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Basic

Deformers

Using Maya: Animation 3

Contents

Basic Deformers

15 Understanding Basic Deformers 7

Modeling the geometry 8

Sculpt deformer 9

Lattice deformer 10

Wire deformer 11

Cluster deformer 12

Blend shape deformer 13

Wrinkles 14

16 Using Sculpt Deformers 15

Understanding sculpt deformers 15

Creating a sculpt deformer 17

Specifying the effects of sculpt deformers 17

Where to find sculpt attribute information 18

Deformation modes 19

Changing strength and range of deformation 25

Positioning the influence objects at creation 28

Grouping the influence objects at creation 28

17 Using Lattice Deformers 29

Understanding lattice deformers 29

Creating a lattice deformer 32

Working with base lattices 32

4 Using Maya: Animation

ContentsSpecifying the effects of lattice deformers 33

Where to find lattice attribute information 34

Changing the lattice’s resolution 35

Changing the display of lattices 36

Changing the region of effect 37

Deforming the geometry 38

Resetting the lattice 38

Resetting the lattice points 38

Grouping the base and deformed lattices 39

Parenting the lattice to the geometry 39

Setting the initial position 40

Maintaining geometry mapping 40

Increasing lattice deformer performance 40

Animating with lattices 41

Binding a lattice to a skeleton 41

Binding a lattice and other geometry to a skeleton 42

Deforming a lattice with other deformers 42

18 Using Wire Deformers 43

Understanding wire deformers 43

Creating a wire deformer 48

Adjusting the influence 50

Adding new wires to a deformer 51

Removing wires from a deformer 51

Specifying the effects of wire deformers 51

Where to find wire attribute information 53

Limiting the region of deformation 54

Controlling the effect where wires cross 57

Affecting the shape of the deformation 59

Varying the deformation percentage 61


ContentsCorrecting jagged geometry 65

19 Using Cluster Deformers 67

Understanding cluster deformers 67

Creating a cluster deformer 68

Editing cluster point percentages 68

Specifying the effects of cluster deformers 69

Where to find cluster attribute information 70

Setting the cluster relative to parent transform 71

Controlling the deformation percentage of the entire cluster 71

Weighted nodes 72

Setting location of cluster handle 72

Improving cluster redraw performance 72

20 Using Blend Shape Deformers 73

Understanding blend shapes 74

Creating a blend shape 74

Using the Blend Shape Editor 75

Setting target weights 76

Settings keys for blend shapes 78

Saving a blend shape as a new target 78

Selecting a blend shape node 79

Creating a blend shape node from the Blend Shape Editor 79

Setting blend shape options 80

Scaling the influence of all targets 80

Matching the position, rotation, and scale of targets 81

Chaining targets 82

Blending objects with different topologies 82

Deleting a target’s geometry 84

Choosing the blend shape deformation order 85


ContentsEditing which targets are in a blend shape 86

Adding a target to a blend shape 86

Swapping targets in a blend shape 87

Removing a target’s influence on a blend shape 88

21 Using Wrinkles 89

Understanding wrinkles 89

Creating a wrinkle 90

Specifying the effects of wrinkles 91

Where to find wrinkle option information 91

Wrinkle Type option 91

Amount option 92

Thickness option 92

Randomness option 92

Intensity option 92

Radial Branch Amount option 92

Radial Branch Depth option 93

22 Advanced Topics 95

Deformer architecture 95

Viewing intermediate objects 96

Setting the deformation order option 96

Setting the exclusive option 97

Editing the deformation set 98

Pruning deformations 98

Improving performance 99


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15 Understanding BasicDeformers

Deformers apply deformations on geometries. Maya includes two types ofdeformers: basic deformers and high-level deformers called flexors. Basicdeformers include the following: the sculpt deformer, the lattice deformer,the wire deformer, the cluster deformer, and the blend shape deformer.Additionally, wrinkles, which combine wire and cluster deformers, areincluded with the basic deformers. The high-level deformers called flexorswork in conjunction with Maya’s skeletal animation tools; for information onflexors, see Using Maya: Animation, Character Animation. This document,Using Maya: Animation, Basic Deformers, describes how to use the basicdeformers and wrinkles.This chapter presents an overview on basic deformers. To use basicdeformers, you need to understand the following:

• “Modeling the geometry” on page 336• “Sculpt deformer” on page 337• “Lattice deformer” on page 338• “Wire deformer” on page 339• “Cluster deformer” on page 340• “Blend shape deformer” on page 341• “Wrinkles” on page 342

Note

To use the basic deformers this document describes, be sure you haveMaya’s Animation menu selected.


Understanding Basic DeformersModeling the geometryModeling the geometry

Modeling is the process of creating geometry. You can use Maya to modelgeometry, or you can import geometry into Maya. In Maya, a geometry canbe a non-uniform rational B-spline (NURBS) or polygonal geometry. Thegeometry you plan to deform can be any combination of objects (NURBScurves or surfaces, polygons, or lattices) or selected components of objectssuch as NURBS control vertices (CVs) or polygonal vertices.


Understanding Basic DeformersSculpt deformer

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Sculpt deformerA sculpt deformer provides a way to create rounded deformations on ageometry.

Sculpt deformerThe sculpt deformer influences the geometry’s shape by means of the sculptdeformer’s sculpt object, which is a spherical object you can manipulate tocreate various kinds of rounded deformations.For more information on sculpt deformers, see Chapter 16, “Using SculptDeformers.”


Understanding Basic DeformersLattice deformerLattice deformer

A lattice deformer includes a lattice whose lattice points you can manipulateto deform a geometry within the lattice.

Lattice deformerThe lattice deformer influences the geometry by means of a deformed latticeand a base lattice. You can manipulate the deformed lattice to create thedeformation. The base lattice, which is invisible by default, represents thedeformed lattice’s initial state. The geometry is deformed based on thedifferences between the deformed lattice and the base lattice. Thedeformations normally take place only when the geometry is positionedwithin the base lattice.For more information on lattice deformers, see Chapter 17, “Using LatticeDeformers.”


Understanding Basic DeformersWire deformer

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Wire deformerA wire deformer includes one or more wires that you can manipulate tochange the shape of a geometry.

Wire deformerThe wire deformer influences the geometry by means of one or more pairs ofinfluence wires and base wires. The influence wires are curves that youcreate, select to be influence wires, and then manipulate to producedeformations. The base wires, which are invisible by default, represent theinitial state of the influence wires. The geometry shape changes based on thedifferences between the base wires and the influence wires.For more information on using wire deformers, see Chapter 18, “Using WireDeformers.”


Understanding Basic DeformersCluster deformerCluster deformer

A cluster deformer applies a transformation to a set of a geometry’s points(for example, a set of NURBS CVs, polygonal vertices, or lattice points). Youcan specify the extent each point can be transformed by assigning each pointa weight value that indicates what percentage of the transformation will beapplied to that point. You can specify a unique weight value for each pointin the set.

Cluster deformerThe cluster deformer influences the geometry by means of a cluster handleand weight values that you assign to the geometry’s points (either NURBSCVs or polygonal vertices). The cluster handle appears as the letter “C.” Youcan position, rotate, and scale the cluster handle to create deformationeffects. You use the Set Editor to assign weight values to points.For more information on using cluster deformers, see Chapter 19, “UsingCluster Deformers.”


Understanding Basic DeformersBlend shape deformer

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Blend shape deformerA blend shape deformer allows you to blend multiple shapes together. Thisdeformer is typically used for animating facial expressions.

Blend shape deformer effectsThe blend shape deformer influences a geometry by means of a base shapeand various target shapes.For more information on blend shape deformers, see Chapter 20, “UsingBlend Shape Deformers.”


Understanding Basic DeformersWrinklesWrinkles

A wrinkle is a combination of a cluster deformer with one or more wiredeformers. Wrinkles are useful for creating detailed wrinkling effects on thesurface of a geometry.

Wrinkle (combination of a cluster deformer with wire deformers)For more information on wrinkles, see Chapter 21, “Using Wrinkles.”


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16 Using Sculpt Deformers

A sculpt deformer uses a sphere as a tool to deform geometry. The geometrynear the sphere maps onto it; as you move the sphere, the geometry is pulledor pushed along.This chapter has the following topics:

• “Understanding sculpt deformers” on page 343• “Creating a sculpt deformer” on page 345• “Specifying the effects of sculpt deformers” on page 345

Understanding sculpt deformersUse sculpt deformers to bulge or dent specific areas of geometry. To controlthe amount and shape of the bulge or dent, you move, scale, and changeattributes of the scuplt deformer’s sculpt object, a sphere.

Sculpt deformer deforming plane geometryAs with many deformers, the position of the influence objects determineshow the geometry is deformed. You can cause the geometry to beundeformed by moving the sculpt object, a locator specifying the origin ofthe deformation, or both out of the range of influence.


Using Sculpt DeformersUnderstanding sculpt deformers

Locator (selected)The following figure uses five sculpt deformers on a sphere (the display ofthe sculpt objects are toggled off using Display→Hide→HideDeformers→Sculpt Objects).

Sculpting a sphere using several sculpt deformers


Using Sculpt DeformersCreating a sculpt deformer

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Creating a sculpt deformer

To create a sculpt deformer:

1 Select the geometry you want to deform.2 To change properties of the sculpt object before you create it, selectDeformations→Sculpt-p.

The Sculpt Options window is displayed. See “Specifying the effects ofsculpt deformers” on page 345 for descriptions of the options.3 Select Deformations→Sculpt or, if you’ve opened the Sculpt Optionswindow, click Create in that window.

Maya creates a sculpt object (and a locator, if you use stretch mode).4 If you’re using stretch mode, move the locator to the position that you wantthe stretch or bulge to start from. This is generally inside or on the oppositeof the geometry from the sculpt object. Move the sculpt object to deform thegeometry.

Specifying the effects of sculpt deformersYou can specify the effects of the sculpt deformation in the Sculpt Optionswindow before you create a sculpt deformer, or in the Attribute Editor forindividual sculpt deformers after you create them.To set sculpt deformer creation options:

Select Deformations→Sculpt-p to display the Sculpt Options window.The settings in this window apply to all sculpt deformers you createsubsequently.To edit sculpt deformer attributes:

Select the sculpt object and choose Window→Attribute Editor to open theAttribute Editor. The sculpt attributes are displayed in the tab having thename of the sculpt deformer. By default, the name is sculptn, where n is aninteger.


Using Sculpt DeformersSpecifying the effects of sculpt deformersWhere to find sculpt attribute information

To set sculpt deformer attributes you use the Attribute Editor. The followingfigure shows some of the sculpt deformer’s attributes:

The Attribute Editor with sculpt object selected


Using Sculpt DeformersSpecifying the effects of sculpt deformers

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To find information on each sculpt deformer attribute, see the following:

Deformation modes

This section describes the sculpt deformer modes and inside modes.Sculpt deformer modes

You can put the sculpt object in one of three modes: stretch mode, flip mode,or project mode.Stretch mode

In stretch mode, as you move the sculpt object away from the geometry, theaffected surface of the geometry stretches or bulges to stay with the sculptobject. The stretch direction extends from the point marked by the locator tothe surface of the sculpt object.

Mode “Deformation modes” on page 347Inside Mode “Deformation modes” on page 347Max Displacement “Changing strength and range of deformation” onpage 353Dropoff Type “Changing strength and range of deformation” onpage 353Dropoff Distance “Changing strength and range of deformation” onpage 353Positioning “Positioning the influence objects at creation” onpage 356Grouping “Grouping the influence objects at creation” on page356Node Behavior “Improving performance” on page 427



Sculpt deformer in stretch modeWhen you create a sculpt deformer in stretch mode, an influence object, thelocator (or sculpt origin), is created with the sculpt object. The position of thesculpt object in relation to the influence object affects the deformation. Youcan select and move the locator as you do any object, or parent it to thesculpt object and move them in combination. Depending on the effect youwant to create, you could also parent the locator to some other object in theanimation.The following two figures illustrate the effect of moving the locator (thesculpt origin).

Sculpt deformer’s locator (sculpt origin)



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Sculpt deformer’s locator (sculpt origin) at new locationFlip mode

A sculpt deformer in flip mode has an implicit locator in the center of thesculpt object. When the sculpt object/locator is near the geometry,deformation occurs. This mode is called flip mode because as the center ofthe sculpt object passes through the surface, the deformed surface flips to theother side of the sculpt object.

Sculpt deformer in flip mode


Using Sculpt DeformersSpecifying the effects of sculpt deformersProject mode

In project mode the sculpt deformer projects the geometry onto the surfaceof the sculpt object. The extent to which the projection takes place dependson the sculpt deformer’s Dropoff Distance. The following three figuresillustrate a sculpt deformer shaping a plane with a minimum DropoffDistance, an intermediate Dropoff Distance, and a maximum DropoffDistance. At the maximum Dropoff Distance, the plane is projectedcompletely onto the sculpt object.

Sculpt deformer over plane (minimum Dropoff Distance)

Sculpt deformer over plane (intermediate Dropoff Distance)



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Sculpt deformer over plane (maximum Dropoff Distance)While the Dropoff Distance specifies the extent of the projection directlyonto the sculpt object, the Maximum Displacement specifies whether theprojection takes place directly onto the sculpt object, inside the sculpt object,or outside of the sculpt object.With a Maximum Displacement of 1.0, the projection takes place on thesurface of the sculpt object. This is the effect you would usually want toachieve with project mode. However, by changing the MaximumDisplacement you can displace the projection from the surface of the sculptobject. With a Maximum Displacement between 0 and 1.0, the projectiontakes place within the sculpt object. With a Maximum Displacement greaterthan 1.0, the projection takes place outside of the surface of the sculpt object.Finally, with a Maximum Displacement of 0, the geometry is projected intothe center of the sculpt object. Finally, with a Maximum Displacement of lessthan 0, the projected geometry turns inside out as it is projected through thecenter of the sculpt object.


Using Sculpt DeformersSpecifying the effects of sculpt deformersInside modes

To control how the deformation occurs for points of the geometry that arewithin the sculpt object’s diameter, use the Inside Mode setting in theAttribute Editor.Set the inside mode to Ring to push the points outside the sculpt object toproduce a contour-like ring of points around the sculpt object.Set the inside mode to Even to spread the affected points as smoothly aspossible across the sculpt object’s surface. The default is Even.

Inside modes (left to right): even and ring



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Changing strength and range of deformation

You can change the strength and range of the sculpt deformation:• The strength of repulsion of the sculpt object on the geometry determineshow far the geometry is pushed away from the sculpt object. This distance isin the local space of the sphere is therefore affected by the scaling of thesphere.• The range of the sculpt object’s effect defines how wide the deformer’s fieldof influence is, and how abruptly it deforms the affected area.

Strength of repulsion

Using the Max Displacement attribute, you can change the strength of thesculpt object’s repulsion of the geometry so that the geometry is affected to agreater or lesser extent. This controls how strong the deformer’s effect is, nothow much of the geometry is affected.The repulsion is the maximum distance, in linear units, that the sculpt objectmoves a point on the geometry from the surface of the sphere.

Max Displacement (left to right): 0.5, 3, 10


Using Sculpt DeformersSpecifying the effects of sculpt deformersRange and type of effect

Based on the distance of the points from the sculpt object, you can controlhow much of the geometry is affected (using the Dropoff Distanceattribute), and how gradually or quickly the attraction pulls points (usingthe Dropoff Type attribute).There are two dropoff types:

• None gives sudden discontinuity: the sculpt object deforms the geometry at100% until the dropoff distance is reached, at which point the deformation is0%.• Linear gives a smooth dropoff: the deformation effect drops linearly from100% at the geometry’s surface to 0% at the dropoff distance.

Dropoff types (left to right): None and Linear



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Dropoff Distance values of 2 and 5 (dropoff type is linear)


Using Sculpt DeformersSpecifying the effects of sculpt deformersPositioning the influence objects at creation

When you create a sculpt deformation, you can center the sculpt object in thegeometry or create it at the origin. Use the Center Within Selection optionto control where the sculpt object (and for stretch mode, the locator) iscreated.The Center Within Selection attribute is available only in the Sculpt Optionswindow. Choose Deformations→Sculpt-p to display the that window.

Grouping the influence objects at creation

When you create a sculpt deformation in stretch mode, you can group thesculpt object with the locator. Use the Group Sculptor With Locatoroptionto group the two influence objects.The Group Sculptor With Locator attribute is available only in the SculptOptions window. Choose Deformations→Sculpt-p to display that window.


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17 Using Lattice Deformers

A lattice deformer surrounds a geometry with a lattice that you can use tochange the geometry’s shape. When the geometry is within the lattice, thegeometry changes shape in response to how you manipulate the lattice.This chapter has the following topics:

• “Understanding lattice deformers” on page 357• “Creating a lattice deformer” on page 360• “Specifying the effects of lattice deformers” on page 361• “Deforming the geometry” on page 366• “Animating with lattices” on page 369

Understanding lattice deformersUse lattices deformers when you want to smoothly stretch or squash largesections of geometry. Lattice deformations use a base lattice and a deformedlattice to control the deformation.The deformed lattice is a visible box whose lattice points you manipulate todeform the geometry.

Deformed lattice with lattice points selected


Using Lattice DeformersUnderstanding lattice deformersThe base lattice is a box (usually invisible) that contains the geometry youwant to deform. The base lattice serves as a reference for how strongly eachlattice point on the deformed lattice influences each component of thegeometry. Move the geometry out of the base lattice, and the geometrybecomes undeformed (unless freeze geometry is turned on).

Base lattice (selected)You can animate the movement of the geometry into and out of the baselattice: like a ghost squeezing through a keyhole, the geometry’s shapechanges based on the deformation of the closest points of the lattice.

Cylinder geometry entering a lattice deformer


Using Lattice DeformersUnderstanding lattice deformers

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Cylinder geometry passing through a lattice deformer

Cylinder geometry exiting a lattice deformerThe lattice deformer maps the volume of space within the base lattice intothe volume defined by the deformed lattice. For example, if you scale up thedeformed lattice with respect to the base lattice, your geometry grows; if youscale down the deformed lattice, the geometry shrinks.In many situations, you group the base lattice and the deformed latticetogether. This makes it easy to move them in unison, which is useful whenyou want the lattice deformation to occur relative to some othertransformation space. For example, suppose you have an antenna on a car,and you want the antenna to whip back and forth as the car veers from sideto side. You can parent the base and deformed lattices together under thecar’s transform node so both get carried along the car’s path, and thendeform the antenna with the deformed lattice relative to that transformation.


Using Lattice DeformersCreating a lattice deformerCreating a lattice deformer

This section describes how to create a lattice and how to work with baselattices.To create a lattice deformer:

1 Select the geometry for which you want to create a lattice.2 To set lattice creation options before you create the lattice, selectDeformations→Lattice-p.

The Lattice Options window is displayed.3 Select Deformations→Lattice or, if you’ve opened the Lattice Optionswindow, click Create in the window.

The lattice appears on the object you selected. If you select part of an objectto which to apply the lattice (by choosing components), only the selectedcomponents appear within the lattice.4 To manipulate the lattice’s control vertices, turn on (the Select byComponent Type button).5 Select and move a point or points on the lattice.

As the points on the lattice move, so does the geometry.

Working with base lattices

The base lattice is visible only when it’s selected. You can translate, rotate, orscale a base lattice, but you cannot manipulate individual control vertices asyou can with the deformed lattice.Since the base lattice is rarely visible, it’s easy to forget the effect it has on thegeometry. There are two important considerations to keep in mind whenworking with lattices:

Note

If you are animating the geometry through the base lattice and want asmooth transition, leave the outermost slices of the lattice undeformedwhere the geometry enters and leaves the base lattice. If you don’t, thegeometry jumps to the lattice as it enters.


Using Lattice DeformersSpecifying the effects of lattice deformers

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• The original, undeformed geometry must be inside the base lattice to beaffected by the deformed lattice. If you move the geometry and don’t havethe base lattice parented to it, the deformed lattice no longer has an effect onthe geometry.• If you are moving the geometry through the deformed lattice, you musthave the base lattice within the deformed lattice. For example, if you have adeformed lattice to the side of a character, but the invisible base latticemistakenly in front, when the character walks straight ahead, it reaches thebase lattice and pours through the deformed lattice on the side.

To manipulate the base lattice:

• In the Outliner (open by selecting Window→Outliner), click on the name ofthe base lattice.The base lattice is visible only when selected.

Specifying the effects of lattice deformersYou can specify the effect of the lattice deformation in the Lattice Optionswindow before you create a lattice deformer, or in the Attribute Editor forindividual lattice deformers after you create them.To set lattice deformer creation options:

Select Deformations→Lattice-p to display the Lattice Options window.The settings in the window apply to all lattice deformers you createsubsequently.To edit lattice deformer attributes:

Select the lattice and choose Window→Attribute Editor to open theAttribute Editor. The latice attributes are displayed in the tab having thename of the lattice deformer. By default, the name is ffdn, where n is aninteger.


Using Lattice DeformersSpecifying the effects of lattice deformersWhere to find lattice attribute information

To set lattice deformer attributes you use the Attribute Editor. The followingfigure shows some of the lattice deformer’s attributes:

The Attribute Editor with lattice selected



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To find information on each lattice deformer attribute, see the following:

Changing the lattice’s resolution

To deform the geometry by a finer or coarser resolution, you can change thenumber of lattice points. Using the Divisions attribute, you can increase ordecrease the divisions along S, T, and U (the X-, Y-, and Z-axis, respectively,if the lattice were in the default position at the origin).The caveat, of course, is that the greater the number of divisions, the morecalculations Maya has to do to deform the geometry and the slower theperformance. For ways to speed up the performance to counteract the effectof a high-resolution lattice, see “Improving performance” on page 427.You gain no resolution in the deformation by having more lattice points inthe lattice than points on the geometry. The resolution is limited by thespacing of points across the geometry. Note that if you’ve moved the points,you have to reset the points before changing the resolution.You can reset the lattice by choosing Deformations→Edit Lattice→ResetLattice. However, you cannot change the resolution of a lattice if the latticepoints have been moved from their reset position or the lattice has history. Ifyou want to change the number of divisions on a lattice whose points havebeen moved, choose Deformations→Edit Lattice→Reset Lattice Tweaks,and then change the divisions of the lattice. If you want to change thedivisions on a lattice with history, find the upstream lattice shape andchange its divisions. You can find the upstream lattice by selecting the latticeand looking in the attribute editor tabs for the original lattice shape, whichwill typically share the same base name as the downstream lattice appendedby the letter “Orig.”

Divisions “Changing the lattice’s resolution” on page363Parenting “Parenting the lattice to the geometry” onpage 367Freeze Mode “Maintaining geometry mapping” on page368Use Partial Resolution “Increasing lattice deformer performance”on page 368



Lattice with default divisions of 2, 5, 2 (left) and 4, 4, 4 (right)Changing the display of lattices

Lattices have a special reduced display mode that lets you toggle them toappear as the letter L to reduce screen clutter. In the “L” mode, you canselect the lattice with by selecting the “L” icon. When selected, the latticeitself appears.To toggle the reduced display mode:

Choose Display→Object Components→Lattice Shape.The lattice toggles on and off.

Changing the region of effect

By default when you create a lattice, each lattice point affects only nearbygeometry components. This is Local Mode. If you turn Local Mode off, everypoint on the lattice has an effect on every component of the geometry in thedeformation set. Lattice points farther away from a particular point have lesseffect than close lattice points, but all lattice points have some effect.Local Mode is faster and allows you finer control of the deformation as youmanipulate the lattice points, since the proximity of the lattice points hasmore effect on the geometry.



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In Local Mode, you can set the area of lattice points that affect the geometrywith the Local Influence (S, T, U) attributes.

Lattice with Local Mode turned on (left) and turned off (right)


Using Lattice DeformersDeforming the geometryDeforming the geometry

Deforming a geometry involves manipulating the relationships among thebase lattice, the deformed lattice, and the geometry. These manipulationsinclude the following:• Resetting the lattice• Resetting the lattice points• Grouping the base and deformed lattices• Parenting the lattice to the geometry• Setting the initial position• Maintaining geometry mapping• Increasing lattice deformer performance

Resetting the lattice

You can reset the deformed lattice to return it to the location and shape ofthe base lattice.Use Reset Lattice to clear all adjustments you have made to the deformedlattice. Use this when you want to:

• start over with the deformation• rotate, scale, or translate the base lattice and the deformed lattice together,from their initial positions• parent the base lattice at the center of the deformed lattice, beforemanipulating the lattice. (See the discussion on moving geometry throughthe lattice in “Working with base lattices” on page 360.)

To reset the lattice:

Select Deformations→Edit Lattice→Reset Lattice.Resetting the lattice points

You can reset the lattice points to their original positions. This is similar toreset lattice, but it does not modify the transformation on the lattice shapeitself, only the transformation of the lattice points. Use this when you wantto change the number of divisions on the lattice or start over with thedeformation.


Using Lattice DeformersDeforming the geometry

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To reset the lattice points

Select Deformations→Edit Lattice→Reset Lattice Tweaks.Grouping the base and deformed lattices

To move the base lattice and the deformed lattice together, you can groupthem. Group the lattices when you are moving the lattice to deform astationary geometry. For example, suppose you wanted to slam a fish bowlon a character’s head so that the head then conforms to the shape of thebowl. To do this, you could use a lattice deformer to shape a geometry forthe fishbowl and a geometry for the head. You could then group the baselattice and deformed lattice, parent them to the fishbowl geometry, andmove them all away from the head. When you move them away, the headwill return to its normal shape, but when you move them back the head willtake the shape of the fishbowl.To group the deformed lattice and the base lattice:

1 Select the deformed lattice and base lattice.2 Select Edit→Group.

If you have grouped the base lattice and the deformed lattice, a simple wayto select the two lattices in the scene (without opening the Outliner) is toselect the deformed lattice and press the Up Arrow key to get the latticetransform node.Parenting the lattice to the geometry

You can parent the lattice and base lattice to the geometry to move thegeometry and keep it deformed. For example, if your character’s squashedhat is deformed with a lattice, parent the lattice to the hat and the base latticeso the hat stays deformed as it moves.To parent the lattice to the geometry:

You can parent the lattice to the geometry in two ways, depending on whenyou’re parenting:• After you create the lattice, open the Outliner (select Windows→Outliner)and drag and drop the lattice onto the geometry using the middle mousebutton. An alternate way is to select the lattice, then the geometry, andchoose Edit→Parent.


Using Lattice DeformersDeforming the geometry• Before you create the lattice, open the Lattice Options window (selectDeformations→Lattice-p) and turn on the option called Autoparent toSelection.

Setting the initial position

Most often, you probably want the lattice centered around the geometry it’sdeforming. As you deform the lattice, you want to see immediately the effecton the geometry. If you transform the lattice, the geometry transforms aswell.At other times, you may want the geometry to be generally unaffected bythe lattice, deforming only when it moves into the influence of the baselattice. For example, you can create a ghost (the geometry) that squeezesthrough a keyhole-shaped deformer and then pops out on the other side andresumes the original ghost shape.The Center Around Selection toggle in the Lattice Options windowdetermines where the lattice is created.When checked, Center Around Selection creates a lattice around the object.If more than one object is in the object list, the lattice is centered around thegroup.When Center Around Selection is toggled off, the lattice is created at theorigin with a default size.

Maintaining geometry mapping

You can freeze the relationship between the deformed lattice and the baselattice so that subsequent translations, rotations, and scales of the deformedlattice with respect to the base lattice have no effect on the deformation.Freeze Geometry Mapping remembers the mapping of the geometry fromthe base lattice to the deformed lattice. Use Freeze Geometry Mappingwhen you layer deformations so that subsequent changes in the geometryshape do not prevent the lattice’s deformations from being considered.

Increasing lattice deformer performance

You can improve redraw performance when you don’t need to see thedeformation you created (for example, if you’re working on another part ofthe scene). Reduce the accuracy of the deformation by changing the UsePartial Resolution attribute in the Attribute Editor from full to partial.


Using Lattice DeformersAnimating with lattices

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When you set the Use Partial Resolution attribute to partial, you can adjustthe error tolerated in the deformation calculation. A tolerance of 0 meansyou want full accuracy; the maximum value of 0.1 decreases the accuracysignificantly.

Additionally, note that you can edit the performance settings for lattices(and all the other deformers) with the Performance Settings editor (ChooseWindow→General Editors→Performance Settings... .)Animating with lattices

You can combine lattices with other Maya features for some creative effects.For example, try:• Binding a lattice to a skeleton• Binding a lattice and other geometry to a skeleton• Deforming a lattice with other deformers

Binding a lattice to a skeleton

Conventionally, you bind geometry to a skeleton, then add high-leveldeformers call flexors on the joints or bones to affect the geometry when thejoints are articulated. Usually you spend some time adjusting thesedeformers to produce a realistic effect.For some purposes, putting a lattice on a geometry first, then binding thelattice to the skeleton produces a smooth deformation at a joint with littleeffort. This works especially well if you are bending one joint of many, suchas for a tail. The lattice bound to the skeleton produces a smoothdeformation over many joints, whereas putting a lattice flexor on a jointaffects only the area between the joint and its neighboring two joints.

Note

If you have set the accuracy to partial, set the accuracy of each deformer tofull before you render the scene if you want to render the deformationmost accurately.


Using Lattice DeformersAnimating with lattices

Geometry bound to skeleton (left) and lattice bound to skeleton(right)Binding a lattice and other geometry to a skeleton

You can select both lattice and other, nonoverlapping geometry to bind tothe same skeleton.For example, you can bind a lattice that’s deforming a torso, but bind thegeometry itself for the legs and arms of a character. This type of skinning cangive you effects in body rotations that encompass a wider, more realisticrange of the body with little manipulation on your part.

Deforming a lattice with other deformers

You can deform any deformed lattice just as you can deform a geometrywith other deformers. For example, you can put a sculpt or cluster deformeron a lattice, and deform the lattice shape.


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18 Using Wire Deformers

Wire deformers use curves you create as a tool to pull or push geometry.You can set up the curves to follow the contours of the geometry. When youmove the curves, the surrounding geometry is pulled along.This chapter has the following topics:

• “Understanding wire deformers” on page 371• “Creating a wire deformer” on page 376• “Specifying the effects of wire deformers” on page 379• “Correcting jagged geometry” on page 393

Understanding wire deformersWith a wire deformer, you can deform geometry with free-form curves. Youcreate the curves and select them as the wire deformer’s wires. You can thendeform surfaces by manipulating the wires to create dynamic effects. Thefollowing figure illustrates how a wire deformer can animate an eyebrow:

Wire deformer animating eyebrow action


Using Wire DeformersUnderstanding wire deformersWire deformers include one or more wires you can manipulate to shape ageometry. Here is a plane that has been deformed by a wire deformer thatconsisted of several wires:

Wire deformer with several wiresBase wires, a wire deformer’s secondary influence objects, are duplicatecurves that Maya creates when you assign the curve to be a wire deformer.The base wire acts as an anchor to the wires: the deformation occurs on thegeometry in a straight line from the base wire to the wire deformer.


Using Wire DeformersUnderstanding wire deformers

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Base wires are hidden by default. You can display them by selecting them inthe Outliner and choosing Display→Show Selection.

Base wire acts as anchor to wire deformerIf you want to limit the region of a wire’s effects, you can create curvescalled holders. Holders let you create a deformation up to the point of theholder, regardless of the dropoff applied to the wire. They also limit theregion of the deformer’s effect by blocking deformation beyond the holder.As with any curve, you can move a holder or change its shape.Depending on whether the base wire is parented to the influence wire, youcould create a wave effect or a stretching effect.



Wire deformer creating wave effectThe wire deformer creates the wave in the geometry based on themanipulation of the deformer’s influence wire. The influence wire, whichyou can manipulate directly, is the curve located above the geometry. Thebase wire is located below the influence wire. The differences between theinfluence wire and the base wire determine the deformation.With the base wire parented to the influence wire, positioning the influencewire causes a wave to ripple through the geometry.

Curve with base wire parented to curve



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However, if the base wire is not parented to the influence wire, positioningthe curve stretches the geometry between the influence wire and the basewire.

Curve without base wire parented to curve


Using Wire DeformersCreating a wire deformerCreating a wire deformer

This section describes the basic steps of creating and working with wiredeformers. Setting attributes and using more advance features like dropofflocators is described in “Specifying the effects of wire deformers” on page379.To create a wire deformer with no holders:

1 Create a curve or curves on or near the surface you want to deform.The curve does not have to be on the surface, but it should be in closeproximity. You can create several curves to deform your selection and othersto act as holders.

2 To change properties of the wire deformer before you create it, selectDeformations→Wire Tool-p.The Wire Options window is displayed. See “Specifying the effects of wiredeformers” on page 379 for descriptions of the options.

3 Select Deformations→Wire Tool.4 Select the geometry you want to deform and press the Enter key.

The prompt line leads you through the selection process.5 Select all curves you want to use as wires.

If the only curves on the geometry’s surface are ones you want to use aswires, you can simply drag a box over the geometry and curves. The wiretool selects and highlights only the curves.6 Press the Enter key.

You can lift the wires off the surface individually or in a group to deform thesurface.


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You can modify the curves of the wire deformer the same way you modifyany curve, by toggling on (the Select by Component Type button) andusing the transform manipulators to move the points.

To create a wire deformer with holders:

1 Create a curve or curves on or near the surface you want to deform.The curve does not have to be on the surface, but it should be in closeproximity. You can create several curves to deform your selection and othersto act as holders.

2 To change properties of the wire deformer before you create it, selectDeformations→Wire Tool-p.The Wire Options window is displayed. See “Specifying the effects of wiredeformers” on page 379 for descriptions of the options.

3 Turn Holders on in the Wire Options menu4 Select Deformations→Wire Tool.5 Select the geometry you want to deform and press the Enter key.

The prompt line leads you through the selection process.6 If you are not creating holders, select all curves to use as wires and pressEnter.

Pressing Enter completes the creation of the wire deformer. You can lift thewires off the surface individually or in a group to deform the surface.7 Select one curve to use as the wire associated with a particular holder andpress Enter.8 Select the curve to use as the holder for that wire and press the Enter key.

If you have no holder for this wire, click off all surfaces to select nothing andpress Enter.9 Continue steps 6 and 8 until you have chosen each curve and its associateholder.

Note

If a wire does not deform the surface when you transform it, the initialcurve may not have been close enough to the surface. To move its initialposition, simply move the base wire (see the procedure, “To select the basewire:” on page 378).


Using Wire DeformersCreating a wire deformerYou can associated a holder with more than one curve. To do so, pick onecurve, press Enter, then select the holder, and press Enter. Pick the nextcurve, press Enter, then select the holder again, and press Enter. Continuethis process for as many curves as you’d like to associate with the holder.

10 To finish the process, click away from all objects to select nothing and pressEnter one more time.The final Enter indicates that you have finished the process. You can lift thewires off the surface individually or in a group to deform the surface.You can modify the curves of the wire deformer the same way you modifyany curve, by toggling on (the Select by Component Type button) andusing the transform tools to move the points.

Adjusting the influence

The base wire influences the deformation as you pull the wire away from thegeometry. In several cases, you may want to work with the base wire:• to change the angle of the pull by transforming the base wire• to animate a wave motion through the geometry by moving the base wiresin tandem with the primary wires• to bring the influence of the deformer closer to the surface if you see noresult after transforming a newly created deformer

The base wire is invisible by default. The following procedure describes howto make it visible so you can work with it.To select the base wire:

1 Open the Outliner window by selecting Window→Outliner.2 Select the base wire in the Outliner window.3 Make it visible by choosing Display→Show→Show Selection.

Now you can see it to transform it, parent it to the deformer, group it, ormodify it.Keep the base wire in close proximity to the geometry or the surface will notbe deformed.

4 You can hide the base wire again by selecting it and usingDisplay→Hide→Hide Selection.


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Adding new wires to a deformer

You can add wires to a deformer after you have created the deformer. Youmight want to do this if you forgot to include a particular curve or if youdecide to change the effect of the deformer.To add another wire to the deformer:

1 Select the curves you want to add to the deformer.2 Shift-click on any wire in the deformer to indicate which deformer you wantto add the curves to.3 Choose Deformations→Wire Edit→Add to add the curves.

The wires are added to the deformer set and base wires are createdautomatically.Removing wires from a deformer

You can delete wires from a deformer. You might want to do this if you haveselected curves when you created the deformer that don’t belong, or havedecided against keeping certain wires in the set.To remove wires from the deformer:

1 Select the wires you want to remove.2 Choose Deformations→Wire Edit→Remove to remove the wires.

The wire is removed from the deformer set; the curve remains.Specifying the effects of wire deformers

You can specify the following effects of wire deformers:• the percentage of deformation—by individual curve in the deformer, by wiredeformer as a whole, or by sections you mark on individual curve• the effect where curves cross—for all curves within a deformer• the shape of the deformation—for each curve or, in a different way, for thedeformer as a whole

You can set a wire deformer’s options before you create it, or edit itsattributes after it has been created.


Using Wire DeformersSpecifying the effects of wire deformersTo set wire deformer creation options:

• Select Deformations→Wire Tool-p to display the Wire Options window.The settings in the window apply to all wire deformers you createsubsequently.To edit wire deformer attributes:

Select any wire on the deformer and choose Window→Attribute Editor toopen the Attribute Editor.The wire attributes are displayed in the tab havingthe name of the wire deformer. By default, the name is wiren, where n is aninteger.



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Where to find wire attribute information

To set wire deformer attributes you use the Attribute Editor. The followingfigure shows some of the wire deformer’s attributes:

The Attribute Editor with wire deformer selected


Using Wire DeformersSpecifying the effects of wire deformersTo find information on each wire deformer attribute, see the following:

Limiting the region of deformation

To prevent a region of the surface from deforming, you can use holders, editthe set of points affected by the wire deformer, or prune the deformation set.A holder is a curve that limits the region of the effect of the wire deformer.The surface deforms only between the holder and the wire deformer. You setspecific curves to be holders when you create the wire deformer.With a holder, you can limit the deformation effects provided by a singleinfluence wire. To limit a wire deformer’s entire region of deformation, youcan edit the set of points affected by the deformer or prune the deformationset.To edit the set of points affected by the wire deformer, you select individualcontrol vertices or points and add or delete them from the deformation setany time after you create the wire deformer.

Holders (WireOptions windowonly)“Limiting the region of deformation” on page 382

Envelope “Varying the deformation percentage” on page 389Rotation “Affecting the shape of the deformation” on page 387Crossing Effect “Controlling the effect where wires cross” on page 385Local Influence “Controlling the effect where wires cross” on page 385Scale “Affecting the shape of the deformation” on page 387Dropoff Distance “Affecting the shape of the deformation” on page 387Locators (Param,

Percent, Envelope)“Varying the deformation percentage” on page 389

Node Behavior “Improving performance” on page 427



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To prune the deformation set, you perform a single-step pruning operationto permanently remove all unaffected points or control vertices from thedeformation set.

This section describes how to use holders. To edit or prune the deformationset, see Chapter 22, “Advanced Topics.”Using holders

If you want to limit the region of a wire’s effects, you can create curvescalled holders. Holders create deformation up to the point of the holder,regardless of the dropoff applied to the wire. They also define the region ofthe deformation. As with any curve, you can move a holder or change itsshape.

Note

You can also vary or limit the amount of deformation along the wire. See“Varying the dropoff and envelope along a curve” on page 390 for details.



Wire deformer with (top) and without (bottom) holderTo create a wire deformer with holders:

For instructions on creating holders, see “To create a wire deformer with noholders:” on page 376.Note

Holders restrict the deformation to the geometry’s control vertices betweenthe holder and the primary influence wire. If your geometry has a lownumber of spans, those control vertices may influence the geometryoutside the holder as well, and you may see some deformation outside theholder.

Influence wire

Influence wire

Holder



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Controlling the effect where wires cross

When two wires cross each other, you can determine whether the resultingdeformation adds the effects of each wire or smooths the deformation usingthe Crossing Effect attribute. If the wires are at different distances from thegeometry, you can control which wire influences the deformation more byusing the Local Influence attribute.This section describes these two attributes.

Crossing effect

In regions where two wires cross, the crossing effect is the effect of themeeting of the wires on the deformation. In this sliding scale, 0 smooths theeffect of the two wires and the maximum value of 1 adds the deformationsof the wires.Use the Crossing Effect attribute to control the deformation of the crossingpoint of wires.

Crossing effect values of 0 (left) and 1 (right)

Note

Crossing Effect and Local Influence have an effect only on wires in thesame deformer.


Using Wire DeformersSpecifying the effects of wire deformersLocal influence

When more than one wire is influencing the same area of geometry, use theLocal Influence attribute to control how tightly bound the geometry is to theclosest wire. The greater the local influence, the more the surface aroundeach wire attempts to stay with the wire.The local influence effect is visible when curves are at different distancesfrom the geometry.

Local influence values of 0 (top) and 1 (bottom)



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Affecting the shape of the deformation

You can determine how much of the surface is affected by the wire deformerby changing the Dropoff Distance attribute. The Scale attribute determinesthe shape of the deformation along the wire. The Rotation attributedetermines the amount of shear tangency. This section describes these threeattributes.Dropoff Distance

Use the Dropoff Distance attribute to set the region of influence around thewire. As the Dropoff Distance value increases, more surface components areaffected by the deformation.

Dropoff distance values of 5 (left) and 1 (right)


Using Wire DeformersSpecifying the effects of wire deformersScale

While dropoff controls how much geometry is affected, the Scale attributecontrols the strength of the wire’s attraction to the geometry it does affect.The scale value scales the geometry radially around the wire, whilemodulating the scaling by the dropoff.

Scale of 5 (left) and scale of 0 (right)



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Rotation

If you plan to rotate the wire deformer, you can set the Rotation attributeaccording to the amount of shear or tangency you want for the deforminggeometry.

Cone deformed with rotated wire deformer with rotations of 0 (shear) and 1(tangent)You set the rotation for the wire deformer as a whole, not for individualcurves on the deformer.

Varying the deformation percentage

You can change how much effect the wires have on the geometry throughtwo percentage settings:• Envelope—controls the global scale of deformation (how much deformationas a percentage of the translation of the wire)• Dropoff—uses locators along individual wires to change the dropoff of howfar the deformation effect reaches along sections of a wire

This section describes these two ways of varying the percentage of thedeformation.


Using Wire DeformersSpecifying the effects of wire deformersDeforming geometry by setting envelope value

You can deform the geometry less than the full movement of the wiredeformer. The Envelope value is the percentage of deformation that getsapplied to the geometry being deformed.

Envelope values of 1.0 (left) and 0.5 (right)This effect is useful when animating the deformation. For example, in usingSet Driven Key you may have the movement of the deformer locked to thetransformation of a driver (a controlling object); you can deform thegeometry a percentage of the movement of the driver.Varying the dropoff and envelope along a curve

You can change the amount of deformation at specific points along a wire byusing dropoff locators. These locators allow you to assign different dropoffvalues to different parts of a wire. You can move locators along the wire,place several on one wire, and scale them to increase or decrease their effect.



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Dropoff locators and their valuesThree attributes control the effect of these locators on a curve:

• Param—controls the locator’s position on the curve. (You can also move thelocators directly.)


Using Wire DeformersSpecifying the effects of wire deformers• Percent—controls the effect the locator has on the wire’s dropoff. The wireitself has two implicit locators at each end with an effect of 1.0; other locatorshave an effect relative to the implicit locators.• Envelope—controls the percentage of deformation at the locator that getsapplied to the geometry being deformed

To create a dropoff effect:

1 Create a wire deformer.See the instructions “To create a wire deformer with no holders:” on page376 or “To create a wire deformer with holders:” on page 377.

2 Turn on (the Select by Component Type button).3 Turn on the pick mask for edit points by clicking (the Select byComponent Type: Parm Points button).4 Set a locator along the curve by clicking on the curve and dragging.

A small, filled box indicates the position of the locator.

5 Select Deformations→Wire Dropoff Locator to set the locator as a dropofflocator.6 To create more locators, repeat steps 4 and 5.

You can move locators with (the Move manipulator).7 To modify locator attributes, select the wire and choose Window→AttributeEditor to open the Attribute Editor.

You may need to choose the wire node from the tabs to display the wireattributes rather than the curve transform node.• Open the triangle on the Locator heading and modify the Param, Percent,and Envelope values.

locator


Using Wire DeformersCorrecting jagged geometry

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Correcting jagged geometryYou may encounter a problem when you use wire deformations in which thedeformed part of the geometry’s surface has a jagged or wavy edge. Thisoccurs on NURBs surfaces, most often when you place wires at a diagonalacross the control vertices and the spacing of control vertices is too largecompared to the dropoff distance. In other words, you need more controlvertices to support the dropoff value.

Aliasing problem with diagonal placement of wireTo smooth the wavy pattern, increase the dropoff or increase the detail ofthe surface. In general, the spacing of a geometry’s points should be at leastas twice as dense as the Dropoff Distance value.


Using Wire DeformersCorrecting jagged geometry


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19 Using Cluster Deformers

A cluster deformer creates a set whose members consist of selected points(NURBS CVs, polygonal vertices, or lattice points). You assign a percentageweight to each point, indicating how much you want each point to beaffected by any translation, rotation, or scale of the cluster set. When youtransform the cluster, the points are transformed according to thepercentages you have specified.This chapter has the following topics:

• “Understanding cluster deformers” on page 395• “Creating a cluster deformer” on page 396• “Specifying the effects of cluster deformers” on page 397

Understanding cluster deformersA cluster deformer applies a transformation to a geometry’s points (NURBSCVs, polygonal vertices, or lattice points) in such a way that you can adjustthe percentage that each point is affected by the transformation.

Use clusters when you want to affect geometry in different amounts by oneor more transformations. For example, you can create a cluster for a door sothat when it is slammed, the middle bows slightly.


Using Cluster DeformersCreating a cluster deformerCreating a cluster deformer

To create a cluster deformer:

1 Select the geometry you want to put in the cluster set.2 To change properties of the cluster before you create it, selectDeformations→Cluster-p to display the Cluster Options window.3 Select Deformations→Cluster or click Create in the Cluster Optionswindow.

A cluster and its cluster handle are created. Maya identifies cluster handlewith the letter C.Editing cluster point percentages

After you create the cluster, set up the percentages based on the amount thatyou want the points or control vertices to be affected.For some cases, you may set one percentage for the whole object. Forexample, a stick on moving water, in which the cluster handle is set to moveat 50% the transformation of the water.At other times, you may want some parts of the geometry to be affectedmore or less than other parts. For example, you could have a scene withwaving trees, where the treetops are affected the most, the trunk near theground affected at 0%.To edit cluster point percentages:

Use the Set Editor to edit the percentages of cluster points. See the Mayamanual Using Maya: Basics for information on using the Set Editor.


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Specifying the effects of cluster deformersYou can change the effect of the cluster deformation in the Cluster Optionswindow before you create a cluster deformer or in the Attribute Editor forindividual cluster deformers after you create them.To set cluster deformer creation options:

Select Deformations→Cluster-p to display the Cluster Options window.The settings in the option window apply to all cluster deformers you createsubsequently.To edit cluster deformer attributes:

Select the cluster handle and choose Window→Attribute Editor to open theAttribute Editor. Bringing up the Attribute Editor after selecting the clusterhandle will load tabs for the cluster, the cluster handle, and the clusterhandle shape. Most of the cluster attributes are displayed in the tab havingthe name of the cluster deformer. By default, the name is clustern, where n isan integer. Other attributes are listed in the tab for the cluster handle shape(named clusternHandleShape).


Using Cluster DeformersSpecifying the effects of cluster deformersWhere to find cluster attribute information

To set cluster deformer attributes you use the Attribute Editor. Note that youcan access cluster attributes from the Attribute Editor’s clustern andclusternHandleShape tabs (where n is an integer).

The Attribute Editor for a cluster deformer


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To find information on each attribute, see the following:

Setting the cluster relative to parent transform

Using the Relative attribute, you can set the cluster deformation to be activeonly when the direct parent of the cluster handle is transformed. This letsyou create effects where a hierarchy of parent objects do not all affect thecluster deformation.For example, if you parent the cluster handle to a wrist joint and turn on itsRelative attribute, you can rotate the shoulder without the cluster affectingthe skin around the wrist, even though the wrist’s position changes. Whenyou move the wrist itself, the cluster deforms the geometry as desired.

Controlling the deformation percentage of the entirecluster

You can control the percentage of deformation for the entire cluster bysetting the Envelope attribute. Use this as a simple equivalent to scaling thepercentages of all the cluster points by the same amount.If you set the Envelope percentage and also percentages for individualcluster points, both percentages are taken into effect when transforming thecluster points.

Mode: Relative “Setting the cluster relative to parent transform” onpage 399Envelope “Controlling the deformation percentage of the entirecluster” on page 399Use Partial

Resolution“Improving cluster redraw performance” on page 400

Percent

Resolution“Improving cluster redraw performance” on page 400

Weighted Node “Weighted nodes” on page 400Origin “Setting location of cluster handle” on page 400Node Behavior “Improving performance” on page 427


Using Cluster DeformersSpecifying the effects of cluster deformersWeighted nodes

You can use another object for the cluster handle, the movement of whichcontrols the cluster.Specify the object you want to use in the cluster handle shape node, underthe Weighted Node attribute.

Setting location of cluster handle

You can control the placement of the cluster handle (displayed as a “C”) byspecifying the location of the cluster handle’s origin. To do so, from theclusternHandleShape tab of the Attribute editor, set the Origin attribute. TheOrigin attribute includes fields for X-axis, Y-axis, and Z-axis values.Improving cluster redraw performance

You can improve redraw performance by choosing an increment to whichthe cluster percentages are rounded. Use this when you don’t need fullresolution of the cluster deformation (for example, if you’re working onanother part of the scene and need only an approximation of the clusterdeformation).If you have set the Use Partial Resolution attribute to partial, you can adjustthe increment by which the cluster percentage is calculated. The PercentResolution attribute rounds off the percentage to the next lowest increment.For example, at a Percent Resolution value of 5.00, the percentage you’ve setfor any control vertex is rounded down to the lower 5% increment. A clusterpercentage specified at 94 in the Set Editor is calculated as if it were 90% andone at 46% is calculated as 45%.Set Use Partial Resolution to full when you want an exactly accurate displayof the cluster deformation.

See “Improving performance” on page 427 for performance options for alldeformers.

Note

If you have set the accuracy to partial, set the accuracy of each deformer tofull before you render the scene if you want to render the deformation torender most accurately.


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20 Using Blend ShapeDeformers

The blend shape deformer lets you change the shape of one object intoanother. For instance, you can animate a human head mutating into amonster head, a mountain changing into a logo, or a stern face breaking intoa laugh.

This chapter has the following topics:• “Understanding blend shapes” on page 402• “Creating a blend shape” on page 402• “Using the Blend Shape Editor” on page 403• “Setting blend shape options” on page 408• “Editing which targets are in a blend shape” on page 414


Using Blend Shape DeformersUnderstanding blend shapesUnderstanding blend shapes

The blend shape deformer combines objects you’ve modeled previously. Theobject you start with is the base shape. An object the base shape blends intois a target shape. The resulting new object is the blend shape. The blendshape can be:• one of several targets• a weighted mix of targets• animated through each target one at a time• a blend of targets that are objects in a hierarchy

If you use more than one target, you can later use the Blend Shape Editor tocombine the weight of their influence on the blend shape. You can alsoanimate the base through each target sequentially.A few rules govern the objects you use as base and targets:

• Blend NURBS objects or polygonal objects, not a mix of the two.• If your Origin is local and you duplicate your base to create a target, changethe target’s shape by manipulating the CVs or vertices rather than itstransform node attributes. Otherwise, blending the shape won’t have effect.For example, if the target is simply a rotated duplicate of the base, blendingthe shape won’t have any effect.• If the base and each target doesn’t have the same number of CVs, turn offCheck Topology in the Blend Shape Options window.

Creating a blend shapeYou can create a blend shape after you’ve modeled a base and target(s) thatmeet the qualifications in the previous section.To create a blend shape:

1 Select all targets.The order of selection for targets determines the order of sliders in the BlendShape editor. If inbetweening mode is on, the order of selection of targetsdetermines the order of progression between the inbetween shapes.

2 Shift-click to select the base.


Using Blend Shape DeformersUsing the Blend Shape Editor

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You must select the base last. When selected last, it turns a different colorthan the other shapes—green by default.3 Select Deformations→Blend Shape-p.

The Blend Shape Options window appears. Set the options as described in“Setting blend shape options” on page 408. Your option choices are savedfor future use.To use the option settings last present in the Blend Shape Options window,you can instead choose Deformations→Blend Shape. This creates the blendshape without displaying the Blend Shape Options window.

4 In the Blend Shape Options window, click Create.This creates a blend shape node with the name blendShape1 or somethingsimilar. The node lets you use sliders to blend the base into the targets. Theblend shape node’s name and sliders are visible when you open the BlendShape Editor.

5 To alter a target’s influence on the base, use the Blend Shape Editor asdescribed in the following section.Using the Blend Shape Editor

After you create a blend shape, use the Blend Shape Editor to deform andanimate it into a weighted combination of targets.To display the Blend Shape Editor:

Select Window→Animation Editors→Blend Shape.Here’s an example display of the Blend Shape Editor with four targets forfacial animation:



Though this example shows sliders for one blend shape, the Blend ShapeEditor includes groups of sliders for each blend shape you create in yourscene. Scroll or expand the Blend Shape Editor as necessary to see all sliders.Setting target weights

To set the influence of targets on the blend shape, you adjust each target’sweight slider. Each target’s name is in a box under the slider. If the entirename of a target doesn’t fit inside a box, drag left or right inside the box tosee the undisplayed part.You can move each slider from 0 to 1. A setting of 0 means the target has noeffect on the base. A setting of 1 makes the base identical to the target unlessother targets also affect the base.You can enter values beyond the slider range in the weight boxes below thesliders. A value above 1 exaggerates the target’s influence. Negative valuesmove the base in a direction opposite the target components. To reset allsliders to 0, click Reset All.

Blend shape

node name

Target

sliders

Targets



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To adjust weight sliders:

In the Blend Shape Editor, drag the slider or enter a value in the weight box.or

1 Select the blend shape node.2 Select Window→Attribute Editor.3 Open the Weight section and drag the slider or enter a value in the weightbox.

With the target slider set

to 0, the base doesn’t

change shape.


to 1, the base becomes

the target’s shape.


to -1, the base becomes

the target’s mirror shape.


Using Blend Shape DeformersUsing the Blend Shape EditorSettings keys for blend shapes

In the Blend Shape Editor, you can set keys for the blend shape settings by:• keying all sliders at the current settings• keying an individual target slider at 1. All others become 0, regardless of thedisplayed values

Key all sliders at the current settings when the blend shape is a mixture oftarget settings. A key is set for the current value of each target at the currentanimation frame.Key an individual target at 1 if you want to animate targets withoutblending. For example, suppose each target is a mouth in a differentphonetic position. Use this technique to animate the base as the targetssuccessively, but not blended.To key all target values:

1 Adjust the sliders to create the desired blend shape.2 In Maya’s Time Slider, click the frame where you want to set the key.3 In the Blend Shape Editor, click the Key All button.

This sets keys for all targets at their current settings.To key an individual target to 1:

1 In Maya’s Time Slider, click the frame where you want to set the key.2 Set the target slider to 1.3 In the Blend Shape Editor, click the Key button below the target.

This keys the specified target to 1 and all others to 0. Maya does not use thevalues displayed in the unkeyed sliders.Saving a blend shape as a new target

After you create a blend shape from a mix of slider settings, you can save theshape as a new target for the base. After creating the new target, you candrag a single slider to deform the base object to that target.To save a blend shape as a new target:

1 Set the target sliders to deform the base object.



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2 Select the base.3 Click Add in the Blend Shape Editor.

Maya creates a new target at the same location as the base. A slider for thetarget appears in the Blend Shape Editor.Move the new target away from the base. If in local mode, you can modifythe target’s shape, for instance, by transforming its CVs or vertices. Use thenew target slider to deform the base to the target.

Selecting a blend shape node

When you create a blend shape, a blend shape node appears in the scene’sdependency graph upstream of the base object’s shape node. This node usesthe target slider weight settings to create the blend shape from the base.The blend shape node name appears in the Blend Shape Editor above and tothe left of the associated target sliders. To display the animation keys ofweights in the Time Slider, Graph Editor, and the Dope Sheet, you mustselect the blend shape node.To select a blend shape node:

Click the Select button for the blend shape node in the Blend Shape editor.Creating a blend shape node from the Blend Shape Editor

You can create a blend shape node from the Blend Shape Editor instead ofwith Deformations→Blend Shape-p. The new blend shape node getschained sequentially by default. (If you want to put one blend shape node inconjunction with another one, change the deformer placement to parallel.)To create a new blend shape from the Blend Shape Editor:

1 Select all targets.2 Shift-click to select the base.

You must select the base last.3 Click New in the Blend Shape Editor.

The new blend shape node and slider(s) appear in the Blend Shape Editor.


Using Blend Shape DeformersSetting blend shape optionsSetting blend shape options

You can set blend shape options in the following locations:• Blend Shape Options window—before you create a blend shape• Attribute Editor—for some attributes after you create a blend shape• Deformations→Blend Shape Edit—for attributes when you add a target toan existing blend shape. See “Editing which targets are in a blend shape” onpage 414.

The following table lists each option and page where it’s described.

Scaling the influence of all targets

You can scale the effect of all targets on the base with the Envelope setting.Valid values are from -2 to 2. A value of 2 doubles the effect of every targetslider. A value of 0.5 decreases the effect by half. A negative value invertsthe effect.If the cumulative effect of several targets deforms the base more than youwant, try scaling down their effect by setting Envelope to a value between 0and 1.You can set this option in two places:

• Blend Shape Options window—before creation only• Attribute Editor—when the Blend Shape node is selected

Matching the position, rotation, and scale of targets

You can choose whether or not to move, scale, and rotate the base to theposition, scale, and rotation of the targets.

Origin “Matching the position, rotation, and scale oftargets” on page 408Delete Targets “Deleting a target’s geometry” on page 412Deformation Order “Choosing the blend shape deformationorder” on page 413Exclusive (Partition) “Choosing the blend shape deformationorder” on page 413


Using Blend Shape DeformersSetting blend shape options

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Set Origin to one of the following:• Local—changes the base to the targets, but without altering the base’sposition, rotation, and scale. For facial animation, work in local space so theobject being deformed doesn’t move to the target’s position. This mostuseful when you want your targets separated spatially so you can see themall but you don’t want the targets to be factored into the deformation.• World—changes the base to the shape, position, rotation, and scale of thetargets. A value of 1 with one target makes the base copy both the target’sshape and location.

The following figure contrasts the effect of Local and World settings. Eachcone is blended into a single target. The targets are identical.

You can set Origin in the Blend Shape Options window before creation. Youcan also set it in the Attribute Editor when the Blend Shape node is selected.Note that the Attribute Editor displays an additional user option setting forOrigin. This specifies that two attributes named baseOrigin and targetOriginare used for the origin. See the online description for the MEL blendShapecommand for details on these attributes. You can set these attributes with aMEL setAttr command.

Base Target Local blend shape World blend shape

Before blend shape After blend shape


Using Blend Shape DeformersSetting blend shape optionsChaining targets

You can chain targets together so that dragging a single slider from 0 to 1deforms the base through a sequence of targets. You might use this, forexample, if you have one target face that shows a frown and another thatshows a smile. By chaining the targets together, you can smoothly transitionfrom a frown to a smile by using one slider.The value of the slider and the number of targets determine which targetinfluences the base. With two targets, for example, dragging the sliderblends the base into the first target from 0 to 0.5. From 0.5 to 1, the basechanges from the first target to the second target.With three targets, dragging the slider blends the base into the first targetfrom 0 to 0.333. From 0.333 to 0.667, the base blends from the first target tothe second target. From 0.667 to 1, the base blends from the second target tothe third target.To chain targets:

1 Shift-click to select the targets in the sequence that you want to deform thebase.2 Shift-click to select the base.

You must select the base last.3 Select Deformations→Blend Shape-p to open the Blend Shape Optionswindow.4 In the Blend Shape Options window, turn on In-between and click Create.

Blending objects with different topologies

You can blend shapes with the same or different number of CVs (orvertices). Before you create the blend shape, set Check Topology in theBlend Shape Options window as follows:• On—blends only objects with the same number of CVs. An error message isdisplayed if the objects have different numbers of CVs.• Off—blends objects with different numbers of CVs.



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If the objects have the same number of CVs but the CV order is different,Maya blends the shapes whether Check Topology is on or off. However, theposition of base CVs will be transformed to the position of the target CVs.This change might cause the object to blend in a way you hadn’t expected.To ensure a smooth transition between base and target, make sure the orderof CVs in both objects is the same.In addition to blending individual objects, you can blend hierarchies ofobjects. Make sure both hierarchies have the same number of children andparenting relationships.To blend hierarchies, you must select the parent of the target hierarchy (orhierarchies) first and the parent of the base hierarchy last before creating theblend shape. The parent of each must be a transform.Each child in the base blends into its corresponding child in the target. Theorder of children in the Outliner (and Hypergraph) determines whichchildren blend.In the following Outliner display, StandardBalls and WarpedBalls are groupnodes. Each has three balls. If you blend StandardBalls into WarpedBalls, thethree balls are blended based on their order in the Outliner.

With Check Topology off, the

base changes into the target

even if it has a different number

of CVs. The blend shape is

shown with slider weight 0.5.

Base Target



If necessary, use the Outliner to change the order of objects in thehierarchies.A common blend shape technique is to create duplicates of a base, deformthe duplicates, then use them as targets. For example, you might makeseveral copies of a face then alter the copies to create a smiling face, afrowning face, a crying face, and so on.If you use this technique, turn on Check Topology before creating the blendshape. This checks that the base and target hierarchy shapes have the samenumber of CVs. If the CVs are different and Check Topology is off, youmight see, for instance, an eye blending into the nose. If Check Topology ison, the members of the hierarchies must have corresponding numbers ofCVs.

Deleting a target’s geometry

After you create a blend shape, you can delete the target geometry to free upmemory and so improve the speed of Maya. When you delete a target, theblend shape node keeps the target deformations in memory and the targetslider deforms the base as if the target remained. The geometry is removed.You save the most memory when you have complex targets that have only afew components that have moved slightly from the base. For complextargets that have many components moved from the base, you save the leastmemory.Don’t delete the targets if you want to modify their shapes or remove themfrom the blend shape. Remember that when you modify targets, Mayaupdates the resulting blend shape.

Blue lines indicate

which objects blend.



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You can delete the geometry manually from your scene, or you can haveMaya delete the targets when you create the blend shape.To delete the geometry:

Turn on Delete Targets in the Blend Shape Options window before youcreate the blend shape.or

Select and delete the target in the workspace or Outliner.Choosing the blend shape deformation order

You can choose the order in which the blend shape deformation is applied toan object deformed by additional deformers.To choose deformation order:

In the Advanced tab of the Blend Shape Options window, choose the orderfrom the Deformation Order menu.The Before and Parallel options are often useful with blend shapes. Otherchoices are rarely used.Before is the Default option. It specifies that blend shape deformationoccurs before other deformations.Parallel adds the effect of the blend shape and other deformers.For more information on the choosing the deformation order, see “Settingthe deformation order option” on page 424.

Note

The Advanced tab of the Blend Shape Options window also has anExclusive option. If you turn this option on, Maya puts the blend shapeCVs or vertices in an exclusive partition.Because Maya automatically creates appropriate partitions for you whenyou create blend shapes, you won’t typically use this option. For details onpartitions, see “Understanding Partitions” in Using Maya: Hypergraph, Sets& Expressions.


Using Blend Shape DeformersEditing which targets are in a blend shapeEditing which targets are in a blend shape

You can add, remove, or swap a blend shape’s targets. These actions let youalter the blend shape after its creation.Adding a target to a blend shape

You can add targets after you’ve created a blend shape. You might want todo this, for instance, to add more phonetic positions for a talking headyou’re animating.To add targets from the workspace:

1 Select the new target(s) and, last, the base of the blend shape.2 Select Deformations→Blend Shape Edit→Add.

Maya adds the target (or targets) to the blend shape. This creates a newslider in the Blend Shape Editor. The option settings are the same as the oneslast present in Deformations→Blend Shape Edit→Add-p.To add targets from the Options window:

1 Select the base.2 Select Deformations→Blend Shape Edit→Add-p.

The Blend Shape Add Options window appears.3 If using multiple blendShape nodes on a given base shape, be sure to turn onSpecify Node.4 If using multiple blendShape nodes on a given base shape, be sure to enterthe name of the blend shape node to which you want to add the target. (Usethe Existing Nodes list to view the available nodes.)5 You can set the remaining window options as described in “Setting blendshape options” on page 408. Your choices are saved for future use.6 Click Apply.


Using Blend Shape DeformersEditing which targets are in a blend shape

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Maya adds the target to the blend shape. This creates a new slider in theBlend Shape Editor.

Swapping targets in a blend shape

You can swap two targets in a chain to rearrange the order of the blendingas you drag the slider from 0 to 1. You can also swap unchained targets tomove the sliders used most often next to each other.To swap targets from the workspace:

1 Shift-select the two targets in any order.2 Select Deformations→Blend Shape Edit→Swap.

To swap targets from the Options window:

1 Select one of the targets.2 Select Deformations→Blend Shape Edit→Swap-p.

The Blend Shape Add Options window appears.3 If using multiple blendShape nodes on a given base shape, be sure to turn onSpecify Node.4 If using multiple blendShape nodes on a given base shape, be sure to enterthe name of the blend shape node to which you want to add the target. (Usethe Existing Nodes list to view the available nodes.)5 You can set the remaining window options as described in “Setting blendshape options” on page 408. Your choices are saved for future use.

Note that Maya doesn’t use the Target Weight value in this window.6 Click Apply.

The targets are swapped.

Note

If you need to use many targets that are complex geometric shapes,you’ll use less memory and improve Maya speed if you add targets tothe blend shape one at a time with the following procedure. (deleteand add) Selecting all targets before creating the blend shape usesmore memory.


Using Blend Shape DeformersEditing which targets are in a blend shapeRemoving a target’s influence on a blend shape

You can remove targets from a blend shape node. This deletes the target’sinfluence on the blend shape but doesn’t delete the target geometry from thescene.Note that the MEL command for removing targets is as follows:

blendShape -e -rm -t <base shape> <tgt position> <target to

remove> <tgt value>.

To remove a target’s influence from the workspace:

1 Select the target.2 Select Deformations→Blend Shape Edit→Remove.

To remove a target’s influence from the Options window:

1 Select Deformations→Blend Shape Edit→Remove-p.The Blend Shape Add Options window appears.

2 Turn on Specify Node.3 Enter the name of the blend shape node you want to remove the target from.

or

Select the name from the Existing Nodes menu.4 Turn on Specify Target.5 In the Target Position text box, enter the target’s name.

Don’t set the other options in the window. They are irrelevant whenremoving targets.6 Click Apply.

Maya removes the target’s influence from the blend shape.


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21 Using Wrinkles

A wrinke is combination of a cluster deformer with one or more wiredeformers. The combination provides a cluster of wires you can use todeform a geometry. You can move the entire cluster of wires, or selectindividual wires to deform the surface. The effect is that of creating wrinklesin the geometry.This chapter has the following topics:

• “Understanding wrinkles” on page 417• “Creating a wrinkle” on page 418• “Specifying the effects of wrinkles” on page 419

Understanding wrinklesWrinkles are high-level tools that consist of a cluster deformer and one ormore wire deformers.

For wrinkling a single NURBS surface, you can use three types of wrinkles:radial wrinkles, tangential wrinkles, and custom wrinkles. Radial wrinklescombine wires that branch from a central point, like spokes on a wheel.Tangential wrinkles combine wires that are roughly parallel. With customwrinkles, you can combine wires you have created in the fashion that best


Using WrinklesCreating a wrinklesuits the effect you would like to make. You can also use custom wrinklesfor wrinkling many NURBS surfaces, as well as for wrinkling one or morepolygonal surfaces or lattices.Note that because a wrinkle is a combination of a cluster with one or morewires, animating a wrinkle involves animating the attributes of the clusterand the wires and not attributes of the wrinkle itself.

Creating a wrinkle

To create a wrinkle:

1 Select the geometry that you want to wrinkle.2 To set the options of the wrinkle tool before you create it, selectDeformations→Wrinkle Tool-p.

The Wrinkle Options window is displayed. See “Specifying the effects ofwrinkles” on page 419 for descriptions of the options.3 Set the options as described in “Specifying the effects of wrinkles.”

A UV region of the surface is highlighted, allowing you to shape a wirecluster to use to deform the geometry.4 Using the middle mouse button, shape the UV region. Scale it using thecircle in the middle of each side; rotate it using the corners; and move itusing the dot in the middle of the UV region.5 Press Enter when the UV region fits the area of the geometry you want todeform.

The letter “C” indicates the presence of the wrinkle’s cluster handle.6 Using any transform tool, move the cluster handle (indicated by the letter“C”) to affect the surface.

To move individual wires in the cluster, first select them using the Outlinerwindow (use the wires under the cluster handle) and display them usingDisplay→Show Selected.You can manipulate each wire as you do for the basic wire deformer: youcan add locators, for example, or move the base wires.


Using WrinklesSpecifying the effects of wrinkles

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Specifying the effects of wrinklesYou can specify the effects of wrinkles by setting the wrinkle options beforeyou create the wrinkle, and by editing the attributes of the wrinkle’s clusterdeformer or wire deformers after you have created the wrinkle.To set wrinkle creation options:

Select Deformations→Wrinkle Tool-p to display the Tool Settings window.The settings in the window apply to all wrinkles you create subsequently.To edit wrinkle attributes:

To edit the wrinkle’s cluster deformer, see “Specifying the effects of clusterdeformers” on page 397.To edit the wrinkle’s wire deformers, see “Specifying the effects of wiredeformers” on page 379.

Where to find wrinkle option information

To set the wrinkle options, use the Tool Settings window (selectDeformations→Wrinkle Tool-p).To find information on wrinkle options, see the following:

Wrinkle Type option

Wrinkle Type is the type of wrinkle that is created. There are three styles:tangential, radial, and custom. Tangential creates a number of parallel wires.Radial creates wires radiating outwards like spokes on a wheel. Custom

Wrinkle Type See “Wrinkle Type option” on page 419Amount See “Amount option” on page 420Thickness See “Thickness option” on page 420Randomness See “Randomness option” on page 420Intensity See “Intensity option” on page 420Radial Branch

AmountSee “Radial Branch Amount option” on page 420

Radial Branch

DepthSee “Radial Branch Depth option” on page 421


Using WrinklesSpecifying the effects of wrinklesallows you to use wires you select to create your own wrinkle deformer.Note that because of the projection technique used to generate the wirecurves, the tangential and radial types can only be applied to a singleNURBS surface.

Amount option

Amount is the number of parent wires in the wrinkle deformer (that is,disregarding branching wires). Applies to wrinkle deformers of thetangential and radial wrinkle type.Thickness option

Thickness specifies the surface dropoff (the area affected by each wire).Randomness option

Randomness specifies how close the wrinkle deformer conforms to theparameters set, in number of wrinkles, intensity, radial branch count andradial depth. The greater the number, the more randomness in theparameters.Intensity option

Intensity specifies the sharpness of the creases created by the wires. Theminimum intensity of 0 specifies that the creases be smoothly defined, withthe effect of rounding the creases. The maximum intensity of 1 specified thatthe creases be sharply defined, like steep ridges or valleys. For example,with an intensity of 0, the effect of a radial wrinkle deformer lifting awayfrom a surface would be like that of a rising hill. With an intensity of 1, theeffect of a radial deformer lifting away from a surface would be like sharplydefined ridges.Radial Branch Amount option

Radial Branch Amount is the number of branches off each parent wire on thewrinkle deformer. This option is used only in Radial method.



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Radial Branch Depth option

Radial Branch Depth is the depth of the wire hierarchy (the number of levelsof child branches off each wire). This option is used only in Radial method.Increasing the radial branch depth exponentially increases the number ofwires.


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22 Advanced Topics

This chapter includes the following advanced topics:• “Deformer architecture” on page 423• “Viewing intermediate objects” on page 424• “Setting the deformation order option” on page 424• “Setting the exclusive option” on page 425• “Editing the deformation set” on page 426• “Pruning deformations” on page 426• “Improving performance” on page 427

Deformer architectureWhen you create a deformer, Maya creates several dependency graph nodesand connects them to the selected shape. These nodes are as follows:

• a deformer algorithm node

• one or more influence objects either created for the deformation or already inthe scene, now used for the deformation• a set (defines the geometry components being deformed)

Deformer Algorithm node

sculpt deformer sculptlattice deformer ffdwire deformer wirecluster deformer clusterblend shape deformer blendShapewrinkle cluster and wire(s)


Advanced TopicsViewing intermediate objectsBy default, the deformer’s algorithm node is placed in the constructionhistory of all objects that are selected. (See “Setting the deformation orderoption” on page 424 for information on changing the placement order.) If theobject has no history, Maya creates a copy of the object and places it beforethe algorithm node. The copies, which are called intermediate objects, arehidden by default. (See “Viewing intermediate objects” on page 424 forinformation on displaying and hiding intermediate objects.)

Viewing intermediate objectsAfter a deformation has taken place you can view the geometry prior to thedeformation. A geometry prior to a deformation is called an intermediateobject. Maya does not display intermediate objects by default.To display intermediate objects:

1 Select the geometry being deformed.2 Choose Deformations→Display Intermediate Objects.

To hide intermediate objects:

1 Select the geometry being deformed2 Choose Deformations→Hide Intermediate Objects.

Setting the deformation order optionAll the basic deformers include the Deformation Order option. The deformerplacement option is used to control the placement of the new deformer nodewithin the dependency graph history of the selected shape. Doing so canallow you to customize the graph at creation time. For example, you mightwant to add a blend shape (blendShape node) in parallel to a clusterdeformation.To set the deformation order:

1 Display the options window for the tool you want to use to create adeformer. (For example, to display the Lattice Options window, chooseDeformations→Lattice-p.)2 In the options menu, select the Advanced tab.


Advanced TopicsSetting the exclusive option

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3 From Deformation Order, you can choose Default, Before, After, Split, orParallel.With Default, in most situations, the default deformer is placed immediatelyupstream in the graph in the history of the selected shape.With Before, the deformer is placed in the history of the selected shape.With After, the deformer is placed in the future of the selected shape. If theselected shape has no nodes in its future, a copy of the shape will be made,and placed downstream from the deformer. Split is the same as After,except that a copy of the shape will be made and placed downstream fromthe new deformer even if the selected shape has nodes in its future.With Parallel, the new deformer is added in parallel with any existingdeformations on the shape.

Setting the exclusive optionThe exclusive option helps you to create non-overlapping deformations byensuring that the sets belonging to each deformer are mutually exclusive.The mutual exclusivity of the deformers is accomplished by placing thedeformer’s sets into a partition. The partition guarantees that the sets willcontinue to be mutually exclusive even if you edit the membership of thesets.Setting the exclusive option is particularly useful for creating two mutuallyexclusive clusters.To create two mutually exclusive clusters:

1 Select the points that you want to be deformed by the first cluster.2 Choose Deformations→Cluster-p.3 In the Cluster Option window, select the Advanced tab.4 Click the box marked Exclusive.5 Type in a name for your exclusive partition in the box marked “ExclusivePartition”. Since you are creating a new partition, you will not use the“Existing Partitions” menu.6 In the Cluster Option window, click Create.


Advanced TopicsEditing the deformation set7 Select the points that you want to be deformed by the second cluster. If youaccidentally select some points shared by the first cluster, they willautomatically be removed from the first cluster at creation time in order tomaintain mutual exclusivity.8 If your cluster option window is not still open, open it up and go to theadvanced tab. Make sure that the exclusive option is still selected, and selectthe name of your cluster partition from the “Existing Partitions” menu.9 In the Cluster Option window, click Create.10 When you are done creating the exclusive clusters, you probably want toreset the options in the option window to restore the standard options forthe next time you create clusters.

Editing the deformation set

To edit the deformation set:

When you create a deformer, Maya puts the geometry you select in a set thatis acted upon by the deformer. You can edit this set to change itsmembership.1 Select the Component Mode icon to choose component mode.2 Select the deformer node to select the deformation set.3 Choose Deformations→Edit Membership Tool.4 Use Shift-left mouse button and Ctrl-left mouse button to add or subtractfrom the deformation group.

The control vertices change color to indicate whether they’re in the group ornot: all members of the sculpt deformer group are the same color.Pruning deformations

You can remove unaffected points from the deformation set based on itscurrent configuration of the deformation's attributes. Use this to avoidunnecessary calculations for points that are not being affected by thedeformation.To prune the deformation set:

1 Select the geometry from which you want to prune the deformation.


Advanced TopicsImproving performance

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2 Select Deformations→Prune Membership and from the cascading menu,select the deformer whose set you want to prune.

Since a typical blend shape operation has weights of 0.0 for some targetshapes at any point in time, this operation is especially dangerous whenapplied to blend shape deformations. For this reason, there is no menu itemprovided to prune membership for blend shape deformers. (You can still usethis function through the command line.)Improving performance

When drawing deformed geometry, Maya has to do more calculations thanon undeformed geometry, causing slower redrawing. You can speed up theredraw rate by disabling deformation effects. Additionally, you can editMaya’s performance settings for deformers from the Perfomance Settingseditor.Disabling deformation effects

You can turn off a deformer’s effect completely when you want fastredrawing and you do not need to see the deformation. There are three nodestates that let you control the visibility of the deformation:• Normal—perform the deformation as usual• Has No Effect—display the geometry undeformed• Blocking—hide the geometry completely

Note

The pruning operation considers only the current position of eachcomponent in the undeformed and deformed versions of the geometryaffected by the specified deformation. If you have animated attributes ofyour deformation, the pruning operation is performed based only on thecurrent attribute values. This means that components that are potentiallyaffected at other frames of your animation might get pruned out if they areunaffected at the current frame.


Advanced TopicsImproving performanceTo block deformation effects:

Use the Node State option from history or from Attribute Editor.

Editing performance settings

You can edit Maya’s performance settings for deformers with thePerformance Settings editor.To edit performance settings:

1 Choose Window→General Editors→Performance Settings... .2 Edit the settings in the Deformers panel.

Note

For the deformation to appear in the rendered scene, you must reset themode to Normal before rendering.

Index

Using Maya: Modeling 101

Ind

ex

Aadding targets

blending shapes 86

animating

blend shape sliders 78

facial expressions 82

lattice deformer transition 32

Bbase lattices 30

base shapes

blending shapes 74

base wires 46

Blend Shape Editor 75

Blend Shape Options window 75

blending shapes 13, 73

adding targets 86

base shapes 74

blend shape node 75

by hierarchy 83

chaining targets 82

checking topology 82

creating 74

deformation order 85

deleting geometry 84

different numbers of

vertices 82

Envelope 80

exclusive partition use 85

keying sliders 78

moving base to target 81

Origin 81

removing targets 88

rules for object choice 74

saving as new target 78

selecting blend shape

nodes 79

setting options 80

sliders 76

swapping targets 87

target shapes 74

using duplicates 84

viewing intermediate

objects 96

Cchaining

blend shape targets 82

cluster deformers 12, 67

creating 68

creating two mutually

exclusive 97

Deformation Order 96

editing attributes 69

editing cluster point

percentages 68

Envelope 71

Origin 72

Percent Resolution 72

Relative 71

setting creation options 69

Use Partial Resolution 72


objects 96

Weighted Node 72

Cluster Options window 69

DDeformation Order 96

blending shapes 85

deformers 7

architecture 95

basic deformers 7

blend shape deformers 13

cluster deformers 12

depedency graph nodes 95

editing deformation set 98

high-level deformers 7

improving performance 99

intermediate objects 96

lattice deformers 10

prunning the deformation

set 98

sculpt deformers 9

wire deformers 11

wrinkles 14

deleting

target geometry of blend

shape 84

Index

102 Using Maya: Modeling

EEnvelope

blending shapes 80

wire deformers 62

Exclusive

blending shapes 85

Ffacial expressions

animating 82

flexors 7

Hhierarchies

blending 83

Iinfluence wires 46

intermediate objects

displaying 96

hiding 96

Llattice deformers 10, 29

binding to skeleton 41

Center Around Selection 40

creating 32


deforming 42

Divisions 35


Freeze Geometry

Mapping 40

grouping base and deformed

lattices 39

Local Mode 37

Locator 15

parenting lattice to

geometry 39

resetting 38

resetting lattice points 39

resetting lattice tweaks 39


Use Partial Resolution 40


objects 96

Lattice Options window 33

Locator


Mmoving

base to target in blend

shape 81

OOrigin

blending shapes 81


Rrearranging


removing


Ssaving

blend shape as new target 78

scaling

blend shape influence 80

sculpt deformers 9, 15

Center Within Selection 28

creating 17


Dropoff Distance 26

Dropoff Type 26


Group Sculptor With

Locator 28

grouping influence objects 28

Inside Mode 24

Max Displacement 25

Mode 19

positioning influence

objects 28



objects 96

Sculpt Options window 17

selecting

blend shape nodes 79

Ttarget shapes

blending shapes 74, 76

using duplicates 84

Index

Using Maya: Modeling 103

Ind

ex

Wwire deformers 11, 43

adding wires 51

correcting jagged

geometry 65

creating with holders 49

creating with no holders 48

Dropoff Distance 59

dropoff locators 62


Envelope 62

Holders 54

removing wires 51

Rotation 61

Scale 60



objects 96

Wire Options window 52

wrinkles 14, 89

Amount 92

creating 90



Intensity 92

Radial Branch Amount 92

Radial Branch Depth 93

Randomness 92


Thickness 92

Wrinkle Type 91

Index

104 Using Maya: Modeling

1 - basic deformers - completo avançado (104)

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