as my models eyes were at different shapes and sizers. I managed to work around this problem however by spending more time on the eyes making sure the blinked worked for my model.  My eyes were a bit messed up from the way I modelled it, however I still completed the eye blink in order to understand the process. I was still able to make the eye look as if its closing, just wasn’t as perfect as the video version. I was then able to mirror this across to the other side.

 Started by setting up the position of all the joints for the extra movement In the face. I then painted the weights for the face joints, starting with the nose. After skinning the nose I then moved on to the characters cheeks. I then made controls for each of the joints ready to bring down to the real face. Once the controls had been modified to be able to be seen in the viewport, I then translated them to the original head and then used the connection editor to connect them up. I then connected the controls to the head rig controls so that the nose, cheek and chin would move with the head. Finally cleaning up the scene.

 Final video in part 2 was thinning cheeks. This was done by using blend shapes to create this effect. This video was useful as it was a quick way of reminding me how to use blendshapes.

 In order to complete the lateral movements, I had to first combine each of the expressions next to each other in order to create the blended emotion. I had to then flip the head so that I had movement for the right side of the head.  I then used blend shapes in order to connect the expressions into the man model. Once this was done I then added each expression to a control so that they could be manipulated in the viewport. 

 Started by duplicating the head again, this time in order to fix corner of mouth movement. Once I set up the joints for the head, I then began weighting the joints. I then painted the weights to help with the character smiling movements. ]

 I positioned the teeth so that they fitted the size of my characters mouth. I then did this with the tongue. I parented them to the jaw rotation joint in order to see what they would look like when rotating. It was important that the teeth connected when the mouth was closed. Once I was happy with the look, I then went on to weighting the tongue. 

 Used blendshapes in order to move the mouth on both models Once the upper head was connected to the real head, I then returned to the lip joints and grouped them together. Next I used the connection editor to connect the joints to the controls. I then made controls for all of the joints, the top of mouth, bottom of mouth and corner of mouth. I then set the driven key for the mouth corners.

 In this video I began by binding the mouth to the head and then painting the weights I then ran around the model selecting the edges closest to the joint and then assigning the weight.

 Started by duplicating the original head 2 times. Then deleting one of the heads so that only the lips remain. Then took the lips and added hair follicles, using the same method as the ribbon spine. I then had to create all of the joints for the mouth Finally I weighted all of the upper and lower joints to the lips.

 Todays video started by making a control for the jaw joint so that it can be selected easily in the viewport. This was done using the crescent moon shape which was parented to the jaw rotation joint. I then did the same process for the two neck joints and the upper and lower head joints. Once all of the head controls were made I then had to add an additional one for the eyes. This made it so the eyes would follow the head movement, but was also able to be moved independently. Finally I added in the restrictions for the controls and then added them to an invisibility group.

 I started by un-parenting the geometry away from the head in order to prepare for skinning. I then added in the additional joints for the head. Once all of the joints had been set up I then began painting the weights, starting with the jaw rotation. I then moved on to weighting the neck. I feel I  understand the weight tool a lot better now from using it throughout this entire process. I then added squash and stretch to the upper and lower joint to allow additional movement in the head. Finally I had to bring back all of the objects connected to the face and mirror the skin weights.