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Joan of Arc: Skinning

By Michel Roger
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Date Added: 24th March 2010
Software used:
3ds Max

Before starting, some councils for skinner quiet:)

The zones of influences overflow of the zone of effective influence of the bone on the mesh, also the first thing to do is put at zero the weights vertexes apart from this zone.

Always ask if such vertex is logically influenced by the bone on which you regulate the weights. If this vertex is influenced only by a bone, put its weight at 1.0 and conversely put 0.0.

The vertexes present on a fold generally receive 0.5 because they are influenced by exactly 2 bones.

The colors of the weights are invaluable to locate the badly regulated vertexes, a point too different in color from its neighbor is inevitably badly regulated.

Do not regulate the weights starting from only one position but with the whole of the positrons which this part of the skeleton can take.

Finally skinning a character is a business of patience and it is here that logic in the adjustments makes shore all that becomes easy and fast.

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998_tid_image24.gif 998_tid_image23.gif

Select each bone and adjust their zone of influence, by convenience, enter of the whole values and give the same values to the symmetrical bones

998_tid_image27.gif 998_tid_image26.gif

Zones of influences of the bones for clothing.

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Viewing frame 1, we can already see how clothing reacts to the skinning. We can now start to refine the weights vertexes

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Adjustments finished with two positions, one to 50% and the other at 100% of inflection.

We can see that the red zone representing the points influenced at 100% by the Femur bone is surrounded on both sides of a color gradation going towards blue or 0% of influence.
It will be always be thus in the continuation of the skinning for the bones between two articulations.

Note that the limit of influence coincides well with the place on the level of the hips.

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The influence on the posterior one covers all the buttock.

P our ankle, the lowest band of vertex receives 100% of influence, the band of the medium 50% and that the top 0%.

An academic case all things considered for an articulation.

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For the arm, before beginning the skinning, make a rotation with the joint of the shoulder to put the arm in the horizontal.

Certain points do not follow and are out of the zone of influenced of the bones.

Select them and adjust the weights to make them follow the corresponding bones.

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Top create two positions with frame 1 and 2 for example, start the adjustment of the weights and finalize them.

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Adjust the weights to have a harmonious folding. We can check the skinning after smoothing by activating Show End Result on the level of Modifying Skin and by putting the iteration of smoothing at 1 in Meshsmooth. It is ill advised to use skin smoothing because the vertexes of the LPM do not follow the inflections

Start again for the other side with dimensions, max proposing symmetry of skinning that is a pity.

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With the tower of the spinal column, rotate of the bone Vertebra 01.

998_tid_image39.jpg 998_tid_image38.jpg

And adjusted weights.

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The influence of the bone Vertebra 01, on the hips. Note the symmetry of the influences, which makes it possible to check that the skinning is correct.

998_tid_image41.jpg 998_tid_image42.jpg

Even with the bone Vertebra 02. We can view the armour of the bust for see whether that sticks well.





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