All items found in the
Ragdoll menu at the top of Maya's main window.
Add menu items to your shelf with
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|Display warnings and errors in the Message Board|
|Customise the creation of a new rigid body.|
|Create a series of connected rigid bodies.|
|Customise the creation of a new passive rigid body.|
|Make a muscle from the selected anchor points.|
|Constrain one rigid to another.|
|Constrain the position of two rigid bodies.|
|Constrain the orientation of two rigid bodies.|
|Constrain both the position and orientation of two rigid bodies.|
|A special kind of Socket Constraint|
|Constrain the position and limit the orientation between two rigid bodies.|
|Convert translate/rotate channels into a target guide.|
|Pin a rigid body in worldspace.|
|Pin a rigid body in worldspace, with a spring-like softness.|
|Generate a target control hierarchy for the simulation to follow.|
|Push rigids away from a point in space.|
|Pull rigids towards a point in space.|
|Like gravity, except in any arbitrary direction.|
|Create a force similar to wind, with editable turbulence.|
|Visualise 3D forces with a 2D slice, much like an MRI.|
|Assign force to the selected rigids.|
|Generate a character from the selected joint hierarchy.|
|Create a new dynamic control from the currently selected regular control(s).|
|Multiply keyable attributes on multiple physics objects at once.|
|Multiply keyable attributes on multiple rigid at once.|
|Multiply keyable attributes on multiple constraints at once.|
|Convert a live simulation into editable keyframes.|
|Save physics to disk.|
|Load physics from disk.|
|Edit the parent and child pivots using native Maya transforms|
|Edit the shape offset and shape rotation attributes with a native Maya transform.|
|Create a new rigid, using the selected rigid as a template for position, orientation and shape.|
|Copy attributes from one rigid body to another.|
|Convert selected rigids and controls into polygons.|
|Resize shapes within a hierarchy to avoid some being too different.|
|Re-establish the starting position and orientation of selected rigids.|
|Set initial state to creation state.|
|Clear the Maya scene of anything related to Ragdoll.|
|Explore the internals of the solver.|
|Edit global Ragdoll preferences, like the scale at which Ragdoll draws things.|
|Save Ragdoll preferences to disk.|
|Restore Ragdoll preferences to their default values.|
|Select all rigids, or filter rigids from selection.|
|Select all constraints, or filter constraints from selection.|
|Select all scenes, or filter scenes from selection.|
|Select all controls, or filter controls from selection.|
|View your version, and eventually look for updates and tutorials. Not yet though.|
|Print all messages you can think of.|
|Print only messages that may be interesting, but probably aren't.|
|Don't print anything unless it's something I need to pay attention to.|
The top part of the menu contain commands to create new rigids.
The rigid body, this outputs the translate and rotate channels that typically plug into your animation control. It lives as a shape, underneath your control, and is accessible via the Channel Box.
Rigids either output or input a transform. The active rigid outputs a transform, passing information from solver into your Maya scene.
Turn any native Maya polygon or NURBS object into a rigid by selecting it and clicking 'Active Rigid'.
When two or more objects are selected - whether it be polygons, NURBS or joints - they'll all be turned into rigids.
Blend Existing Animation
Blend Existing Animation
If the selected node(s) are animated, the animation can be used as a target for the subsequent simulation using the 'Blend' option.
Blend and Edit
Blend and Edit
Once turned into rigids, your original animation remains intact and can be edited just like before. You can also blend between the original input and final simulation via the
The passive rigid body feeds data from your animation control to Ragdoll, rather than the other way around like the Active Rigid. It's used to pass animation straight into the solver, without modifying it with forces or contacts. That also means passive rigids can travel straight through other rigids if not careful. You can think of a Passive Rigid as a physical object of infinite mass; nothing gets in its way.
Turn any polygonal, NURBS surface or joint into a rigid which can be animated but isn't affected by the simulation.
The muscle is a regular Active Rigid with two additional Point Constraints added to either end. The benefit is simply less clicks required.
|Aim Axis||Which axis to treat as aim for the resulting muscle.|
|Up Axis||Which axis to treat as the up-axis for the resulting muscle.||
|Flex||How much to allow the muscle to contract, from not-at-all to all-the-way.||
|Radius||Capsule radius, how thick of a muscle to make.||
Like normal Maya constraints, these limit the motion of one rigid relative another. For example, the
Parent Constraint will make one rigid move as though it was a child of the other, whereas the
Point Constraint will only limit position whilst letting orientation roam free.
|Constraint Type||The type of constraint created.|
|Outliner Style||Where to put the new constraint, either as (1) a new transform at the root of your Maya scene like nCloth/nHair, (2) a child of the rigid parent like Maya's native constraints or (3) as a shape next to the rdRigid node.||
|Maintain Offset||Keep rigids where they are, or snap them together. Offsets can be manipulated with the Edit Constraint Frames menu item.||
|Auto Orient||Orient constraint automatically by aiming towards the immediate child. Otherwise use the local orientation of the node.||
|Use Rotate Pivot||Use rotate pivot of child as offset for the constraint frames.||
|Guide Strength||Include some guide strength with this constraint.||
Constrain the position of two rigid bodies.
Constrain the orientation of two rigid bodies. This doesn't have a physical equivalent, as you can't have something rotate the same as another object without also having some sort of positional relationship.
Constrain both the position and orientation of two rigid bodies. Useful for when you need multiple shapes for a single rigid.
Constrain the position and limit the orientation between two rigid bodies. Useful for things like shoulder and hip joints.
A special kind of Socket Constraint where the X-axis (a.k.a. 'twist') is rotated 90 degrees. This constraint is especially well suited for hinge-like appendages, like elbows and knees.
High-level control, either direct (kinematic, passive) or indirect (driven, guided).
Pin the selected rigid body at its current worldspace position. The pin may be animated and disabled/enabled at run-time.
Guide the selected rigid body towards its current worldspace position. The guide may be animated and disabled/enabled at run-time.
Apply an external force to rigids. Kind of like constraints, except rigids are effected independently instead of relative another rigid.
This forces applies a force facing away from a point in space. It can be used for things like explosions.
This is technically the same as 'Push', except the opposite. Instead of pushing rigids away from a point in space, rigids are pull towards it. This can be used for effects like black holes, or to simply nudge a rigid in some specific direction.
Gravity is computed deep within the solver and isn't technically applied as an external force, but apart form that this force replicates gravity in addition to letting you control the direction.
Wind is a complex phenomena. This force applies an iterative, 3D Perlin noise field to rigid bodies and is a great representation of how wind looks and acts in the real world. Use 'Visualiser' to get a sense of how it looks.
This creates a 2-dimensonal representation of either all or selected 3-dimensional forces. The slice can be moved and scaled just like any normal Maya transform, and the amount and length of samples can be manipulated (and even animated) interactively to get a fine-grained understanding of what your forces do to each rigid. Hint: Create multiple slices at various strategic locations in your scene to get an even greater understanding at specific areas.
Assign To Selected
Forces are typically assigned to all existing rigids when created, or to the currently selected rigids. This command lets you add forces to rigids manually. Forces can be removed by breaking their connection to each other.
High-level tools for animators and riggers that build upon the lower-level concepts above. Everything here can be created manually using a combination of the above commands or by making the connections yourself.
An auto-rigger, designed to automatically generate an animatable character from a skeletal hierarchy.
|Copy||Turn a copy of the selected hierarchy into a character, rather than the hierarchy itself.||
|Control||Create an additional control hierarchy from generated character.||
|Normalise Shapes||Make sure shapes are relatively evenly sized. This can help prevent 'stick-figures' which are tougher to control.|
|Stop Behaviour||Whether to include the joint with a 'Stop' label in the generated character or not.|
Turn your regular character animation control into a rigid body, where the input animation is used as a dynamic guide for the simulation. The animation remains editable and the final result can be switched or blended between.
Turn any FK hierarchy into a dynamic chain.
Every other control
Every other control
Skip some FK controls, for a simplified dynamic hierarchy.
Edit the scale of manipulators and visual elements of Ragdoll, especially constriants. If you work at a scale other than Maya's currently set units, this command is your friend.
|Gizmo Scale||Scale at which to draw viewport widgets, like constraints.||
|Cache Media||Cache clips in the timeline, for immediate feedback when scroll.
- Off Fast, interactive but no scrubbing.
- On Slow scrubbing support.
- All Interactive scrubbing at the expense of RAM.
|Frameskip Handling||What should Ragdoll do when one or more frames are skipped? Should Ragdoll pause simulation until you revisit the last-known frame? Or just pretend everything is OK, and produce garbage values?||
|Auto Initial State||(Requires scene reopen) Whether or not to use the pose of a rigid at the start time as the active initial state. This feature records the pose from frame 1 at frame 2, by inserting itself in between finished evaluation of frame 1 and yet-to-begin evaluation of frame 2.||
|Auto Return To Start||Automatically return to the start frame whenever creating new rigid bodies.||
|Cycle Protection||Protect against accidental cycles.||
|DG Viewport Fix||Improve viewport robustness when simulating in DG Evaluation mode, by calling
|Maya 2018 Consolidate World Fix||Work around a limitation in Maya 2018 to better support rigid textures and sleep rendering.||
|Validate Evaluation Mode||Check whether Maya is evaluating in Parallel or Serial whenever creating a new scene, as DG is slow and error-prone.||
|Validate Caching Mode||Check whether Maya is caching dynamics, which is required in order for Cached Playback to work with Ragdoll.||
|Validate Legacy OpenGL||Check whether Viewport 2.0 is set to render using Legacy OpenGL. That isn't supported.||
|Validate Scale Pivot||Check whether the selected transform has a non-zero scalePivot; they are unsupported and will be zeroed out.|
|Validate Playback Speed||Make sure Maya's playback speed is set to 'Play every frame'.||
The Ragdoll user interfaces double as a place for help.
The information is generated from the same source as this website, so as to be available wherever you are; without breaking your flow.
The page can also be accessed by clicking on the top description.
You can find hints about each option by hovering over it.
Available videos regarding any menu item is visible in the UI, to shed more light onto how things work.
Hovering over the currently playing video displays a description of what it is about.