Predicting the future of the video game industry is unfeasible. However, with our program you will acquire the necessary knowledge so that you will be the one who participates in the advances” 

Just as the video game industry is growing, so is the film industry. Rigging, and 3D animation in general, are bringing about major changes in the way movies are produced. For example, in the past, if an actor was unable to continue filming, the film production had to be completely reorganized Today, technological advances make it possible to reproduce the actor's appearance with hyper-realistic results. This is why the demand for the Rigger profile is growing steadily. 

Therefore, TECH has developed an extensive curriculum specialized in Rigging for characters. Where theoretical concepts are supported with practical material, process guides and tools required by the role of Rigger.

However, TECH is aware that Rigging can be one of the most complex jobs in the industry. For this reason, the contents of the Professional master’s degree have been arranged exponentially. Going from the general to the specific and from the simple to the complex. So that the student can come to understand the most advanced concepts.  

On the other hand, the program is based on Autodesk Maya, the most used software in the videogame and 3D film industry. Operative on Windows, Linux and MacOS with a free license for educational purposes. 

The entire Professional master’s degree in Design and Creation of 3D Characters for Animation and Video Games will be taught in online mode, without schedules, and with 100% of the contents available from the first moment. It will only require a device with internet access. Therefore, each student will be able to organize independently, facilitating family and work conciliation. 

Convert your Passion into your profession. Thanks to TECH you will start to create the characters that will be part of your video game"

This Professional master’s degree in Design and Creation of 3D Characters for Animation and Video Games contains the most complete and up-to-date program on the market. The most important features include:

• The development of case studies presented by experts in Rigging and Set-Up of video game characters for video games 
• The graphic, schematic, and practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where the self-assessment process can be carried out to improve learning 
• Its special emphasis on innovative methodologies  
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments 
• Content that is accessible from any fixed or portable device with an Internet connection 

Using virtual reality glasses is like peeking into the window of the future of video games. Enroll in this Professional master’s degree and take the leap to the other side” 

The program includes, in its teaching staff, professionals from the sector who bring to this program the experience of their work, in addition to recognized specialists from prestigious reference societies and universities.

Theultimerdia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to learn in real situations.

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise throughout the program. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.

The video game sector is booming, and its possibilities are endless. Enroll in this qualification and start developing the Video Games of the future"

There are more and more movies, series and video games. Do not lag behind and become a professional Rigging thanks to this qualification"

An extensive syllabus has been developed that approaches rigging from various perspectives. With the intention of making learning as complete as possible. The phases of the Rigging process, the parts of a Rig, its tools and the elements that come into play will be broken down in depth. In addition, specific sections have been reserved for specific processes such as body deformation and control rigging, limb, neck, torso and head rigging, clothing and facial rigging, among others. All this, through the Autodesk Maya tool, one of the most widely used in the world. 

The curriculum offered by TECH has been arranged from less to more difficult, so that learning is efficient and homogeneous"

Module 1. Rigging

1.1. The Role of the Rigger

1.1.1. Riggers
1.1.2. Production
1.1.3. Interdepartmental communication

1.2. Rigging Phases

1.2.1. Deformation Rigging
1.2.2. Control Rigging
1.2.3. Changes andBbug Fixes

1.3. Parts of a Rig

1.3.1. Corporate Rigging
1.3.2. Facial Rigging
1.3.3. Automatic

1.4. Differences between Rig for Film and Video Games

1.4.1. Rigging for Animated Film
1.4.2. Rigging for Video Games
1.4.3. Simultaneous use of Other Software

1.5. 3D Model Study

1.5.1. Topology
1.5.2. Poses
1.5.3. Elements, Hair and Clothing

1.6. Software

1.6.1. Autodesk Maya
1.6.2. Mayer’s Installation
1.6.3. Required Maya Plugins

1.7. Maya Rigging Basics

1.7.1. Interface
1.7.2. Navigation
1.7.3. Rigging Panels

1.8. Main Elements of Rigging

1.8.1. Joints (bones)
1.8.2. Curves (Controls)
1.8.3. Constrains

1.9. Other Rigging Elements

1.9.1. Clusters
1.9.2. Non-Linear Deformers
1.9.3. Mixing Shapes

1.10. Specialization

1.10.1. Rigger Specialization
1.10.2. The Reel
1.10.3. Portfolio and Employment Platforms

Module 2. Body Deformation Rigging

2.1. Systems and Models

2.1.1. Revision of the Model
2.1.2. System Vulnerabilities
2.1.3. Joints Nomenclatures

2.2. Joints Chain Creation

2.2.1. Joints Editing Tools
2.2.2. Factors to Consider
2.2.3. Location and Hierarchy of Joints

2.3. Joints Orientation

2.3.1. The Importance of a Correct Orientation
2.3.2. Joints Orientation tools
2.3.3. Symmetry of Joints

2.4. Skinning

2.4.1. Skeleton to Geometry Linking
2.4.2. Influence Painting Tools
2.4.3. Symmetry of Influences in the Model

2.5. Painting of Influences Absolutes

2.5.1. Influence pPainting Process Approach
2.5.2. Influences on Body Parts between Two Joints
2.5.3. Influences on Body Parts between Three or More Joints

2.6. Smoothed Lower Body Influences of the Character

2.6.1. Joint Movements
2.6.2. Animations for Influence Smoothing
2.6.3. Smoothing Process

2.7. Smoothed Upper Body Influences

2.7.1. Joint Movements
2.7.2. Animations for Influence Smoothing
2.7.3. Smoothing Process

2.8. Smoothed Influences Arm and Hand

2.8.1. Joint Movements
2.8.2. Animations for Influence Smoothing
2.8.3. Smoothing Process

2.9. Smoothed Clavicle Influences

2.9.1. Joint Movements
2.9.2. Animations for Influence Smoothing
2.9.3. Smoothing Process

2.10. Skinning End Processes

2.10.1. Reflection of Symmetrical Influences
2.10.2. Error Correction with Deformers
2.10.3. Skin Cluster Deformation Baking

Module 3. Body Control Rigging and Tool Creation with Python 

3.1. Fundamentals of Control Rigging

3.1.1. Function of Control Rigging
3.1.2. System Approach
3.1.3. Elements of ControlRigging

3.2. NURBS Curves

3.2.1. NURBS
3.2.2. Predefined NURBS curves
3.2.3. NURBS curve editing

3.3. Creation of Controls on the Human Body

3.3.1. Fundamentals
3.3.2. Location
3.3.3. Shape and Color

3.4. Set Initial Position of Controls

3.4.1. Function of Drones
3.4.2. Approach
3.4.3. Matching Process

3.5. Constrains Elements

3.5.1. Constrains
3.5.2. Types of Constrains
3.5.3. Constrains use in Rigging

3.6. Connect Deformation Rigging to Control Rigging

3.6.1. Approach
3.6.2. Parent Constrain Connection Process
3.6.3. Hierarchy of Elements and Final Solution

3.7. Script Editor

3.7.1. Script Editor Tool
3.7.2. Maya Command Libraries for Python
3.7.3. Create Custom Tools with p-Programming

3.8. Python Fundamentals for Rigging

3.8.1. Variables
3.8.2. Functions
3.8.3. Loops

3.9. Create Roots Automatically with Python

3.9.1. Approach
3.9.2. Required Commands
3.9.3. Line-by-Line Execution

3.10. On and Off Script Rigging of Deformation and Control

3.10.1. Approach
3.10.2. Required Commands
3.10.3. Line-by-Line Execution

Module 4. Advanced Limb Rigging

4.1. Hybrid Systems

4.1.1. FK and IK
4.1.2. Limitations of the Rig in the Animation Process
4.1.3. Hybrid Systems

4.2. First Steps in the Creation of FK/IK Hybrid Systems

4.2.1. System Approach
4.2.2. Joints Chain Creation Necessary
4.2.3. FK Controls and Nomenclature

4.3. IK Systems

4.3.1. IK Handle Tool
4.3.2. IK Orientation with Pole Vector
4.3.3. IK Controls and Nomenclature

4.4. Unification of FK and IK Systems to Main Chain

4.4.1. Approach
4.4.2. Parent Constrain to Two Conductive Elements
4.4.3. Hand Orientation with IK Chain

4.5. Attribute FK/IK Switch 

4.5.1. Attribute FK/IK
4.5.2. Node Editor and Reverse Node
4.5.3. Instantiate Attributes in Node Shapes

4.6. Finalizing the FK/IK System

4.6.1. FK and IK Control Visibility Settings
4.6.2. FK/IK Systems on Legs and Arms
4.6.3. Hierarchies and Nomenclature

4.7. Advanced Foot Rigging

4.7.1. Foot Movements
4.7.2. System Development
4.7.3. Attribute Creation

4.8. Hand and Foot Automations

4.8.1. Component Functionalities
4.8.2. Hand-Held Automatic Devices
4.8.3. Stand-Up Operators

4.9. Snap FK/IK Script Creation with Python

4.9.1. The Need for Snap FK/IK for Animation Work
4.9.2. Approach
4.9.3. Code Development

4.10. Rigging of Limbs for Quadrupeds

4.10.1. Anatomical Study
4.10.2. System Vulnerabilities
4.10.3. Creation of IK Systems for Quadrupeds

Module 5. Advanced Torso, Neck and Head Rigging

5.1. Advanced Torso Rigging

5.1.1. Rigging Limitations
5.1.2. Proposals for Improvement
5.1.3. System Approach

5.2. Splines IK Handle Tool

5.2.1. Tool Operation
5.2.2. Settings the Tool
5.2.3. Incorporation of Spline IK Handle to our Model

5.3. Creating torso Controls

5.3.1. Clusters
5.3.2. IK Controls for Clusters
5.3.3. Hierarchies and Nomenclature

5.4. Creating Torso Controls

5.4.1. NURBS Curve Creation
5.4.2. System Behavior
5.4.3. Nomenclature and Hierarchy

5.5. Torso Twist

5.5.1. IK Handle Parameters
5.5.2. Connection Editor Tool
5.5.3. Torso Twist System Configuration

5.6. Advanced Neck and Head Rigging

5.6.1. Rigging Limitations
5.6.2. Proposals for Improvement
5.6.3. System Approach

5.7. Creating Particle Systems

5.7.1. Creation of Guide Curves and Clusters
5.7.2. Head and Neck
5.7.3. Nomenclature and Hierarchy

5.8. Parameter Editing

5.8.1. Lock and Hide Transformations
5.8.2. Limitations of Transformations
5.8.3. Creation of Customized Parameter

5.9. Isolate Mode for Head

5.9.1. Approach
5.9.2. Tools Node Editor and Reverse Node
5.9.3. Parent Constrain to Two Elements at the Same Time

5.10. Connection of Deformation Rig and Control Rig

5.10.1. Origin of the Problem
5.10.2. Solution Uniqueness
5.10.3. and Hierarchy System Development

Module 6. Advanced Deformation Systems, Rigging of Props and Clothing

6.1. Twist System

6.1.1. Anatomical Study of Limb Twisting
6.1.2. Twist System
6.1.3. Approach

6.2. Twist System Steps

6.2.1. Creation of Joints Twist
6.2.2. Twist Chain Orientation
6.2.3. Twist Configuration

6.3. Twist System Finalization

6.3.1. Parts of the Extremities
6.3.2. Twist Connection with FK and IK Chains
6.3.3. Adding Twist Influences to Rig Deformation

6.4. BendSystem

6.4.1. BendSystem
6.4.2. System Approach
6.4.3. Wire Deformer

6.5. Immune System Development

6.5.1. Creation of Curves and Clusters
6.5.2. Bend System Influence Painting
6.5.3. Implementation to General Control

6.6. Stretch and Squash Systems

6.6.1. Stretch System
6.6.2. Stretch and Squash System Approach
6.6.3. System Development with RemapValue Node

6.7. Proxys

6.7.1. Proxys
6.7.2. Model Splitting
6.7.3. Connecting Proxies to Joints Chain

6.8. Rigging of Clothing

6.8.1. Approach
6.8.2. Scene Preparation
6.8.3. Projection of Influences

6.9. Rigging the Props

6.9.1. Props
6.9.2. Approach
6.9.3. System Development

6.10. Arc Rigging

6.10.1. Deformation Study of an Arch
6.10.2. Approach
6.10.3. Development

Module 7. Advanced Facial Rigging

7.1. Facial Rig

7.1.1. Deformation Methods
7.1.2. Control Methods
7.1.3. Facial Expression Study

7.2. Facial Rigging Using Blend Shapes

7.2.1. Key Shapes Facial Partition
7.2.2. Muscle Movement Modeling
7.2.3. Deformation Distribution Blend Shapes

7.3. Facial Control Rigging

7.3.1. Joystick Controls Set-Up
7.3.2. Facial Controls
7.3.3. Set Driven Key Tool

7.4. Jaw and Tongue Rigging

7.4.1. Anatomical Study and Approach
7.4.2. Jaw Deformation and Jaw Control
7.4.3. Tongue Deformation and Control

7.5. Lip Rigging

7.5.1. System Approach
7.5.2. Deformer Wire and Controls
7.5.3. Painting of Influences

7.6. Sticky Lips System

7.6.1. Sticky Lips
7.6.2. System Approach
7.6.3. Development

7.7. Automation

7.7.1. Benefits and Examples of Facial Automation
7.7.2. Approach
7.7.3. Development

7.8. Eye and Eyelid Rigging

7.8.1. Approach
7.8.2. Deformation Rigging and Eye Control
7.8.3. Eyelid System 

7.9. Hair Rig

7.9.1. Hair Systems
7.9.2. Geometric Hair System
7.9.3. XGen Generated Hair System

7.10. Connection of Facial Rig to Body Rig

7.10.1. Rig System Analysis
7.10.2. Deformer Hierarchy
7.10.3. Hierarchy and Prevention of Double Transformations

Module 8. Rigging for Video Games

8.1. Rigging for Video Games in Unity

8.1.1. Film and Video Game Rig
8.1.2. Download and Installation
8.1.3. Unity Interface and Navigation

8.2. Unity Rigging Tools

8.2.1. Unity Rig Types
8.2.2. Avatar Tool
8.2.3. Retargeting

8.3. Facial Rigging  for Video Games

8.3.1. Problem and Solution Approach
8.3.2. System Creation
8.3.3. Painting of Influences

8.4. Adapt a Cinematic Rig to Video Games|

8.4.1. Rig Exploration and Limitations
8.4.2. Creation of Skeleton for Unity Humanoid
8.4.3. Connecting Video Game Skeleton to Movie Skeleton with Python

8.5. Skinning for Video Games

8.5.1. Limitations of Skin Cluster Deformer for Unity
8.5.2. Influence Weighing
8.5.3. Facial Controller Treatment

8.6. Completed Rig for Video Games

8.6.1. Character Clothing Rig
8.6.2. Root Motion and Character Weapons
8.6.3. Twist Joints

8.7. Human IK

8.7.1. Human IK Tool
8.7.2. Creation of Character Definition
8.7.3. Eyes, Auxiliary Joints and Rig Control

8.8. Mixamo

8.8.1. Free Rig Tool and Mixamo animations
8.8.2. Library of Characters and Animations
8.8.3. Rig Creation with Mixamo

8.9. Import and Export of Rigs and Animations

8.9.1. Export
8.9.2. Import
8.9.3. Baking Animations

8.10. Rig Import in Unity

8.10.1. Rig Import Configuration in Unity
8.10.2. Humanoid Configuration
8.10.3. Rig Physics Configuration

Module 9. Muscular Systems

9.1. Muscular Systems

9.1.1. Muscular Systems
9.1.2. Behavior of Elastic Masses
9.1.3. Workflow with Maya Muscle System

9.2. Muscular Anatomy Focused on Character Rigging

9.2.1. Upper Body
9.2.2. Undercarriage
9.2.3. Arms

9.3. Capsule Creation

9.3.1. Capsule Creation
9.3.2. Capsule Configuration
9.3.3. Conversion of Rig Elements to Capsules

9.4. Muscle Building

9.4.1. Muscle Creation Window
9.4.2. State of Poses and Muscle Sculpting
9.4.3. Muscle Editing

9.5. Muscle Builder Tool

9.5.1. Muscle Building with Muscle Builder
9.5.2. Muscle Shape Editing
9.5.3. Muscle Finish

9.6. Muscle Spline Deformer with Muscle Spline Deformer

9.6.1. Create Muscle Spline Deformer
9.6.2. Spline Deformer Configuration
9.6.3. Master Muscle Control

9.7. Skin Deformation

9.7.1. Types of Deformations
9.7.2. Muscle Deformer Application
9.7.3. Connection of Muscle Objects to Muscle Deformers

9.8. Muscle Behavior

9.8.1. Muscle Directional Object
9.8.2. Deformation Displacement
9.8.3. Strength, Jiggle and Heavy Muscle

9.9. Muscle Collisions

9.9.1. Types of Collisions
9.9.2. Intelligent Collisions
9.9.3. KeepOut Nodes

9.10. Working with Cache

9.10.1. Performance Problems with Muscular Systems
9.10.2. Cache
9.10.3. Cache Point Management

Module 10. Processes and extra tools for the Rigger in Industry

10.1. Work Organization in Maya 

10.1.1. Display Layers and Naming Convention
10.1.2. Export and Import of Influence Weighing
10.1.3. Rigging Protection through References

10.2. Retopology

10.2.1. Retopology for Rigger
10.2.2. Live Surface and Modeling Toolset
10.2.3. Shortcuts to Retopology

10.3. 2D facial rig on 3D Models in Maya

10.3.1. System Approach
10.3.2. Connection of Frames with Layer Texture
10.3.3. 2D Animation Control

10.4. Spine2D

10.4.1. 2D Rigging and Spine Interface
10.4.2. Types of Attachments
10.4.3. Restrictions and Skins

10.5. Motion Tracking Systems

10.5.1. Motion tracking
10.5.2. System Types
10.5.3. Motion Tracking Programs

10.6. Set-Ups interfaces con MGtools Pro3

10.6.1. Plugin Functions
10.6.2. Plugin download and installation
10.6.3. Tool Use

10.7. Autodesk Maya Bonus Tools Multitool

10.7.1. Plugin Functions
10.7.2. Plugin Download and Installation
10.7.3. Tool Use

10.8. Auto Rigging with Rdm Tools v2

10.8.1. Auto Rig Tools
10.8.2. Rigging Tools
10.8.3. Control Tools

10.9. Video Editing for Reel

10.9.1. Rendering of Animations
10.9.2. Video Editing
10.9.3. Export

10.10. Documentation and Online Resource Platforms forRigging 

10.10.1. Software Documentation
10.10.2. Community Platforms
10.10.3. Portfolio Platforms and Markets

TECH offers you an extensive program that covers every aspect of Rigging and its industry"