Protected layers are a rig features I had only a vague understanding for a while. Thanks to a bug, and a fix from Ton (and his explanation) I have a somewhat better understanding, I’ll put down here, mainly so I don’t forget. First of all, this is what they look like in 2.5x (left) and 2.4x (right):

So far so good. But clicking these won’t actually change anything in the file you’re working in. Once you link he rig as a group and create a proxy*, things will become more clear.
With a proxy, you have a linked group with a localish rig proxy you can pose. Protected layers control what happen to the local proxy on file load:

• Unprotected layers are local. The bones here are now out-of-sync with the rig file, you can add bones, delete them, add constraints, remove them, etc. If you change the rig file on these layers, nothing happens to your scene file
• Protected layers get synced with the rig. any changes to the rig (new bones, constraints, etc.) will propagate to the scene file everytime you load the file. You won’t be able to add bones, delete them, or delete constraints in the scene file

The design allows users to pose bones in protected layers, since ‘pose’ is actually a separate data structure that lives ‘on top’ of ‘bone’ data. Interestingly enough you can even add new constraints (part of the pose) but cannot delete original ones. The only catch is, that any un-keyed poses get wiped out when the rig is synced on file load- so you *must* key every bone you want to keep the pose on.

In Blender 2.58 there’s a bug that prevents posing bones in protected layers. This has been fixed for 2.59, coming soon. This bug is actually the reason I had to find out about all of this, since it cost me many hours, as my rig changes wouldn’t propagate to scene files, meaning I had to delete and then manual spend time fixing constraints, converting curves, keying channels, re-adding missing stuff, every time I updated the rig. Basically < record (constraints/parenting/anything unexpected) , protect, save, load, save, unprotect, re-add the recorded, save> cycle to do on each scene file everytime I wanted to push a rig update. To make things worse, most of our animators are overseas, and many of them don’t use SVN, so the process has been quite painful. I’ll continue to do this until all animators are using the new version, after which I can protect the layers and fix everything up.

Note: if you add a constraint to a bone in an unprotected layer, and later on protect that layer, you will lose that constraint!! since the bone is unprotected, it is local, and once the layer has been protected, gets wiped out by the (identical) protected bone. After this, of course, you can readd the constraint to the protected bone and it will ‘stick’.
* making a proxy:

• In the rig file, create a group that contains the mesh, armature and all other components of your character, optionally only including layers that contain renderable items in the group Dupli layers.
• save the rig file and open a new one
• file->link->browse to the rig file and then link the group
• ctrl-alt-p and select the armature from your rig to create a posing proxy

There’s a remote, but non zero chance, that we’ll be able to pull off other denizens of the subway for certain shots in the movie. Thinking about design got me wanting *not* to have other characters with ‘gilgaportions’ but maybe populating the world with stylised characters that have their own uniqueness and could fit into her world. My first little attempt is drawing some basic silhouettes next to hers:

Sad day on Friday saying goodbye to Dimetrii, who just finished his 3 month internship and is returning home- but not leaving the project, as he will stay on through the animation and lighting/compositing phases.

Dimetrii took some modelling by Jonathan and Kursad and myself as concept art, and then created amazing sculpted iterations and then the final meshes for the film. He did this for Gilgamesh and two of the cockroaches, then did the necessary R+D to build Gilgamesh’s hairstyle with Blender’s sometimes stubborn particle hair. He did render-tests in Blender Internal and cycles, some of which have been posted on this log. He’s an amazing modeller, probably the best or among the best that I’ve known. Happily he’ll continue to work on the project from home, and we can have a reunion at the blender conference.

Hello folks
Tube currently has 6 animators working on shots, with a few more to join if my blackmaiconvincing tactics work . Some of these talented folks are new to blender, some have even written books on the subject. To ease the pain of transition, I’ve been recording little video tutorials to help them get into the gilga rig as quickly as possible. I don’t see a reason to keep this stuff private, so I’m going to be publishing them on the blog for all to see. When the project is finished they might become part of the official documentation.

So now: Keying sets. Blender has this concept since 2.5, and the definitive explanation is found in joshua’s blog, here (btw his blog is a must-read for any blender animator). The general idea is that when you hit the keyframe insertion hotkey, or you have autokeying on, keys are adding into a ‘keying set’. the builtin ones work on selection, adding location/rotation/many more things in as desired (and you can add user defined builtins via python) while the user defined keying sets work on specific objects.

The cool thing is, with keying sets you can key things if you don’t even have them selected! this is awesome during the blocking of the anim, where you want to key everything. Helpfully, Blender provides a “Whole character” keying set, that keys everything on your entire character. Great, right? WRONG!!!!

It turns out this is a disaster. the whole character keying set has no idea how your rig is setup. It keys every transform and every property on every bone in the active armature. Meaning, bones that riggers never intended animators to touch, now have keys on them. In the best of cases messy, in the worst:as I said, a disaster.

So to save animator’s the hassle, I added the ‘gilgamesh’ keying set, with it’s own UI panel to add parts of the rig to the keying set or to remove them. How does it work? well, a day’s worth of python coding . So without further ado (I’m longwinded today) here’s the tutorial video on how to use them (btw, if you full screen these, you’ll get better quality):

Adding rubberhose style control to a section of arm/leg is either not dynamic (just crank up the ease values on the bbones) or laborious (as in mancandy’s rig, with at least a lattice, curve, a bunch of extra bones and constraints, some modifiers, etc.)

I hadn’t planned on rubberhosing Gilgamesh, but one of the animators recently expressed that bending limbs ever so slightly can be used to enhance poses even on fairly realistic characters, so he would like the control. I whipped up a quick script/operator to do it, called Raymond Curver so now all I have to do is to select a bunch of verts, then select a bone I want to rubberhose, then run the operator. A quick demo below:

The script is going to be released soon, but it does depend on quite a bit of tube conventions and a bit of knowledge of our pipeline and scripts. This should improve after the project is over and I have time to generalize our tools.

Hi folks, this is a 30 minute explanation of the main rig features, intended for new and continuing animators on the project. It has pretty bad audio (recorded on my phone, with lots of noise and uhms and aahs) and also has been shrunk and compressed quite mercilessly. That being said, it just explains the various features of the rig to be handy for our animators.

I didn’t see any reason not to make this public, so I’m putting it on the main blog:

You can download here: mp4, ogg, or webm in case the in-browser thing doesn’t work.

Today on our way into the Drome from a nice Sunday run+swim, we encountered some unlikely arrivals: a cluster of bright yellow mushrooms growing in the potted plant outside the studio. For your enjoyment:

Pics taken with my mobile phone. What do you think, should we eat them? . Now I wonder if we should use the mushroomer for mushrooms as well as the other things we want to grow/animate with it. If mushrooms can grow in the studio environment, they can live anywhere, including subway stations.

Since Dimetrii just posted his eye material and texture, I thought I’d show this quickie test of the eye rig – missing such things as eyebrows, eyelashes and that insane little membrane on the inside corner by the tear duct.

The rig features two directional controls, a track-target and an on-face widget, that can be used separately or together, a pupil dilator, controllable eyelids that mimic muscle motion but also have a limited vertical track with the eyeball, and an even more limited horizontal one, and a deformational lattice that allows the non-spherical eye to ‘push’ the skin around it. I may add a shrinkwrap to the inner eyelid to make sure it stays on the surface.

Finally, I’d like to thank everybody who, in an idle moment, took a video camera to their eye and posted it on youtube. Viva la crowd-sourced reference!