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NaturalMotion endorphin
Contents

Contents
Before you begin

Tutorial 1: Introduction to endorphin

Step 1: Creating a new scene

Step 2: Working with viewports
Step 3: Working with simulations
Step 4: Adding a behaviour
Step 5: Applying a force
Step 6: Exporting animation
Conclusion

Tutorial 2: Using multiple behaviours

Step 1: Loading the scene
Step 2: Jumping from the platform
Step 3: Preventing foot slip
Step 4: Reaching for the railing
Step 5: Catching the railing
Step 6: Adding a leg kick
Conclusion

Tutorial 3: Posing the character

Step 1: Loading the scene
Step 2: Activating the pose tools
Step 3: Working with the pose tools
Step 4: Sitting the character in the chair
Conclusion

Tutorial 4: Creating environments

Step 1: Visualising the environment
Step 2: Building the staircase
Step 3: Building the archway
Step 4: Building a collapsible railing
Step 5: Locking the railing together with a constraint
Step 6: Adding a character to the environment
Conclusion

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Tutorial 5: Creating characters

Before you begin
Step 1: Creating new characters
Step 2: Adjusting the root position
Step 3: Reshaping the joint hierarchy
Step 4: Mirroring the reshaped joints
Step 5: Adjusting the foot joints
Step 6: Restoring foot-ground contact
Step 7: Rigging the reference character
Step 8: Saving the new characters
Step 9: Importing animation
Conclusion

Tutorial 6: Creating props

Before you begin
Step 1: Building a chair
Step 2: Creating a collapsible table
Step 3: Creating a chandelier
Step 4: Adding a chandelier chain to a scene
Step 5: Connecting a chandelier to the chain
Step 6: Simulating the scene
Conclusion

Tutorial 7: Importing and modifying animation

Before you begin
Step 1: Preparing the scene
Step 2: Importing an animated run cycle
Step 3: Combining animation with simulation
Conclusion

Tutorial 8: Blending from animation to simulation

Before you begin
Step 1: Loading the scene
Step 2: Using helper props and constraints
Step 3: Importing blend animation
Step 4: Repositioning the blend animation
Step 5: Transitioning into the blend animation
Step 6: Introducing active animation events
Step 7: Experimenting with different blend animation
Conclusion

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NaturalMotion endorphin
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Tutorial 9: Using multiple characters

Step 1: Preparing a new scene with animation
Step 2: Adding momentum transfer
Step 3: Adding another character to the scene
Step 4: Simulating a dynamic kick
Conclusion

Tutorial 10: Active posing

Step 1: Loading the scene
Step 2: Adding an active pose
Step 3: Adding more active poses
Step 4: Completing the gymnastic movement
Conclusion

Tutorial 11: Creating characters (advanced)

Step 1: Creating new characters
Step 2: Adjusting the root position
Step 3: Reshaping the joint hierarchy
Step 4: Displaying joint limits
Step 5: Adjusting the shoulder joint limits
Step 6: Importing a skin mesh
Step 7: Reshaping the mass objects
Step 8: Reshaping the collision objects
Conclusion

Tutorial 12: Using motion transfer

Step 1: Adding a character pair to a scene
Step 2: Importing animation onto the reference character
Step 3: Transferring motion to the simulation character
Step 4: Controlling motion transfer with active poses
Step 5: Working with motion transfer rig groups
Conclusion

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Tutorial 13: Advanced motion transfer

and prop interaction
Step 1: Adding a character pair to a scene
Step 2: Importing animation onto the reference character
Step 3: Transferring motion to the simulation character
Step 4: Preparing the initial pose
Step 5: Adding a weapon as a prop character
Step 6: Controlling motion transfer with additional active poses
Step 7: Working with motion transfer rig groups
Step 8: Adding constraints between characters
Step 9: Changing the mass of the prop character
Conclusion

Tutorial 14: Active animation and motion transfer

Step 1: Loading the scene
Step 2: Driving a simulation character using motion transfer
Step 3: Preparing the initial pose
Step 4: Working with motion transfer rig groups
Step 5: Adding an active animation event
Step 6: Connecting props to the simulation character
Step 7: Adding collision objects to the environment
Step 8: Modifying the mass object density
Step 9: Modifying the active animation event strength
Step 10: Modifying the collision object material
Step 11: Adding a helper constraint
Conclusion

Tutorial 15: Working with fluids

Step 1: Building a simple boat using fluid objects
Step 2: Adding characters to the scene
Step 3: Adding a fluid cube to the environment
Step 4: Completing the scene
Conclusion

Tutorial 16: Using physical effects

Step 1: Creating a stylised jumping character
Step 2: Creating an additional jumping character
Step 3: Creating a dynamic collision between the characters
Conclusion

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Tutorial 17: Working with Maya

Step 1: Preparing your Maya character
Step 2: Exporting your character from Maya
Step 3: Creating corresponding endorphin characters
Step 4: Filling out the simulation character
Step 5: Exporting animation from Maya into endorphin
Step 6: Exporting animation from endorphin into Maya
Conclusion

Tutorial 18: Working with the Maya Control Panel

Step 1: Adding an endorphin character to your Maya scene
Step 2: Reshaping the endorphin character
Step 3: Creating import connections
Step 4: Creating export connections
Step 5: Creating sample endorphin animation
Step 6: Importing endorphin animation into Maya
Step 7: Modifying the imported endorphin animation
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Before you begin

The endorphin tutorials are a set of lessons that describe different aspects of the
endorphin dynamic motion synthesis animation system.

Working through the tutorials

Each tutorial is self-contained, so you can work through them in any order.
However, you will get the most out of the tutorials if you work through them in
the numbered sequence. This is because the first time a concept it is introduced,
it will be described in detail. In subsequent tutorials, the same concept will
generally be treated as assumed knowledge.

Using the User Guide

The tutorials should be worked through in conjunction with the User Guide. The
User Guide is the best place to find complete technical descriptions of endorphin
functionality. In contrast, the tutorials are focused on teaching you how to use
the system.

TUTORIAL 1
Introduction to endorphin

Tutorial 1

Introduction to endorphin
In this tutorial, we will introduce some basic endorphin features and tools.
Starting from an empty scene, you will create animation using endorphins
adaptive behaviours.
Many commands have corresponding keyboard shortcuts. Whenever keyboard
shortcuts are described, these are the endorphin default shortcuts. You can
change keyboard shortcuts by selecting Options > Keyboard and changing
these settings using the Keyboard Options dialog.

Step 1: Creating a new scene

In this step we will launch endorphin and create a new scene. Each time you
create new animation using endorphin you will begin by creating a new scene.
Scenes contain the simulated virtual world, along with all the characters involved
in the simulation, including prop characters such as buildings, vehicles and
weapons.

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To create a new scene:

1.

Run endorphin. Each time endorphin is run, it creates a new default scene.
This scene contains a single endorphin character located at the origin in a
T-pose.

2.

Save the scene. Select File > Save Scene. The keyboard shortcut is Ctrl+S.
Alternatively, click the Save Scene button
on the Main Toolbar.
Scenes are stored as binary files with a filename extension of .ens. Once
you have saved the scene, the scene name is displayed in the System Bar.

Step 2: Working with viewports

In this step we learn how to pan, rotate and zoom in a viewport, and also how to
change the viewport type.

To pan, rotate and zoom in a viewport:

The basic viewport operations are as follows:

To rotate a viewport, drag the mouse with the middle mouse button
down.

To pan a viewport, drag the mouse with the middle and right buttons
down.

To zoom a viewport, use the mouse wheel.

endorphin also supports the standard Maya viewport operations:

To rotate a viewport, hold down the Alt key and drag the mouse with the
left mouse button down.

To pan a viewport, hold down the Alt key and drag the mouse with the
middle mouse button down.

To zoom a viewport, hold down the Alt key and drag the mouse with the
right mouse button down.

To change the viewport type:

Viewports are either a perspective display or an orthogonal display. The
orthogonal display types are Front View, Back View, Left View, Right View, Top
View and Bottom View. You can set the viewport type by using the following
keyboard shortcuts, or by right-clicking in the viewport and selecting the
viewport type from the context menu.

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Introduction to endorphin

Press P to set the viewport type to Perspective View.

Press F to set the viewport type to Front View. Pressing F again toggles
between Front View and Back View.

Press L to set the viewport type to Left View. Pressing L again toggles
between Left View and Right View.

Press T to set the viewport type to Top View. Pressing T again toggles
between Top View and Bottom View.

To display multiple viewports:

You can either display a single viewport or a grid of four viewports. The keyboard
shortcut for toggling between a single viewport and multiple viewports is V.
Alternatively, click the Toggle Multiple Viewports button
Toolbar.

in the Main

To reset a viewport:
If you have panned, rotated or zoomed a viewport, you can reset it back to its
default by selecting View > Reset Viewport. The keyboard shortcut is Ctrl+R.
Alternatively, right-click in the viewport and select Reset Viewport.

To focus an object in a viewport:

If you have selected one or more objects in a viewport, you can focus them at the
centre of the viewport by selecting View > Focus Viewport. The keyboard
shortcut is Ctrl+F. Alternatively, right-click in the viewport and select Focus
Viewport.

To rotate an orthogonal viewport:

By default, you cannot rotate any of the orthogonal viewports. To allow
viewports to be rotated, select View > Ortho Lock and ensure it is turned off.
When this setting is turned off, you can rotate orthogonal viewports.

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Step 3: Working with simulations

In this step we will run a simulation to quickly generate animation, and then
replay the simulation.

To run a simulation:
1.

To start a simulation, click the Simulate button

on the Simulation
Toolbar. Alternatively, select Simulation > Simulate. The keyboard
shortcut is Ctrl+Spacebar.

2.

As the simulation runs, the character falls towards the ground, under the
influence of gravity.

3.

To stop a simulation, click the Simulate button

again. Alternatively,
select Simulation > Play/Stop. The keyboard shortcut is Spacebar. Note
that during the simulation, the Simulate button graphic has changed to
the highlighted Stop button.

To replay a simulation:
1. To replay a simulation, click the Play button
on the Simulation
Toolbar. Alternatively, select Simulation > Play/Stop. The keyboard
shortcut is Spacebar.
on the Simulation Toolbar
2. To stop a replay, click the Play button
again. Alternatively, select Simulation > Play/Stop. The keyboard
shortcut is Spacebar.

To navigate though animation:

You can drag the Time Slider on the Timeline Editor to manually browse
different frames of the animation. This is often called scrubbing the
timeline.

You can use the Go To First Frame

, Go To Previous Frame

, Go

To Next Frame
and Go To Last Frame
buttons in the Simulation
Toolbar. The corresponding keyboard shortcuts are Ctrl+LeftArrow,
LeftArrow, RightArrow and Ctrl+RightArrow.

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Step 4: Adding a behaviour

In this step we will add a behaviour to the character timeline. Behaviours are
adaptive actions that can be applied to characters to modify their motion during
a simulation.
The behaviour we will add is the Stagger behaviour. This behaviour causes a
character to react to falling motion by trying to prevent the fall.

To add a behaviour:
1.

Select the character by clicking on the Character01 zone in the Timeline

Editor.

2.

Add a behaviour to the character by selecting Character > Create

Behaviour Event. Alternatively, click the Create Behaviour Event
button

3.

in the Main Toolbar.

Another way to create a behaviour is to right-click on the Character01

timeline track in the Timeline Editor and select Create Behaviour Event
from the context menu.

Once you have added the behaviour, a new timeline marker will appear
on the Timeline Editor. This is the behaviour event marker. The orange
highlight colour indicates that the event is currently selected.
4.

With the new behaviour event selected, locate its Name property in the
Property Editor. The Name property indicates the behaviour type. Select
Stagger 3 from the dropdown list.

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5.

We want the behaviour event to begin at Frame 0 and end at Frame

300.
You can set the start frame and end frame of the behaviour by editing the
Start Frame and End Frame properties of the behaviour event using the
Property Editor.
You can also change the timing by dragging the marker itself in the
Timeline Editor. Select and drag the left edge of the marker to set its start
frame. Select and drag the right edge of the marker to set its end frame.

6.

Test the behaviour event. Run a new simulation by clicking the Simulate
button in the Simulation Toolbar, or by pressing Ctrl+Spacebar. The
character should waver a bit and start to fall, and then move its legs to
attempt to stop the fall, and finally catch itself with its hands and elbows.
This motion is generated by the behaviour event.

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You can compare the effect of the behaviour by enabling and disabling
the behaviour event. To disable a timeline event, turn off its Enabled
property using the Property Editor, or right-click on the corresponding
marker in the Timeline Editor and select Disable Event. When an event is
disabled it does influence simulations.
7.

Experiment with different behaviour timings. Try changing the start

frame to a different frame, such as Frame 12, and resimulating. The
timing of the behaviour affects the overall animation. The later the
behaviour begins, the more the character will have fallen. The behaviour
will adaptively respond to each new situation and generate unique
animation for each new starting frame. This adaptive generation of
animation is the feature of endorphin.

Step 5: Applying a force

In this step we will apply a force event to the character during the simulation.
This force will destabilise the character, and change the motion generated by the
Stagger behaviour.

To add a force event:

1.

Move the Time Slider to Frame 0.

2.

Create a force event by right-clicking in the Character01 timeline in the

Timeline Editor and selecting Create Force Event. Alternatively, select
Character01 in the Timeline Editor, and select Character > Create Force
Event, or click the Create Force Event button

in the Main Toolbar.

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Once you have added the force, a new triangular timeline marker will
appear on the Timeline Editor. This is the force event marker. The orange
highlight colour indicates that the event is currently selected. In addition,
a force graphic appears in the viewport, indicating the magnitude and
direction of the force.

To edit the force target object set:

Force events apply to one or more mass objects. To edit the target object set,
you need to enter Selection mode.
1.

You can enter Selection mode for a force event by selecting the event,
and then clicking the [Select] hyperlink button in the Property Editor.
However, when you first create a new force event, endorphin
automatically enters Selection mode. In Selection mode, the viewport
label displays Selecting, and the cursor changes to the three-dot
selection cursor.

2.

In Selection mode, click on mass objects of the character to select them

as the target object. Hold down the Ctrl key to select multiple mass
objects. If you select a collision object or graphical object, the
corresponding parent mass object is selected instead. The target mass
objects are displayed using a red highlight colour. The Target Objects
property in the Property Editor displays the target mass object set.
For this step, select the HeadMass mass object. The easiest way to do this
is to select the HeadGraphic graphical object. This will automatically
select the HeadMass mass object.

3.

To exit Selection mode, click Esc or right-click in the viewport.

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To edit the force direction and magnitude:

Force events have a direction and magnitude. You can set these using the
Property Editor, or by manipulating the force graphic in the viewport. Keep in
mind that when you are applying a force to multiple mass objects, you are
effectively multiplying the magnitude of the force by the number of target mass
objects.
1.

Select the force event marker in the Timeline Editor, or select the force
graphic in the viewport.

2.

Modify the Strength property in the Property Editor to change the

magnitude of the force. Modify the Elevation and Rotation properties in
the Property Editor to change the direction of the force.

3.

To edit the force using the force graphic, select the force, and then select
Edit > Rotate to activate the Rotate tool. The keyboard shortcut is W.
Alternatively, click the Rotate button

4.

in the Main Toolbar.

To rotate the force direction about the X, Y or Z axes, click and drag the
red, green or blue circular manipulators.
To rotate the force direction in the screen plane, click and drag the outer
light-blue circular manipulator.
To freely rotate the force direction, click and drag the region inside the
outer circular manipulator. The inner region is displayed in light grey,
which indicates free rotation mode.
To cancel a rotation during a rotation, right-click anywhere in the
viewport.

5.

To change the force magnitude, drag the purple conical manipulator at

the end of the force graphic. Drag the manipulator towards the force
graphic to reduce the force magnitude. Drag the manipulator away from
the force graphic to increase the force magnitude.

6.

For this tutorial, rotate the force so that it is directed forward towards the
head mass object. Also, set the magnitude of the force to around 3.0.

7.

Experiment with different force magnitudes and directions, and different

timings for the force event and Stagger behaviour event. Each new
combination of these parameters will adaptively generate a different
animation. Using multiple viewports is a good way to examine the
animation from different directions.

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Step 6: Exporting animation

In this step, we will export the motion generated by the simulation to an external
animation file. endorphin can export animation to FBX, XSI, BVH and Acclaim
AMC animation data files, as well as Vicon V motion capture files.

To export animation:
1.

Specify the range of frames that you want to export. This is the Save Range.
The Save Range is displayed as a grey marker in the Timeline Editor.

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2.

Select the character that you want to use as the exported animation data
source. The easiest way to select a character is to click the character in the
Timeline Editor. You can also use Node View to select a character. In our
example, select the Character01 timeline track.

3.

Select File > Export, or click the Export button

The keyboard shortcut is Ctrl+E.

4.

The Export As dialog is displayed. Browse for a folder to export to, and specify
a new file name or select an existing file to replace it. Set the Save As Type to
specify the export file format. Click Save.

5.

The Export Options dialog is then displayed. Adjust any animation export
settings as required, then click OK to export the animation.

on the Main Toolbar.

Some export formats allow the frame rate to be specified using the Frame
Rate setting. Other export formats do not allow the Frame Rate to be set in
this dialog. In these cases, endorphin will export using the Frame Rate
property in the Timeline Settings. A separate tutorial will deal with animation
export in greater detail.

Conclusion
In this tutorial, you have now produced animation data which can be exported
into your 3D pipeline.
This tutorial has only touched on the power that endorphin gives you. In later
tutorials, we will introduce more complex adaptive behaviours. We will pose the
character and show you how to build environment objects that characters can
interact with. We will also show how existing animation data can be imported,
modified and exported from endorphin.

NaturalMotion endorphin 19
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Tutorial 2

Using multiple behaviours

In the previous tutorial, the endorphin scene that we created used only a single
behaviour. Although the animation looked realistic, you can create more
complex motion by using multiple behaviours for a given character in a scene.
In this tutorial, you will create an animation of a person jumping from a building
to a railing. You will build this animation starting with a Jump And Dive
behaviour, and then extend the motion so that the character holds onto the
railing using a constraint event.

Step 1: Loading the scene

In this step we will open an existing scene that contains some elements of our
desired final scene.

To load the initial scene:

1.

Launch endorphin.

2.

Select File > Open Scene to browse for a scene. The keyboard shortcut
is Ctrl+O.

3.

Open the scene file Resources\Tutorials\Tutorial 2 - Using Multiple

Behaviours\Tutorial 2 - Using Multiple Behaviours - Begin.ens.

Step 2: Jumping from the platform

In this step we will add a Jump And Dive behaviour to the character timeline in
the Timeline Editor. This behaviour will cause the character to jump forward. Our
goal is to have the character jump and dive towards the railing.
When you are working on a scene, keep in mind that simulations are calculated
forward from frame to frame. It is good workflow practise to work forward,
adding timeline events necessary to create the next section of animation, and
getting this section correct before moving on. Modifying the parameters of an

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earlier timeline event can cause a knock-on effect throughout the simulation.
Even small changes to earlier timeline events can have large changes as the
simulation progresses.

To add a jump behaviour to the character:

1.

Add a new behaviour event to the Character01 timeline.

2.

Set the behaviour type to Jump And Dive.

3.

Adjust the timing of the behaviour so that it starts at Frame 0 and ends
around Frame 71. You can experiment with small changes to the start
and end frames, in order to generate slightly different animations.
For more information on adding behaviour events to characters, see
Tutorial 1: Introduction to endorphin.

To modify the strength of the jump behaviour:

You can change the Strength property of a Jump And Dive behaviour to
change the degree to which the character jumps. The default strength is
0.5. Experiment with different strength values.

Set the jump strength to 1.0. The character now jumps further. However,
if you will notice that at a strength of 1.0, the characters feet slip as the
character jumps.
Each time you change the strength or timing of the jump behaviour,
resimulate the scene to test the effect of the change. For more
information on running simulations, see Tutorial 1: Introduction to
endorphin.

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Step 3: Preventing foot slip

In this step we will modify the material of the platform that the character is
standing on. By changing its material so that it has a greater degree of friction,
you can prevent the foot slip that occurs when the character jumps.

To change the material of the platform:

1.

Select the Cuboid01 collision object that the character is standing. You
can select this object by clicking in the viewport. Alternatively, you can
select this object using the Node View.

2.

Change the Material property if the Cuboid01 collision object to Tarmac.

Tarmac is a much grippier material than the default material. This will
increase the frictional force between the characters feet and the
platform. Keep in mind that endorphin is a physically-based dynamic
simulator. This means that simulations are affected by physical
interactions such as friction.

3.

Resimulate the scene. You should find that the character jumps further
now that its feet do not slip on the platform.

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Step 4: Reaching for the railing

In this step we will add a Hands Reach And Look At behaviour to the character
timeline in the Timeline Editor. This behaviour will cause the character to reach
out towards the railing. It will also cause the character to move its head to follow
the railing. Look And Reach behaviours are very useful when you want to make a
character appear more lifelike.

To add a look-and-reach behaviour to the character:

1.

Add a new behaviour event to the Character01 timeline. Set the

behaviour type to Hands Reach And Look At, and adjust the timing of the
event so that it begins at Frame 71 and ends at Frame 112.

2.

You can optionally specify targets for the left hand, right hand and head.
When a target has been specified for one of the hands, they will reach out
to follow the target. Similarly, when a target has been specified for the
head, the character will turn its neck to that it tracks the target object.

3.

With the new behaviour selected, click the [Select] command hotlink for
the Look At Target in the Property Editor. This places endorphin into
Selection mode. Select the Cuboid02 collision object as the look-at
target. This will make the character look at the railing during the
simulation. This behaviour works even when the both character and lookat target are in motion.

4.

Select the same Cuboid02 collision object as the Left Hand Target and
Right Hand Target. This will make the character reach out with both
arms towards the railing. Each time you add a new target object,
resimulate the scene. This lets you see the effect of each change you
make to the scene.

NaturalMotion endorphin 23
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To slow down the reach:

You can change the rate at which the character reaches for the target
objects. Select the Look And Reach behaviour, and change the Left Hand
Blend and Right Hand Blend properties to 0.2. If you resimulate, you will
note that the reaching movement of the arms is now slower.

You can also set different values for each arm for a slightly asymmetric
reach. This can make the reaching behaviour appear more lifelike.

To adjust the reach target:

By default, hands will reach for the centre of their target objects. In our
case, we would like the hands to reach for slightly different locations on
the target object. This will make the reaching behaviour appear more
lifelike.

Select the Look And Reach behaviour, and change the Left Hand
Interception Offset X and Right Hand Interception Offset X properties
to +0.3 and -0.3 respectively. These offsets are applied to the centre of the
target object. By using different offsets for each hand, they now reach out
in more plausible manner.

Resimulate the scene and note the change to the simulation with the
addition of these offsets. You can experiment with different offset values
for each hand.

Step 5: Catching the railing

In this step we will add a constraint event to the character timeline. Constraint
events are used to lock objects together during a simulation. By constraining the
characters hands to the railing, the character effectively catches the railing.

To add a constraint event:

1.

Add a constraint event to the Character01 timeline. Right-click on the

character timeline and select Create Constraint Event. Alternatively,
select Character01 in the Timeline Editor, and then select Character >
Create Constraint Event, or click the Create Constraint Event button
in the Main Toolbar.

2.

Adjust the Start Frame and End Frame properties of the constraint event
so that it starts at Frame 109 and ends around Frame 400.

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To select the constrained objects:

1.

When you create a new constraint, endorphin automatically enters

Selection mode. This mode allows you to select the mass objects that
you want to lock together using the constraint event. To re-enter
Selection mode, click the [Select] command hotlink in the constraint
event Property Editor.

2.

In Selection mode, select the LeftFingersMass and RightFingersMass

mass objects. You will need to hold down the Ctrl key in order to select
both mass objects.
When you are in Selection mode, you can pan, rotate and zoom the
viewport. You can also change the viewport to display a different view,
such as Top View or Front View, and you can also use multiple viewports.
You will often need to change the view while selecting all the desired
target objects.
To exit Selection mode, press Esc or right-click in the viewport.

To set the constraint type:

1.

Constraint events have different types. In this tutorial you will use the
default Lock constraint type. This means that the constraint event will
lock to the positions and orientations of the selected mass objects over
the duration of the event.

2.

However, we would like to relax the rotation of the hands around the X
axis. This will allow the character to effectively swing around the railing.
To allow rotation about the X axis, select the constraint event, and set the
Angular Strength X property to 0.0.

3.

Run the simulation again. You should find that the character now jumps,
reaches for the railing and then catches it.

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Step 6: Adding a leg kick

In this step we will add a Legs Kick behaviour to the character timeline. This
behaviour will cause the character to kick out as it swings on the railing. Adding
behaviours like Legs Kick is a good way to make the character appear more
lifelike.

To add a leg kick behaviour to the character:

1.

Add a Legs Kick behaviour to Character01. Adjust the timing of the

behaviour so that it starts and ends approximately at Frame 150 and
Frame 350. Change the timing of the behaviour and simulate to see how
this behaviour modifies the overall simulation.

2.

You can also modify the Strength property of the Legs Kick behaviour.
The default strength is 0.5. Experiment with different strength values, and
run the simulation again to compare results.

Conclusion
In this tutorial, you have used multiple behaviours, along with constraint events,
to create more complex animation.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 2 - Using Multiple Behaviours\Tutorial 2 Using Multiple Behaviours - Complete.ens. This scene is an example of how
your scene should look if you have successfully followed all the steps in this
tutorial.

26

TUTORIAL 3
Posing the character

Tutorial 3

Posing the character

In this tutorial, you will learn how to use the Pose Move and Pose Rotate tools
to pose characters using dynamic posing. In particular, you will use the pose
tools to sit the character into a chair.

Step 1: Loading the scene

In this step we will open an existing scene that contains some elements of our
desired final scene.

To load the initial scene:

1.

Launch endorphin.

2.

Select File > Open Scene to browse for a scene. The keyboard shortcut
is Ctrl+O.

3.

Open the scene file Resources\Tutorials\Tutorial 3 Posing the

Character \Tutorial 3 Posing the Character - Begin.ens.
The scene contains a character, along with a chair in the Environment
character made up of a set of collision objects. The goal of this tutorial is
to pose the character into the chair.

NaturalMotion endorphin 27
TUTORIALS

Modelling the chair

The chair was created by first importing its shape as an OBJ file. The OBJ mesh
surface is stored in the scene as a graphical object associated with the
Environment character. Next, a set of collision objects were created and moved,
rotated and scaled in order to fill out this OBJ mesh.

Step 2: Activating the pose tools

In this step we will activate the Pose Move and Pose Rotate tools. These tools are
dynamic posing tools. These tools work in a similar manner to the Move and
Rotate tools, with some differences.
When you use the pose tools, endorphin performs collision detection on
collision objects in the scene. You are not able to move an object so that collision
objects intersect. Collision detection is useful when you want to carefully align
objects without them intersecting.
Another benefit of the pose tools is that they let you pose characters in a manner
similar to IK (inverse kinematics) posing. For example, you can pose move or
rotate the hand of a character and also affect its shoulder and elbow at the same
time.

To activate the pose tools:

1.

Before using the pose tools make sure the Time Slider is set to Frame 0.

2.

Select Edit > Pose Move and Edit > Pose Rotate to activate the Pose
Move and Pose Rotate tools respectively. The keyboard shortcuts are A
and S respectively. Alternatively, you can click the Pose Move
Pose Rotate

or

buttons on the Main Toolbar.

When you are using one of the pose tools, the viewport is displayed with
a red border.
3.

You can quickly toggle between the Pose Move and Pose Rotate tools by
double-clicking their corresponding manipulators in the viewports.

4.

We can edit the characters pose by dragging and rotating limbs. We can
also lock limbs in space to stop them moving once we are happy with
their orientation.

28

TUTORIAL 3
Posing the character

Step 3: Working with the pose tools

In this step we will manipulate the character using the dynamic pose tools.
Unlike the standard Move and Rotate tools, the pose tools use a form of IK
(inverse kinematics) posing. If you pose the hand, for example, you also affect
other joints such as the shoulder and elbow.
Freezing mass objects is a useful way to limit the extent to which the dynamic
pose tools affect other parts of the body. For example, if you freeze the right
shoulder mass object, and use the Pose Move tool to move the right hand mass
object, the posing will only affect the right arm. In contrast, if no mass objects are
frozen, then moving the right hand would potentially affect the entire character.

To pose the character using the pose tools:

1.

Activate the Pose Move or Pose Rotate tools.

2.

Select the mass object you want to pose, such as the upper leg. The mass
object will be displayed in a red highlight colour to indicate that it is the
posed object. You can pose multiple mass objects at the same time.
The remainder of the character will be displayed in a light orange
highlight colour, indicating that these mass objects will be affected by
any pose operations that you perform on the selected mass object.

3.

Experiment with the Pose Move and Pose Rotate tools. Remember that
you can double-click on the pose manipulator to toggle between the
Pose Move and Pose Rotate tools.

4.

If you want to reset the character pose, select Character > Reset Pose.
on the Main Toolbar. The
Alternatively, click the Reset Pose button
Reset Pose command will place the character into its default pose. For the
standard endorphin simulation character, the default pose is a T-pose.

NaturalMotion endorphin 29
TUTORIALS

To pose using local coordinates:

By default, the Pose Move and Pose Rotate tools use the global
coordinate axis system. However, you can also use these tools in the local
coordinate system of the mass object that you are posing. When you pose
using the local coordinate system, the pose tools work in exactly the
same manner, except that they use different X, Y and Z directions.

To toggle between global and local coordinates, select Edit > Toggle
Coordinate System. The keyboard shortcut is X. This setting affects both
the Pose Move and Pose Rotate tools. This setting is not changed if you
select a different mass object to pose.

To lock mass objects during dynamic posing:

You can dynamically pose more than one mass object at the same time.
When you do this, the relative positions of the selected mass objects are
maintained with respect to each other. In effect, you are locking the
mass objects together for the duration of the pose.

Typically, you will lock mass objects that are further down the joint
hierarchy from the posed mass object. Then, when you pose the first
mass object, the other mass objects automatically move as well, in an FK
(forward kinematics) manner.

In this scene, hold down the Ctrl key and select multiple mass objects,
such as the LeftUpperLegMass and LeftLowerLegMass mass objects.
The first mass object you select is displayed using the red highlight
colour, indicating that it is the posed mass object. Any subsequent mass
objects that you select are displayed in a dark red highlight colour. This
indicates that these mass objects are locked to the posed mass object.

30

TUTORIAL 3
Posing the character

Experiment with using the Pose Move and Pose Rotate tools in
conjunction with locked mass objects. Then click Reset Pose on the Main
Toolbar to reset the character back to its default T-pose.

To freeze mass objects during dynamic posing:

You can freeze mass objects by right-clicking on them in the viewport.

Frozen mass objects are displayed using a grey highlight colour. When a
mass object is frozen, its position and orientation are locked and are no
longer affected by the Pose Move or Pose Rotate tools. If you right-click a
frozen mass object, it becomes active again.

Typically, you will freeze a mass object that is further up the joint
hierarchy from the posed mass object. Then, when you pose the mass
object, the frozen mass object defines the limit of mass objects that are
affected by the pose tools. That is, only joints downstream of the frozen
mass object are affected.

In this scene, right-click on a mass object such as the

LeftUpperLegMass mass object. This freezes the mass object. Keep in
mind that you can right-click on a collision object in order to freeze the
corresponding parent mass object. If you then select a mass object
downstream of the frozen mass object, such as the LeftLowerLegMass
mass object, you can pose the left leg in an IK manner without affecting
the rest of the character beyond the left leg.

Experiment with locking the PelvisMass mass object and using the Pose
Move and Pose Rotate tools to pose the legs and feet of the character.
Then click Reset Pose on the Main Toolbar to reset the character back to
its default T-pose, and ensure that all the mass objects are active.

NaturalMotion endorphin 31
TUTORIALS

Step 4: Sitting the character in the chair

In this step we are going to use dynamic pose tools to actually sit the character
into the chair.

Using dynamic posing

Keep in mind that posing using the dynamic pose tools is different from the
standard FK (forward kinematics) and IK (inverse kinematics) posing methods
you are probably used to. When you pose a character using dynamic pose tools,
the character reacts as though you were actually posing a person physically. This
is because the dynamic pose tools actually use a dynamic simulation behind
the scenes in order to carry out the pose.
Dynamic posing is particularly useful when posing characters in close proximity
to environment objects. For example, dynamic posing allows you to easily
position a character onto a prop object such a cylinder by simply lowering the
character onto it. Collisions between the collision objects of the character and
the prop will automatically lead to the characters legs moving apart to
accommodate the cylindrical shape.
It may take time to get used to working with the dynamic pose tools. However,
once you have learned to use them, they can save a lot of time when aligning
characters with objects around them. Keep in mind that by freezing body parts
you can essentially revert to IK posing, which you might be more familiar with.

32

TUTORIAL 3
Posing the character

To pose the character into a sitting position:

1.

Activate the Pose Move tool.

2.

Select the PelvisMass mass object.

3.

Move the PelvisMass mass object using a constrained move in the YZ

plane. That is, drag inside the light-blue square between the green Y axis
and the blue Z axis. This ensures that as you move the pelvis, it remains in
a plane that passes through the centre of the chair.

4.

Move the pelvis backwards and downwards until it makes contact with
the chair back and seat.

5.

Once the pelvis is in place, select the UpperSpineMass mass object, and
right-click on the PelvisMass mass object to freeze it. The PelvisMass
mass object should be displayed in the grey highlight colour, indicating
that it is frozen.

6.

Use the Pose Move tool to move the upper torso back against the chair
back. If any of the lower back parts rotate out of alignment, select them
and rotate them back using the Pose Rotate tool. You may need to lock or
freeze other mass objects to do so. Remember that you can toggle the
Pose Move and Pose Rotate tools so that they use local or global
coordinates by selecting Edit > Toggle Coordinate System, or by
pressing the X key.

NaturalMotion endorphin 33
TUTORIALS

7.

In a similar manner, use the dynamic pose tools to raise the characters
head and lower its feet towards the ground. Also, pose the arms so that
the characters hands are placed on the arm rests.

8.

You can save and re-used poses by selecting Character > Save Pose and
Character > Load Pose. You can also use these commands to load poses
into active poses. This is covered in a later tutorial.

Conclusion
In this tutorial, you have learned how to use the Pose Move and Pose Rotate
tools to pose characters using dynamic posing.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 3 Posing The Character\Tutorial 3 Posing
The Character - Complete.ens. This scene is an example of how your scene
should look if you have successfully followed all the steps in this tutorial.

34

TUTORIAL 4
Creating environments

Tutorial 4

Creating environments
In this tutorial, you will start building up the virtual world environment.
The default environment is a simple flat ground plane. However, it is easy to
build new environment objects such as buildings, walls and furniture, to provide
a richer environment for the endorphin characters to interact with.
You will also import a mesh to act as a visual guide for building the environment.

Step 1: Visualising the environment

In this step will we be creating a new scene and importing an OBJ file that
contains a polygon mesh that represents the environment objects we will be
modelling in later steps.

To import a visualisation mesh:

1.

Launch endorphin.

2.

Select File > New Scene to create a new scene, and delete the default
character.

3.

Select File > Import, and browse to the file

Resources\Tutorials\Tutorial 4 Creating
Environments\HallOnly.obj.

4.

Click OK, then click Import in the Import Options dialog. The OBJ file is
imported and a corresponding graphical object is created.
This graphical object lets you visualise the scene that you want to create.
The next step is to fill out this mesh with collision objects so that the
endorphin characters can collide with the environment.

NaturalMotion endorphin 35
TUTORIALS

Step 2: Building the staircase

In this step we will be building up the staircase using box collision objects.

To create the first step:

1.

Click the Create Box Collision Object button on the Main Toolbar. This
creates a new collision object at the origin of the environment. The new
collision object is initially selected.

2.

Use the Move, Rotate and Scale tools to place this box into its correct
position at the foot of the staircase. You can also use the Property Editor
to set exact values for the position and size of each collision object.
A good technique when you are positioning collision objects is to watch
for intersections between the collision objects and the visualisation
graphical object in the viewport. Usually, your goal will be to position
collision objects as close as possible to the visualisation surface without
penetrating it.
Note You can double-click on Move, Rotate and Scale tool manipulators
to cycle through these manipulators. Alternatively, you can use the Q, W
and E keyboard shortcuts to rapidly change the active editing tool.

36

TUTORIAL 4
Creating environments

To create the next step:

1.

Select the first step collision object.

2.

Copy-and-paste this object to create a new collision object. You can

select Edit > Copy and Edit > Paste to do this. Alternatively, the
keyboard shortcuts are Ctrl+C and Ctrl+V respectively.
Note If you find that the visualisation graphical object is making it
awkward to select collision objects in the environment, you can freeze it
so that it is no longer selectable in the viewport. Keep in mind that you
can still select frozen objects using the Node View. Graphical objects
created from OBJ files will have the same name as the corresponding OBJ
file name.
To freeze a graphical object, right-click on the object in the Node View
and select Freeze Selection. To unfreeze a frozen graphical object, rightclick on the object in the Node View and select Unfreeze Selection. Only
graphical objects can be frozen or unfrozen.

3.

Use the Move and Rotate tools to position the new step in its correct
position as the second step. You should not need to use the Scale tool as
the new collision object will have the same shape and size as the original
step.

To create one side of the staircase:

1.

You can now select both of the steps and copy-and-paste them to create
two new collision objects.

2.

Move these two new steps into position.

3.

You can now continue this process by selecting all four steps and
copying-and-pasting them. In a similar manner, create all the required
steps and place them all into position using the Move and Rotate tools.

NaturalMotion endorphin 37
TUTORIALS

To create the entire staircase:

1.

The entire staircase is made up of two identical halves. You have already
built one half of the staircase. Select all the collision objects you have
created, and copy-and-paste this entire set.

2.

With this new set of collision objects still selected, use the Rotate tool to
rotate them into position, using the visualisation graphical object as a
guide.

Step 3: Building the archway

In this step we will be building up an archway under the staircase using box
collision objects.

To build the archway:

1.

Click the Create Box Collision Object button on the Main Toolbar. This
creates a new collision object at the origin.

2.

Display the Left View by right-clicking and selecting Left View. The
keyboard shortcut is L.

3.

Display the viewport in wireframe mode by right-clicking and selecting

Wireframe View.

4.

Use the Scale tool to resize the new collision object until its depth
matches the depth of the archway.

38

TUTORIAL 4
Creating environments

5.

Display the Front View by right-clicking and selecting Front View. The
keyboard shortcut is F.

6.

Use the Move, Rotate and Scale tools to position and size the collision
object so that it matches one section of the arch.

7.

Use the copy-and-paste tools to create an entire set of collision objects to

fill out the archway.

Note You could also create this archway by building half the archway, and then
using the copy-and-paste and Rotate tools to position a copy of the arch into the
correct position.

Step 4: Building a collapsible railing

In this step we will be building a railing that follows the path of the staircase. This
railing will be made up of cylindrical collision objects. So far, the staircase and
archway that you have built have been made up of collections of static collision
objects. In contrast, you will be building the railing as a dynamic environment
object.

NaturalMotion endorphin 39
TUTORIALS

Static and dynamic environment objects

By default, when you add collision objects to the environment, they are created
as child objects of the GroundMass mass object of the Environment character.
This mass object does not move during simulations, which effectively locks its
child collision objects into place. This approach is useful for creating static
environment objects such as buildings, which do not need to react to collisions.
You can also create dynamic environment objects. The first step is to create a
new mass objects to the environment character. The second step is to add child
collision objects to these new mass objects. These collections of collision objects
can be involved in collisions, and can develop their own velocity and
momentum. This approach is useful for creating objects such as pieces of
furniture that are designed to react to collisions during a simulation.
A further technique is to combine sets of dynamic environment objects using
constraints. Constraints that combine dynamic collision objects are often called
glue constraints. By changing the strength and duration of these glue
constraints during a simulation, you can generate complex dynamic effects.

To create a dynamic railing:

1.

Display the viewport in shaded mode by right-clicking and selecting

Shaded View.

2.

Click the Create Cylindrical Mass Object button on the Main Toolbar.
This creates a new mass object at the origin. Note that we are creating a
mass object, rather than a collision object.
Keep in mind that you can always add and remove other collision objects
to new mass objects in the Environment character. You just cannot select
or remove the implicit collision object.

3.

Use the Move, Rotate and Scale tools to position and size this mass object
so that it roughly corresponds to the position and size of one of the
vertical struts of the railing.

40

TUTORIAL 4
Creating environments

4.

Use the Pose Move tool and move the mass object so that rests exactly
on the top of the staircase. The Pose Move and Pose Rotate tools are
particularly useful when you want to align objects, because these tools
consider the effect of the collision objects on each other. In contrast, the
usual editing tools such as Move, Rotate and Scale ignore the effect of
collision objects.

5.

Copy-and-paste the new mass object, and use the Move tool to position it
so that it is aligned with its neighbouring vertical strut.

6.

Copy-and-paste the new mass object twice more, and use the Move,
Rotate and Scale tools to position these new mass objects as crossbars
sitting on top of each of the vertical struts. You can also use the Pose
Move tool to accurately sit the crossbars onto the tops of each of the
vertical struts, forming a pair of T-shapes.

7.

At this stage we have only begun the process of building the entire
railing. To complete the railing you would repeat the previous steps,
cutting-and-pasting existing mass objects and using the Move, Rotate
and Pose Move tools to accurately position these mass objects to reflect
the shape of the railing.

NaturalMotion endorphin 41
TUTORIALS

Step 5: Locking the railing together with a

constraint
In this step we will use a constraint to hold together the mass objects that make
up the railing. By releasing this constraint at the moment of impact between a
simulated character and the railing, we can create the effect that the collision is
causing damage to the railing, causing it to collapse.

To lock the railing objects together:

1.

With the railing still partially built, simulate the scene. You should find
that the four mass objects that you have added topple and fall under the
influence of gravity.
You can lock the mass objects together using a constraint event.
Constraint events are useful when you want to hold together various
mass objects until a particular moment in a simulation. This is a useful
technique for mimicking the effect of objects breaking as a result of
collisions with other objects.

2.

Click on the Clear Frames button in the Simulation Toolbar to clear the
frame buffer.

3.

In the Environment character timeline in the Timeline Editor, right-click

and select Create Constraint Event. This creates a new constraint event
for the environment. You are automatically placed into Selection mode,
which lets you select the mass objects to be constrained.

4.

In the viewport, box select the mass objects you have created to form
the railing. Right-click to exit Selection mode, or press the Esc key.

5.

Ensure that the constraint event starts at Frame 0. Extend the constraint
event so that its end frame is approximately at Frame 500.

6.

Simulate again. You should find that this time the mass objects making
up the railing will stay fixed in place. When the end frame of the
constraint is reached during the simulation, the railing should then
collapse under the weight of gravity.

42

TUTORIAL 4
Creating environments

Step 6: Adding a character to the

environment
In this step we will add a simulation character to this environment, and create a
simulation in which the character collides with the railing, causing it to collapse.

To add a character to the scene:

1.

Select Character > Add Character to display the Add Character dialog.
Choose the Standard Simulation Character and click OK.

2.

Select the new character and use the Move tool to position the character
at the top of the staircase.

3.

Activate the Pose Move tool. Select the character as a whole using the
Timeline Editor, or by selecting the character cube in the viewport. Pose
Move the character so that it is positioned exactly on the top step.

To push the character through the railing:

1.

Add a force event to the character timeline. Ensure that the force is
applied at Frame 0. Leave the other force properties at their default
settings.

2.

Add a behaviour event to the character timeline. Set the behaviour

name to Stagger, and ensure that it also begins at Frame 0.

3.

Simulate the scene. The character should take a few steps backwards as it
is hit by the force event. After a few steps, the character should then
collide with the railing.

4.

Stop the simulation after the character collides with the railing, and move
the Time Slider back to the frame at which the character first makes
contact with the railing.

NaturalMotion endorphin 43
TUTORIALS

5.

elect the constraint event, and adjust its end frame to the current frame.

6.

Simulate again. The character should now stagger backwards, collide with
the railing, and then fall through the collapsing railing and down to the
ground. By timing the end of the constraint with the moment of collision,
the railing appears to collapse as a result of the collision with the
character.

7.

Experiment with the addition of other behaviour events to the character

timeline. For example, you may want to add a Writhe behaviour while the
character is falling, and then a Catch Fall behaviour as the character
collides with the ground.

Conclusion
In this tutorial, you have created a complex environment using mass objects and
collision objects to create static and dynamic scene objects. In addition, you have
used constraint events to combine multiple environment mass objects into
single compound objects to create the effect of collapsing scene objects.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 4 Building Environments\Tutorial 4
Building Environments - Complete.ens. This scene is an example of how your
scene should look if you have successfully followed all the steps in this tutorial.

44

TUTORIAL 5
Creating characters

Tutorial 5

Creating characters
In the first four tutorials, you have created scenes using the standard endorphin
simulation character. This character represents a typical adult male human.
However, you are not limited to creating scenes with this character only. You can
use Character Edit Mode to reshape the standard character to create your own
custom characters.
In this tutorial, you will use Character Edit Mode to create a custom character that
matches the shape and size of an external character stored in an animation data
file. You will then use dynamic motion transfer to map the motion data stored
in this external animation file onto your reshaped endorphin character.

Before you begin

Before we begin this tutorial, it is important to understand some key concepts
associated with the endorphin animation pipeline.

Reference Character
A reference character is an endorphin character that has been generated by
importing a character stored in an external animation file. Reference characters
can be generated from FBX, BVH, XSI, ASF or Vicon V files that you have exported
from Maya, 3dsMax or other animation system. Reference characters have the
same joint hierarchy and naming conventions found in the original file.
You do not actually use reference characters in endorphin scenes. Rather, you will
typically reshape a simulation character to match its corresponding reference
character, and use the reshaped character in the scene.
Reference character files have the extension _ref.nmc.

Simulation Character
A simulation character is any endorphin character that has been derived from the
standard endorphin simulation character. That is, it has the same joint hierarchy
and object naming conventions as the standard simulation character.

NaturalMotion endorphin 45
TUTORIALS

However, simulation characters may have been reshaped to match a reference

character. A reshaped character may have different joint lengths, orientations
and joint limits to the standard simulation character. Also, a reshaped character
may have different mass object or collision object shapes, positions or
orientations.
Simulation character files have the extension _.nmc.

Simulation-Reference Character Pair

When you are using endorphin as part of an animation pipeline, you will typically
create pairs of associated endorphin characters. Each pair will be made up of a
reference character that you have created by exporting the character from your
original animation system, and a corresponding simulation character that you
have derived from the standard endorphin character, and reshaped to match its
reference character.

Dynamic Motion Transfer

The process of mapping motion from the reference character to the simulation
character, or from the simulation character to the reference character, using
physical dynamics.
When you are importing animation data, you will import it onto a reference
character and dynamically transfer it to the corresponding simulation character
in the scene.
When you are exporting animated data that you have generated in endorphin,
you will dynamically transfer it from the simulated character to its corresponding
reference character, and then export the animation file based on the motion of
the reference character.

Step 1: Creating new characters

In this step, we will create a simulation-reference character pair in endorphin
using Character Edit Mode. The reference character will be based on the skeleton
contained in an FBX file.

To create a new simulation-reference character pair:

1.

Launch endorphin.

2.

Select File > New Character. This displays the New Character dialog.

46

TUTORIAL 5
Creating characters

3.

In the Create Character Using group, ensure that Standard Simulation

Character is selected. This ensures that the new simulation character will
be based on the standard simulation character. You must derive new
simulation characters from this character, or from other characters that
have themselves been derived from this character.

4.

Turn on the Create Reference Character Using setting, and click the
Browse button to select the file Resources\Tutorials\Tutorial 5
Creating Characters (Basic)\AM_T-pose.fbx. This ensures that the new
reference character will be created from the skeleton found in this file. It
is strongly recommended that you only create reference characters from
animation files in which the character is in its T-pose. This will make the
animation pipeline more reliable.

5.

Click OK. The Import Options dialog appears, which lets you specify
settings for use when creating the reference character. Keep all the
settings at their default values. In the node hierarchy tree, select the Hips
node. This ensures that the new reference character will be created with
its root joint based on the Hips joint in the source animation file. It is
important that you select the correct node to use as the basis for your
reference character.

6.

Click OK. A new simulation-reference character pair will be generated,

and you will automatically be placed in Character Edit Mode. In this
mode, there is no Timeline Editor or Simulation Toolbar. Also, some of the
commands in the Main Toolbar and Menu Bar will be different. For
example, you cannot create mass objects or timeline events in Character
Edit Mode.

Step 2: Adjusting the root position

In this step, we will begin the process of reshaping the simulation character to
match its corresponding reference character. This process involves modifying the
joint lengths and orientations of the simulation character so that they match its
reference character. The first step is to ensure that the root joint position of the
simulation character exactly coincides with the root joint position of its
reference.

Using the Move tool to snap joints

Snapping is a very useful way for quickly positioning joints in the simulation
character to match joint positions of the reference character. You can snap any
joint except the root joint. You can also snap reference character joints to

NaturalMotion endorphin 47
TUTORIALS

simulation character joints, although this is rarely done. Usually, you will be
snapping the simulation character to the reference character.
Snapping only works when you are moving a joint using the Move tool in its
unconstrained mode. If you are constrained dragging along any axis or in any
plane, snapping will not occur. The snap threshold depends on the apparent
relative positions of the source and target joints as they appear on the screen.
This means you do not need to worry about how close the joints are in 3D space.
As long as they appear to overlap on the screen, they can be snapped to each
other.
Keep in mind that snapping does not generate a permanent connection
between the snapped joints. If you adjust the position of a joint, you may also
affect the positions of any the joints downstream of that joint, regardless of
whether they have already been snapped to reference character joints.

To match the root position of the simulation and reference

characters:
1.

Right-click in the viewport and select Skeletal View. This mode is useful
because most of the reshaping work in this tutorial involves changing
joint lengths and orientations.

2.

You should be able to identify two skeletons in the viewport. The active
character skeleton will be displayed in blue. The inactive character
skeleton will be displayed in grey. At any point in time, only one of the
characters is active. You cannot select or move the inactive character.
By default, the simulation character will be active. In Character Edit Mode,
there are two special buttons in the Main Toolbar that you use to control
which character is active.

3.

You are now ready to reshape the simulation character to match its
reference character. The viewport should now look like this:

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4.

Zoom in on the hips of the two characters.

5.

Activate the Move tool.

6.

Select the root joint of the simulation character.

7.

Move the root joint using the purple square manipulator at the centre of
the Move tool manipulator. This is a free, unconstrained move. Drag the
joint towards is corresponding root joint on the reference character.
When you get close to this joint, the simulation character joint should
snap to the position of the reference character joint.

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Step 3: Reshaping the joint hierarchy

In this step, we will continue the process of reshaping the simulation character
to match its corresponding reference. Starting at the simulation character root
joint, and moving outwards in the direction of its extremities, we need to adjust
the length and orientation of each joint in the simulation character to match the
corresponding joint of the reference character.
In some cases, there will be no direct correlation between the joints of the two
characters. For example, the reference character may have more or less spine
joints than the simulation character, or the reference character may not have
forearm twist joints. You will need to make decisions about how best to adjust
the joints of the simulation character to best match its reference.

To reshape the joints of the simulation character:

1.

Select the LowerSpineJoint of the simulation character.

2.

If the Move tool is not active, activate it. Move this joint using the purple
square manipulator at the centre of the Move tool manipulator. This is a
free, unconstrained move. Drag the joint towards is corresponding Chest
joint on the reference character. When you get close to this joint, the
simulation character joint should snap to the position of the reference
character joint.

3.

Select the MiddleSpineJoint of the simulation character, and use the

Move tool to position it halfway up the next bone of the reference
character. You cannot use joint snapping in this case, because there is no
corresponding joint in the reference character to snap to. This is because
the reference character only has two spine joints, whereas the standard

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endorphin simulation characterand any other character derived from

ithave three spine joints.
When you are using the Move tool and you do not want to snap, it is
good practice to avoid performing unconstrained moves. This ensures
that you do not inadvertently issue a request to snap.
4.

Working up the spine, snap all the other joints into place up to the head
joint.

5.

Select the LeftClavicleJoint and snap it into place. In our example, this is
to the same joint that the LowerNeckJoint was snapped to. Work your
way down the arm to the LeftElbowJoint, snapping joints together.

6.

Leave the LeftForearmTwistJoint in place. Snap the LeftWristJoint to

the corresponding wrist joint of the reference character. As with the
MiddleSpineJoint, this to account for the fact that the reference character
does not have a corresponding forearm twist joint.

7.

Next, select the LeftHipJoint and snap it into place.

8.

Continue working down the left leg until you reach the LeftAnkleJoint.

Step 4: Mirroring the reshaped joints

In this step we will copy the changes we made in Step 3 from one side of the
character to the other.
Once you have made changes to one side of a simulation character, it is useful to
quickly copy them to the other side of the character, since most characters are
broadly symmetric. Character Edit Mode supports a set of mirror tools to make it
easy to copy changes across from one side of a character to another.

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To copy changes from one side of the simulation character to the

other:
1.

So far, we have only edited joints on the left-hand side of the character.
To copy these changes to the right-hand side of the character, select
Character > Mirror Left To Right. Alternatively, click the Mirror Left To
Right button
Alt+LeftArrow.

2.

on the Main Toolbar. The keyboard shortcut is

After you have mirrored the character, you should find that the
simulation and reference character skeletons now match:

Reshaping mass objects and collision objects

So far, we have not explicitly adjusted the position or size of any mass object or
collision object. However, if you display the viewport in Shaded View, you will
note that the mass objects and collision objects of the simulation character have
been automatically resized to match the new size of their parent joints. Also, the
mirror tools have automatically copied these changes.
After you are have finished reshaping the joint hierarchy of the simulation
character, you may want to modify the positions, shapes or sizes of any of its
mass objects or collision objects, or add new collision objects to this character.
This process is described in Tutorial 11 Creating Characters (Advanced).

Step 5: Adjusting the foot joints

In this step, we will fine-tune the joints in the feet of the simulation character.
endorphin simulation characters have fairly complex feet that are composed of
three joints. This is to ensure that during simulations, characters avoid the foot-

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slip problem that is a common problem in animation. Highly articulated feet

help ensure good foot-ground contact.
Simulation characters always have three foot joints. These are the AnkleJoint,
MidFootJoint and ToesJoint. Reference characters usually have simpler feet. For
example, the reference character in this tutorial only has two foot joints. These
are the Ankle and Toe joints.

To adjust the foot joints of the simulation character:

1.

Ensure that the simulation character is active.

2.

Select the LeftMidFootJoint.

3.

Use the Move tool to move this joint down along the Y-axis in the global
coordinate system, so that it is aligned with the toe joint of the reference
character.

4.

Use the Move too to snap the toe joint into place. Note that the
simulation character LeftAnkleJoint has now been rotated. It occurred
when you moved the LeftMidFootJoint down.

5.

Click the Mirror Left To Right button on the Main Toolbar to copy these
changes to the right foot.

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Step 6: Restoring foot-ground contact

In this step, we will fine-tune the positions of mass objects and collision objects
in the feet of the simulation character.
The standard endorphin simulation character foot has seven collision objects
that make contact with the ground. These collision objects play an important
role in ensuring that there is no foot-slip during simulations. After reshaping the
joints in Character Edit Mode, you may find that the mass objects and collision
objects of the foot need to be repositioned to ensure maximum ground-foot
contact.
For example, many reference characters have higher ankle joint positions than
the standard simulation character. After reshaping the simulation character to
match its reference character, it may then be necessary to move the mass objects
and collision objects in the heel back down to contact the ground again.

To adjust the mass objects and collision objects of the simulation

character feet:
1.

Right-click in the viewport and select Shaded View.

2.

The simulation and reference characters are superimposed, which can

make them difficult to work with individually. It is usually easier if you
hide the character that you are not working with. To hide the reference
character, right-click on the Reference Character node in the Node View
and select Hide All.

3.

Right-click in the viewport and select Left View. At the moment, the left
foot of the simulation character will not have full contact with the ground.
You should find that the mass object and collision objects of the heel are
currently raised off the ground.

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4.

Activate the Rotate tool, and rotate the LeftHeelMass object down so
that the LeftHeelCollision01 and LeftHeelCollision02 objects are
aligned with the other five collision objects in the foot.

5.

The next step is to reposition all seven collision objects making up the left
foot so that they make contact with the ground. Select all of these
collision objects using box selection, or by holding down the Ctrl key and
selecting each collision object individually.

6.

Activate the Move tool and move these collision objects downwards so
that they sit exactly on the ground plane.
Note When modifying the positions of mass and collision objects in the
feet, make sure you do not inadvertently modify the positions of any
joints. Moving a joint may result in the loss of a rig node connection that
you had set up in an earlier step.

NaturalMotion endorphin 55
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7.

Click the Mirror Left To Right button in the Main Toolbar to copy these
changes to the right foot.

Reshaping simulation characters to match arbitrary reference

characters
The simulation character is now fully reshaped to match its reference character.
You can use similar steps to reshape the standard simulation character to match
most humanoid-shaped reference characters.
Keep in mind that endorphin behaviours work most reliably when the simulation
character is of roughly human dimensions. You can use endorphin with a range
of body sizesfrom 3-foot midgets to 12-foot giantsalthough you may need
to fine-tune the character mass distributions to get the more extreme body sizes
working correctly.
In some cases, you can mimic extremely large characters by replacing them with
smaller characters, using reduced gravity and inertial damping to slow down
joint motion.

Step 7: Rigging the reference character

In this step we will view the connections between the reference character to the
simulation character. The process of creating these connections is sometimes
called rigging the reference character.

Introducing rig nodes

Rigging is the process of connecting mass objects of each character to
corresponding rig nodes. When one character drives another character using
dynamic motion transfer, the actual process involves two steps. Firstly, the
motion of the source character mass objects drives their corresponding rig
nodes; secondly, the motion of these rig nodes drives the motion of their

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corresponding mass objects on the target character. You can generate different
effects by specifying the strength with which mass objects are connected to their
rig nodes.
Usually, every rig node is connected to a mass object, but not every mass object
is connected to a rig node. This is because most characters have a lot more mass
objects than there are rig nodes. Rig nodes are placed at key locations, such as
the pelvis, shoulders, hands and feet. The motion of intermediate, unconnected
mass objects on the target character is generated based on the motion of the
connected mass objects and the effects of joint limits.
The mass objects of the standard simulation character are already connected to
rig nodes. This means that any characters you derive from the standard
simulation character are also connected. However, when you create new
reference characters, you have to manually add these connections.

Automatic rig node connections

In previous versions of endorphin, rigging the reference character was a manual
process.
With endorphin 2.6, this process has now been automated. Each time you snap a
simulation character joint to its corresponding reference character joint,
endorphin now automatically identifies the child mass objects of the snapped
joints, and ensures that the reference character mass object is connected to the
same rig node as the simulation character mass object.
However, you can always turn off the automatic connection mode if you want to
make any manual changes to the connections.

To view mass object connections:

1.

If the Motion Transfer Editor is not visible, select View > Motion
Transfer Editor to display the Motion Transfer Editor. The keyboard
shortcut is M. The Motion Transfer Editor is automatically displayed when
you first enter Character Edit Mode.
The Motion Transfer Editor contains a Connections page that contains a
list of rig nodes, along with corresponding lists of mass objects for the
reference character and simulation character.

NaturalMotion endorphin 57
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2.

The list of mass objects in the lower pane reflects the active character.
Where a mass object name is displayed in bold, this indicates that the
mass object is connected to a rig node.
You can change the active character by clicking the Activate Reference
Character button on the Main Toolbar to activate the reference
character, or by clicking the Activate Simulation Character button on
the Main Toolbar to activate the simulation character.
You will usually have the reference character active, since the simulation
characterand any characters derived from itare already pre-rigged.

3.

If you select a rig node in the upper pane, its corresponding mass object
(if it has one) is automatically selected in the lower pane.
Similarly, if you select a mass object in the lower pane, its corresponding
rig node (if it has one) is automatically selected in the upper pane.

To edit mass object connections:

1.

The Auto Create Connections checkbox at the bottom of the Motion

Transfer Editor is on by default. When this setting is on, mass objects are
automatically connected to rig nodes when joints are snapped together
in Character Edit Mode. If you want to modify any rig node connections, it
can be useful to turn this setting off. This avoids an automatically-created
connection from overriding a manual change that you might have made.

2.

To disconnect an existing connection, select a rig node or mass object in

one of the panes. If the selected entity has a corresponding connection,

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the Disconnect button is enabled. Click this button to disconnect the

selected mass object from the selected rig node.
3.

To create a new connection, select a rig node from the upper pane, and
then select a mass object from the lower pane. The selected mass object
should not already be connected to another rig node. (If the mass object
is already connected to another rig node, first click the Disconnect
button to disconnect it.) Click the Connect button to connect the
selected rig node to the selected mass object.

4.

If you make changes to the connections on one side of a character, you

can use the Mirror tools to mirror the connections to the other side of the
character. However, keep in mind that the Mirror tools will only modify
connections if the Auto Create Connections setting is turned on.

Step 8: Saving the new characters

In this step we will save the simulation-reference characters to .nmc character
files.

To save the new characters:

1.

Before exiting Character Edit Mode, ensure that the simulation character
is visible. To do so, right-click on the Simulation Character node in the
Node View and select Show All. If a character is saved in its hidden state,
it will initially be displayed in this hidden state when added to a scene,
which can be confusing.

2.

Finally, select File > Save Character As to display the Save As dialog.
You can change the current folder by clicking the Browse button. Specify
a character name, keeping in mind that you can add spaces to character
names. Do not add a file extension. For example, if you name the
character RiggingTutorial, endorphin will save the simulation character
as RiggingTutorial.nmc, and will save its reference character as
RiggingTutorial_ref.nmc. The viewport display label will update to
reflect the name of the character.

Step 9: Importing animation

In this step we will add the simulation character to a scene, and then import
animation onto this character using its reference character as a dynamic motion
transfer intermediary character.

NaturalMotion endorphin 59
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To add the new simulation character to a scene:

1.

Launch endorphin.

2.

Select File > New Scene. Select the default character using the Timeline
Editor and delete it.

3.

Select Character > Add Character to display the Add Character dialog.
Alternatively, click the Add Character button on the Main Toolbar. Select
the RiggingTutorial character from the list of Custom Characters. You
may need to browse to change the active folder. Click OK.

To import animation using dynamic motion transfer:

1.

Select the RiggingTutorial character using the Timeline Editor.

2.

Select File > Import, or click the Import button in the Main Toolbar. The
keyboard shortcut is I. This displays the Select File To Import dialog.

3.

Browse to the Resources\Animation\Audiomotion1\FBX folder, and

select any of the FBX animation files in this folder. All of these FBX files
contain animation that has been created using the same skeleton that the
RiggingTutorial_ref.nmc reference character was derived from in Step 2.

4.

Click Open to display the Import Options dialog.

5.

The node hierarchy in the Import Options dialog displays the joint
hierarchy of the character in the FBX file. Select the Hips node from this
tree. This will ensure that only motion of the Hips joint, and any of its
child joints, is imported. The motion of any other nodes in the FBX file is
ignored.

6.

To use dynamic motion transfer, turn on the Transfer From Reference

Character setting, and then click the Browse button to display the Open
Reference Character dialog. Choose the RiggingTutorial character. This

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will select the corresponding RiggingTutorial_ref.nmc reference

character. Click OK.
7.

Leave the other Import Options set to their defaults, and click OK.
Animation from the FBX file will be imported onto the reference
character, and then dynamically mapped onto the simulation character.
This process occurs automatically. The reference character is temporarily
created and destroyed without ever appearing in the scene.
Keep in mind that the import process can take some time, particularly if
there are a lot of frames in the animation file.

8.

When the animation import is complete, you will see a new animation
event added to the timeline of the simulation character. This animation
event contains the imported animation data applied to the simulation
character skeleton.

Conclusion
In this tutorial, you have learned how to create new simulation-reference
character pairs, and how to reshape simulation characters to match their
reference characters. You have learned about Character Edit Mode and its
various tools, such as the snap tool, and successfully used dynamic motion
transfer to import motion from an FBX file onto a simulation character via its
reference character.
To learn more about creating and editing characters, see Tutorial 11
Character Creation (Advanced). To learn more about dynamic motion transfer,
see Tutorial 13 Advanced Motion Transfer And Prop Interaction.

NaturalMotion endorphin 61
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Tutorial 6

Creating props
In this tutorial, you are going to create more complex scene objects using
collections of mass objects and collision objects saved as three separate prop
characters.
You are then going to add instances of these prop characters to the scene that
you made in Tutorial 4 Creating Environments. You do not need to have
worked through Tutorial 4, however, as the final scene from that tutorial has
been copied as the initial setup scene for this tutorial.

Before you begin

Before we begin this tutorial, it is important to understand some key concepts
associated with endorphin environments and prop characters.

Environment objects
In Tutorial 4, you created a complicated environment by adding collision
objects to the Environment character. Adding collision objects directly to the
environment is a quick way to create static, rigid structures in your scene.
You also added some mass objects to the environment, and attached collision
objects to these mass objects. Adding mass objects to the environment is a good
way to create dynamic environment entitiessuch as pieces of furniturethat
are mobile and not directly attached to the world. These dynamic objects can
gain velocity and momentum as a result of forces and collisions.

Prop characters
In this tutorial, you will use Character Edit Mode to create new prop characters.
Prop characters are collections of joints, mass objects and collision objects that
represent scene objects. A prop character might be a simple object such as a
piece of furniture, or a complex articulated object, such as a vehicle. A prop
character can even represent an animal, such as a horse. Prop characters are
stored in endorphin .nmc character files.

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One advantage of creating prop characters is that you can add them to multiple
scenes. Another advantage is that you can import animation onto prop
characters, which allows you to create much more complex settings for your
simulation characters. For example, you might create a horse prop character, add
it to a scene, and then import a gallop animation cycle onto the horse. You could
then place a simulation character on the horse and simulate the scene. During
the simulation, the galloping motion will transmit forces to the simulation
character.

Adding timeline events to prop characters

You can apply any type of eventother than behaviour eventsto prop
characters. Not only can you apply forces, constraints and sever events to a prop
character, you can also apply active poses. You can even use active animation
events and motion transfer events to reuse animation data in a dynamic context.
You cannot use behaviour events on prop characters. This is because the
endorphin Behaviour Library has been specifically designed for use with bipedal
humanoid characters derived from the endorphin standard simulation character.

Step 1: Building a chair

In this step we will build a new prop character that represents a chair. It will be
composed of a single joint and a single mass object, with several collision objects
used to fill out its shape.

To create a new prop character:

1.

Launch endorphin, and select File > New Character.

2.

Select the Standard Prop Character from the Standard Characters list,
and click OK.
The Standard Prop Character contains a single joint and single mass
object, and is useful for solid prop objects. You cannot create additional
joints or mass objects in Character Edit Mode. To create more complex,
articulated characters, you need to create them by importing a skeleton
contained in an FBX, BVH, XSI, ASF or Vicon VSK file. You will create a prop
character using this approach in the next step.

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TUTORIALS

3.

You have now created a new prop character. This character is based on
the Standard Prop Character and appears as a single spherical mass
object. There is no corresponding simulation character, and so the
reference character is permanently active when you are editing prop
characters. Note that prop characters are considered to be a type of
reference character, as they are created to represent equivalent objects in
your source animation scenes. Prop characters are saved with a _ref.nmc
file extension.

4.

Display the Node View to examine the structure of this character. You
will note that the prop character has a single root joint, a single rootMass
mass object and a single RootCollision collision object. You cannot
delete this joint or mass object. However, you can add and remove
collision objects.

To add a graphical object representing the prop shape:

1.

Delete the RootCollision collision object.

2.

Select the rootMass mass object.

3.

Select File > Import and browse to select Resources\Tutorials\Tutorial

6 Creating Props\HallChair.obj. Do not modify any of the default
import options. Click OK. This imports the OBJ mesh and creates a
corresponding graphical object as a child of the selected mass object.
This graphical object represents the outer surface of the chair that you are
going to fill out using collision objects.
Before creating any new collision objects, the first step is to ensure that
the mass object is placed at the centre of mass of the chair. When you are
building props, you do not need a mass object for each collision object.
The equivalent dynamic properties of the compound object can be
approximated by a single mass object, provided that it is located at the

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centre of mass of the entire object, and has a mass equivalent to the mass
of the entire object.
4.

Activate the Move tool.

5.

Select the graphical object, and move it until the mass object is located
roughly at the centre of mass of the chair.

6.

Select the mass object, and move it vertically so that the chair legs of the
graphical mesh make contact with the floor. Keep in mind that when you
move the mass object, the graphical object also moves. This is because
the graphical object was created as a child of the mass object.

To fill out the prop with collision objects:

You can now start adding collision objects to fill out the chair shape represented
by the graphical object. Before you can create a collision object, you must first
select the mass object that will become the parent of the new collision object.
1.

Select the rootMass mass object.

2.

Click the Create Box Collision Object button on the Main Toolbar. This
creates a new box collision object.

3.

Use the Move, Rotate and Scale tools to adjust the size and position of
this collision object until it coincides with the chair seat.

NaturalMotion endorphin 65
TUTORIALS

4.

Add more collision objects using the same approach. Remember that
each time you create a new collision object, the parent mass object must
be preselected. After you have created each new collision object, use the
Move, Rotate and Scale tools to adjust the size and position the object
until it coincides with its corresponding feature of the graphical object.

5.

When you have finished modeling the chair, select File > Save Character.
In the Save Character dialog, name the prop character Chair and click
OK.

How many collision objects should I add?

Choosing how many collision objects to add depends on the type of prop and its
intended use. You can usually ignore small features if they are unlikely to affect
the way the prop interacts dynamically with other objects. Each additional
collision object will slightly affect the simulation rate, so it is good practice to
attempt to fill out props using the minimum number of collision objects.
If you are modeling a shape with a complex surface, and there is going to be a
lot of contact with this surface during the simulation, then you may need to
create many more collision objects to accurately reflect this shape; otherwise
your resulting animation may contain object penetration.
These guidelines also apply when you are creating simulation characters
derived from the standard simulation character.

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Step 2: Creating a collapsible table

In this step we will build a new prop character that represents a table. Unlike the
chair, the table will be made up of multiple joints and mass objects. This
approach allows you to create the effect of breaking objects during a simulation.
This technique was first introduced in Tutorial 4 Creating Environments.

To create a table prop character using an imported character:

1.

Select File > New Character.

2.

In the New Character dialog, turn off the Create Character Using setting,
and turn on the Create Reference Character Using setting.
You are going to create a new prop character using a character imported
from an FBX animation file, rather than using the Standard Prop Character
as the basis of the prop character. This approach is required when you
want to create prop characters with more than one joint or mass object.
This is because you cannot create new joints or mass objects in Character
Edit Mode.

3.

Browse to select the Resources\Tutorials\Tutorial 6 Creating

Props\HallTableBroken.fbx.

4.

In the Import Options dialog, select the root node in the node tree
hierarchy, and then click OK. This ensures that the new prop character
will be created with its root joint based on the root joint in the source
animation file. It is important that you select the correct node to use as
the basis for your prop character.

5.

You have now created a new prop character based on the character
imported from this FBX file. Display the Node View to examine the
structure of this character. You will notice that the root joint has three

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child joints. These joints will form the basis of three components making
up the entire table.
6.

Select the rootMass mass Object and delete it. This mass object is not
required for the table.

To add a graphical object representing the prop shape:

1.

Select the reference character. One way to do this is to select the

Reference Character node in the Node View. Another approach is to click
the Activate Reference Character button in the Main Toolbar. This
button activates and selects the corresponding character.

2.

Select File > Import, and browse to select the HallTableBroken.obj file.
Do not modify any of the default import options. Click OK.

3.

If you examine the graphical object carefully, you will see it is made up of
three distinct parts that are joined along break lines. These indicate the
three pieces of the table after it collapses following a collision.

To reshape the mass objects:

Before adding new collision objects, it is important to adjust the shape, size and
position of the three mass objects so that they roughly reflect the size of their
corresponding table component.
1.

Select the Table01Mass mass object.

2.

Use the Property Editor to change its geometry type to Cuboid.

3.

Use the Move, Rotate and Scale tools to adjust the position and size of
this mass object. The precise shape and size of this mass object does not
matter. Your main aim is to ensure that the mass object is located at the
centre of mass of the part of the table it represents, and has the right
volume to reflect the mass of that table part.

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4.

Repeat this process for the other two mass objects. You should end up
with three mass objects that are positioned roughly according to the
screenshot below:

To fill out the prop with collision objects:

You can now start adding collision objects to fill out the three parts of the table.
Before you create each collision object, select the corresponding mass object.
1.

Select the Table01Mass object.

2.

Click the Create Box Collision Object button on the Main Toolbar.

3.

Use the Move, Rotate and Scale tools to adjust the size and position of
this collision object. This collision object will form part of the table
surface.

4.

Continue creating collision objects that are children of the Table01Mass

object until you have roughly represented the shape of the first section of
the table surface. Keep in mind that you can penetrate collision objects
that belong to the same mass object.

NaturalMotion endorphin 69
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5.

Create collision objects to fill out the other two sections of the table
surface. You will need to create collision objects of the Table02Mass and
Table03Mass objects respectively.
When you are creating these collision objects, keep in mind that you
cannot allow collision objects belonging to different mass objects to
penetrate. If this occurs, then when the object is simulated, you will find
that the different sections of the table will rapidly spring apart as the
penetrating collision objects attempt to separate themselves.

6.

When you have finished filling out the three sections of the table, select
File > Save Character, and name it BrokenTable. Click OK.

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Step 3: Creating a chandelier

In this step we will build a simple rigid prop character that represents a
chandelier. This will be a simple, rigid prop character based upon the Standard
Prop Character. It will be made up of a single joint and a single mass object.

To create a chandelier:
1.

Select File > New Character, and select the Standard Prop Character.
Click OK.

2.

Select the rootMass object.

3.

Select File > Import, and browse to select the

Resources\Tutorials\Tutorial 6 Creating Props\
HallChandelierBody.obj. Do not modify the default Import Options.
Click OK. A graphical object in the shape of a chandelier is created.

4.

Select the graphical object, and use the Move tool to move it so that the
rootMass object is located roughly at the centre of mass of the
chandelier.

To reshape the mass object:

The mass object needs to be reshaped to better match the mass distribution of
the chandelier.
1.

Select the rootMass object.

2.

Use the Property Editor to change its Type property to Cylinder. Also, set
its Radius property to 0.7, and its Length property to 1.5.

3.

Use the Move and Rotate tools, reposition the cylindrical mass object so
that its long axis coincides with the axis of the chandelier.

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TUTORIALS

4.

The mass object now has a mass distribution that more closely resembles
the distribution of mass in the chandelier. However, the overall mass of
the objectwhich depends on its volume and densityis now
unrealistically large. Use the Property Editor to reduce its Density
property to from 0.9 to 0.3. This will reduce the overall mass of the
chandelier by two-thirds, which will make it more responsive to forces.

Note that when you move and rotate a mass object using the Move and Rotate
tools, any child collision graphical objects which belong to it will move and
rotate with it while maintaining their position relative to it. If you scale the parent
mass object using the Scale tool however, any child mass objects will remain
unaffected.

To fill out the prop with collision objects:

As in previous examples, the chandelier graphical object needs to be

filled out with collision objects. Keep in mind that you must preselect the
rootMass object before creating each new collision object.

You may want to hide the rootMass object while you are adding collision
objects. When mass objects are large, they can sometimes obscure their
child collision objects. To hide this mass object, click on its icon in the
Node View. This method hides the specific mass object selected.
Alternatively, right-click in the viewport and turn off Mass Objects. This
method hides all mass objects in the scene using a global filter,
regardless of whether their individual visibilities are turned on or off.

When you have finished filling out the chandelier graphical object, select
File > Save Character, and save this prop character as MyChandelier.
Click OK.

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Step 4: Adding a chandelier chain to a scene

In this step we will create a new scene and add the MyChandelier prop
character to the scene.
You will then use a constraint event to temporarily connect the chandelier to a
set of objects representing a chain holding the chandelier to a virtual ceiling.
Constraints are very useful when you want to temporarily connect characters
or parts of characterstogether. By carefully choosing when to apply and
release constraints, you can generate many complex physical effects. This
technique was first described in Tutorial 4.

To add a chandelier chain to a scene:

1.

Select File > Open Scene, and open the Resources\Tutorials\Tutorial 6

- Creating Props\Tutorial 6 - Creating Props - Begin.ens scene. This is a
copy of the scene that you worked on in Tutorial 4 Creating
Environments.

2.

Delete all timeline events in the Timeline Editor.

3.

Select File > Import, and browse to select the HallChandelierChain.fbx

file. from the folder. Turn off the Create Animation Event and Create
Simulation Events settings. Click OK.

4.

The HallChandelierChain.fbx file contains a character in the form of an

articulated chain. When this file is imported into endorphin, a new prop
character is created directly in the scene.
You can create prop characters directly in scenes by importing FBX, BVH,
XSI, ASF or Vicon VSK files directly, as an alternative to using Character
Edit Mode. However, the prop character will not have been saved out as
an .nmc character file, and so cannot be used in other scenes. However,
this approach is useful when you do not need to reuse props in other
scenes.
If you do decide to reuse a prop character that you have created by
directly importing a file, you can select that character in the scene, and
then select File > Export and save the character as an .nmc endorphin
character file.

5.

Select the HallChandelierChain character in the Timeline Editor.

6.

Use the Move tool to move the chain character until the topmost point of
the chain coincides with the ceiling.

NaturalMotion endorphin 73
TUTORIALS

Step 5: Connecting a chandelier to the chain

In this step, we will add an instance of the chandelier prop character to the
scene, and then use a constraint to connect it to the chain prop character that
you created in the previous step.

To add a chandelier prop to the scene:

1.

Select Character > Add Character.

2.

Browse to the Resources\Tutorials\Tutorial 6 - Creating Props folder.

3.

You should find that the MyChandelier prop character now appears in the
Add Character dialog. Select this character and click OK.

4.

Use the Move tool to move the new chandelier prop character up so that
it sits just under the chain prop.

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To connect the chandelier to the chain:

1.

Right-click on the MyChandelier character timeline in the Timeline

Editor, and select Create Constraint Event. This will add a new constraint
event to the scene, with the chandelier rootMass mass object as the
constrained mass object.

2.

In Selection mode, hold down the Ctrl key, and select the four end-most
mass objects of the HallChandelierChain_fbx character. This adds these
mass objects to the set of constrained mass objects.

3.

Exit Selection mode by right-clicking in the viewport, or by pressing the

Esc key.

4.

Ensure that the new constraint event is selected.

5.

Use the Property Editor to set its Start Frame to Frame 0, and its End
Frame to Frame 500.

6.

Use the Property Editor to set its Type to JoinBodies.

The default constraint type is Lock, which locks the position and
orientation of the selected mass objects in global coordinates. The
JoinBodies constraint type does not enforce any global position or
orientation. Rather, it temporarily constrains the selected mass objects to
maintain their relative positions and orientations for the duration of the
event.

To connect the chandelier chain to the environment:

1.

Right-click on the HallChandelierChain character timeline in the

Timeline Editor, and select Create Constraint Event. This will add a new
constraint event to the scene, with the chain joint1Mass mass object as
the constrained mass object. This is the topmost mass object.

2.

Use the Property Editor to set its Start Frame to Frame 0, and its End
Frame to Frame 500.

To swing the chandelier:

The chain has been constrained so that its topmost mass object has its position
and orientation locked in global coordinates. Also, the chandelier has been
constrained so that it is joined to the mass objects at the lower ends of the chain.
1.

Simulate the scene. You should find that the chandelier will slightly drop
under the influence of gravity until the chain is stretched to its limit.
The chain is made up of a series of short joints. This is a useful technique
when you want to model chains, cables and other flexible entities. To test

NaturalMotion endorphin 75
TUTORIALS

the flexibility of the chain, apply a horizontal force to the chandelier to set
it swinging.
2.

Right-click on the MyChandelier character timeline, and select Create

Force Event.

3.

With the force event selected, use the Property Editor to set its Strength
to 3.0.

4.

Simulate the scene again. The chandelier should now swing as a result of
this force. You may find that the chain wobbles as it swings.

5.

You can slightly stiffen the chain by adding an active pose event to the
chain prop character. Right-click on the HallChandelierChain character,
and select Create Active Pose Event.

6.

With the active pose event selected, use the Property Editor to set its
Start Frame to Frame 0 and its End Frame to Frame 500. If you simulate
again, you should find that the chain appears slightly stiffer and the
wobbling is reduced. To enhance or reduce this effect, modify the
Strength property of the active pose event.

7.

Delete the force event. We added the force to test the flexibility of the
chain. The force is not required for the intended final scene simulation.

Step 6: Simulating the scene

In this step, we will add instances of the Table and Chair prop characters to the
scene created in the previous step. We will also add an instance of the standard
simulation character to the scene, and have this character interact with the table,
chair and chandelier.

To add a table to the scene:

1.

Select Character > Add Character, and select the BrokenTable

character. Click OK.

2.

Select this character, and use the Move tool to position it near the
staircase, under the chandelier. See the screenshot below for guidance.

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Creating props

To add some chairs to the scene:

1.

Select Character > Add Character, and select the Chair character. Click
OK.

2.

Select this character, and use the Move and Rotate tools to position it so
that it is sitting next to the table.

3.

Add a second instance of the Chair prop character, and use the Move and
Rotate tools to position it so that it is sitting on the opposite side of the
table to the first chair.

To simulate the character jumping towards the chandelier:

1.

The scene already has an instance of the standard simulation character

standing on the top of the platform. Select this character by clicking the
Character01 in the Timeline Editor.

2.

Use the Rotate tool to rotate the character so that it is facing the
chandelier.

3.

Use the Move tool to move the character slightly closer to the edge of the
platform.

4.

Right-click on the Character01 timeline track and select Create

Behaviour Event. This creates a new behaviour event for this character.

5.

Use the Property Editor to set the behaviour event Name to Jump And
Dive. Also, set the Start Frame to Frame 0.

6.

Delete the Prop0, Prop01, Prop02 and Prop03 mass objects that make
up part of the railing in front of the character. They are not required for
this simulation.

NaturalMotion endorphin 77
TUTORIALS

7.

Simulate the scene. The character should now jump forward towards the
chandelier, and should collide with it.

To simulate the character reaching out for the chandelier:

This scene will be appear more realistic if the character reaches out towards the
chandelier.
1.

Select the Jump And Dive behaviour event, and use the Property Editor
to set its End Frame to Frame 75.

2.

Create another behaviour event on the same Character01 timeline.

3.

Set the Name of this behaviour event to Hands Reach And Look At.
Also, set its Start Frame to Frame 75.

4.

Locate the [Select] command hotlink in the Property Editor that is

associated with the LookAtTarget. Click this command hotlink to enter
Selection mode, and select the Cylinder11 collision object. Repeat this
process for the LeftHandTarget property.

5.

Simulate the scene again. When the character jumps, it should now
reach out for the chandelier with its left hand. Also, its head should point
towards the chandelier as it jumps.

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Creating props

To simulate the character catching the chandelier:

Our next goal during this simulation is to ensure that the character successfully
catches the chandelier, rather than simply colliding with it.
1.

Right-click on the Character01 timeline, and select Create Constraint

Event to create a new constraint. This should be roughly around Frame
110.

2.

Use the Time Slider to identify the frame at which the characters hand
collides with the chandelier. Set its Start Frame of the new constraint
event to match this frame.

3.

Select the constraint, and use the Property Editor to set its Type to
JoinBodies.

4.

Click the [Select] command hotlink that is found next to the Target
Objects property in the Property Editor. This places you in Selection
mode.

5.

In Selection mode, select the LeftHandMass mass object of Character01.

Hold down the Ctrl key to select additional objects. Select any object in
the chandelier prop. This will add the rootMass object to the constraint
event target object set.

6.

Simulate again. The character should now jump and hold on to the
chandelier, and then swing underneath it. The character remains
attached to the chandelier due to the effect of the constraint event.
When the constraint event finishes, the character falls and collides with
the table and chairs underneath the chandelier. Constraint events are
useful when you want to mimic the effect of a character holding onto an
object.

7.

To make the character writhe as it holds onto the chandelier, adjust the
End Frame property of the Hands Reach And Look At behaviour so that
it matches the Start Frame of the constraint event that connects the
characters left hand to the chandelier. Then, add a new behaviour to the
Character01 timeline, and set its Name property to Writhe.

8.

Simulate again. The character should now writhe as it dangles under the
chandelier.

To allow the table to collapse:

When the character collides with the table at the end of this simulation, we want
the table to collapse. To do so, we need to sever the joints that are holding the
table prop character together.

NaturalMotion endorphin 79
TUTORIALS

1.

Use the Time Slider to identify the frame at which the character first
collides with the table. This should be roughly around Frame 200.

2.

Right-click on the BrokenTable_ref character timeline, and select

Create Sever Event.

3.

Adjust the Frame of the sever event so that it coincides with the
character striking the table.

4.

Locate the [Select] command hotlink associated with the Target Object
property in the Property Editor. Click this command hotlink to enter
Selection mode.

5.

In Selection mode, hold down the Ctrl key and select each of the table
sections. The corresponding mass objects are added to the sever event
Target Objects list.

6.

To exit selection mode, right-click in the viewport, or press the Esc key.

7.

Simulate again. The table will now break into three separate sections
when the character collides with it. This is because the sever event
detaches each of the parent joints of the mass objects in the Target
Objects list.

Experimenting with this scene

There are different ways you can modify the flow of action in this scene. For
example:

Try experimenting with different behaviours on the simulation character

to get different results.

Try changing the duration of the constraint that joins the simulation
character to the chandelier.

Try adding some helper forces to the chairs at the frame in which the
simulation character collides with the table. Helper forces can help create
more dramatic action.

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Creating props

Conclusion
In this tutorial, you have learned how to create more complex prop characters
using different techniques. You have also used a range of different event types to
create dynamic interaction between a simulation character and various
environment objects and prop characters.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 6 Creating Props\Tutorial 6 Creating Props Complete.ens. This scene is an example of how your scene should look if you
have successfully followed all the steps in this tutorial.

NaturalMotion endorphin 81
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Tutorial 7

Importing and modifying

animation
In the previous tutorials, you have created characters and scenes, and simulated
those scenes using a variety of endorphin timeline event types. Typically, each
simulation has started with the character in a relatively static standing position.
In this tutorial you will add imported animation into some parts of your
simulation. You can use animation data at any point during a simulation. A
common use of animated data is to start a simulation with characters driven by
animation, and then transition to dynamic simulation when you want endorphin
to begin generating motion. You can also blend back into animate data.
This tutorial will introduce the process of importing animated data, and
transitioning from animation to simulation. The following tutorial, Tutorial 8
Blending From Simulation To Animation, will cover the slightly more complex
process of transitioning back from simulation to animation.

Before you begin

Before we begin this tutorial, it is important to understand some key concepts
associated with endorphin simulations and animation.

Introducing simulation modes

All characters in an endorphin scene can be either simulated or animated. This is
true for all characters, including simulation characters, prop characters and the
Environment character. At any given frame, a given character will have a specific
Simulation Mode:

The default simulation mode is Full Simulation. In Full Simulation mode,

characters are influenced by gravity, as well as forces, constraints, active
poses and sever eventsand behaviour events, in the case of simulation
characters. This mode is often simply called the simulation mode.

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Importing and modifying animation

You can also set the Simulation Mode to No Simulation, Collision Only
or Collision With Momentum. These modes are all animation modes.
When a character is in one of the animation modes, it is driven by
animation keyframes, rather than by the simulation. Characters store
animation keyframes in the form of animation events on their character
track in the Timeline Editor.

Comparing simulation modes

When characters are in one of the animation modes, they are not influenced by
gravity or collisions, or timeline events such as forces, constraints, active poses,
behaviours or sever events. They are only driven by animation keyframes stored
in animation events, or keyframes stored directly on their timeline track.
In contrast, when characters are in the simulation mode, they are not influenced
by animation keyframes. They are only affected by physical effects such as
gravity and collisions, and timeline events such as forces, constraints, active
poses, behaviours and sever events.

Changing the simulation mode

To change the simulation mode of a character, you must use simulation events.
Simulation events are single-frame events that specify the new simulation mode
that is to begin on that frame. To add a simulation event to a character, select the
character and then select Character > Create Simulation Event. Alternatively,
right-click on the character track in the Timeline Editor and select Create
Simulation Event.

Displaying the simulation mode

When a character is in one of the animation modes, its mass objects, collision
objects, graphical objects and joints are all displayed in a dark grey colour. Each
of the three animation modes uses a slightly different shade of this colour. In
addition, the Timeline Editor background colour for that character track is
displayed using a light blue colour. Once again, the three animation modes use
slightly different shades of this colour.
In contrast, when characters are in the simulation mode, their various
component objects are displayed in their standard colours. Also, their
corresponding character tracks in the Timeline Editor are displayed in the
standard Timeline Editor colouring.
The use of different colours in the viewport to distinguish animation modes from
the simulation mode is very useful when you are creating and reviewing
simulationsyou can quickly identify the frames in which characters have

NaturalMotion endorphin 83
TUTORIALS

transitioned from animation to simulation, and vice versa, without needing to

consult the Timeline Editor.

Step 1: Preparing the scene

In this step, we will prepare a simple scene by adding a simulation character that
has been reshaped to match the character used by an FBX animation file that will
be imported in Step 2.

To prepare the scene:

1.

Launch endorphin.

2.

Select Character01 and delete it.

3.

Select Character > Add Character, and browse to the folder

Resources\Tutorials\Tutorial 7 - Importing and Modifying Animation.

4.

The character AudioMotion2 to should appear in the character list. Select

this character and click OK.
This character is an endorphin simulation character that has been derived
from the standard simulation character. It has been slightly reshaped to
match the skeleton used to create various animation cycles that are
available as FBX files in the Resources\Animation\AudioMotion2\FBX
folder. When you import animation data from any of these files into the
AudioMotion2 character using dynamic motion mapping, you will use its
corresponding reference character, AudioMotion2_ref.nmc, which is
also found in the Resources\Tutorials\Tutorial 7 - Importing and
Modifying Animation folder.

Step 2: Importing an animated run cycle

In this step, we will import animation data onto the AudioMotion2 character
using dynamic motion mapping.

To import an animated run cycle:

1.

Select the AudioMotion2 character using the Timeline Editor.

2.

Select File > Import, and browse to select the

Resources\Tutorials\Tutorial 7 - Importing and Modifying
Animation\Run With Gun.fbx file. Click Open.

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TUTORIAL 7
Importing and modifying animation

3.

In the Import Options node hierarchy tree, select the Hips node. This
ensures that only motion in the FBX file associated with the Hips joint,
and any of its child joints, is imported onto the AudioMotion2 character.

4.

Turn on the Transfer From Reference Character setting, and click the
Browse button. Select the AudioMotion2 character from the character
list. Keep the other settings at their default values, and click OK.

5.

The motion in the FBX file is imported, and a corresponding animation

event is created on the AudioMotion2 timeline. This animation event
contains the keyframed data. Ensure that the Start Frame of this
animation event is Frame 0.

6.

Simulate the scene. You should find that the character will now be driven
by animation data. You will notice that the character is displayed in dark
grey, rather than its usual light grey and blue colouring for mass objects
and collision objects. This colour indicates that the character is being
driven by animation data, and is not being simulated.

7.

If you continue simulating past the End Frame of the animation event, the
character will transition into Full Simulation mode, and will be displayed
using its usual simulation colours. The character will fall to the ground
under the influence of gravity.

8.

If you examine the character timeline, you will notice that in addition to
the animation event, two simulation events were automatically added at
the start and end frames of the animation event. The first simulation
event sets the simulation mode to No Simulation, and the second
simulation event sets the simulation mode to Full Simulation. These
simulation events control the frame range over which the character will
be driven by animated data.
In the Import Options dialog, you can specify whether or not to create
simulation events when you import animation.

NaturalMotion endorphin 85
TUTORIALS

9.

Move the second simulation event to an earlier frame, such as Frame 95,
and simulate again. You should find that the character will be driven by
the animation data until Frame 95, at which point the character will
become simulated, and fall. Keyframes in the animation event after
Frame 95 are ignored by the character, because it is in Full Simulation
mode again.

Step 3: Combining animation with simulation

In this step, we want to extend the simulation to model the effect of an explosive
blast. While the character is running, we will apply a strong force to the character
so that it is thrown backwards violently.

To add a force to the animated character:

1.

Move the Timeline Editor time slider so that the active frame is Frame 95.

2.

Right-click on the character timeline and select Create Force Event. This
adds a force event to the character timeline, and automatically enters
Selection mode.

3.

Hold down the Ctrl key, and select all the mass objects that form the
pelvis and spine of the character. This updates the Target Objects
property of the force in the Property Editor. To exit Selection mode, rightclick in the viewport or press the Esc key.

4.

Select the force event, and use the Property Editor to sets its Strength
property to 30.0 and its Rotation property to 3.0.

5.

Simulate the scene. You should find that the character transitions from
animation to simulation at Frame 95, and is immediately thrown some
distance by the force. You can change the strength and direction of the
force to generate different responses. You can also change the target
object set of the force. Make sure that the force is applied at the same
frameor within a few framesof the simulation event. Do not set the
force to a frame prior to the simulation event, otherwise the force will
have no effect.

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Importing and modifying animation

To make the character writhe in response to the force:

When you apply a strong force to a character, you may find that it is propelled in
a ragdoll-like manner. That is, the character may appear to have a limp, lifeless
response to the force. Applying some additional behaviours can improve the
quality of the simulation.
1.

Right-click the character track and select Create Behaviour Event.

2.

Set the Name of the behaviour to Writhe.

3.

Set the Start Frame of the behaviour to Frame 95.

4.

Set the End Frame of the behaviour event to Frame 140.

5.

Set the Velocity property of the behaviour to 0.8.

6.

Simulate the scene. You should find the character now writhes as it
moves through the air.

To make the character anticipate the ground:

As the character falls towards the ground, you can add a behaviour to make it
appear that the character is anticipating the collision.
1.

Right-click the character track and select Create Behaviour Event.

2.

Set the Name of the behaviour to Catch Fall.

3.

Set the Start Frame of the behaviour to Frame 140.

4.

Set the End Frame of the behaviour to Frame 166.

5.

Turn off the Predict Ground Height property.

6.

Simulate the scene. You should find the character now reaches out as it
approaches the ground.

NaturalMotion endorphin 87
TUTORIALS

To make the character tuck as it hits the ground:

As the character hits the ground, you can add a behaviour to make the character
tuck into a foetal position. This is a useful way for making characters appear more
lifelike during collisions.
1.

Right-click the character track and select Create Behaviour Event.

2.

Set the Name of the behaviour to Body Foetal.

3.

Set the Start Frame of the behaviour to Frame 166.

4.

Simulate the scene. You should find the character now tucks itself into a
foetal position as it collides with the ground.

Further experiments

Try changing the timings and durations of the various behaviour events.
Each combination of timings will generate new motion.

Try changing the direction of the force event. Even small changes to the
direction can generate entirely different resulting motions.

Conclusion
In this tutorial, you have learned how to import animation, and how to combine
it with dynamic simulations to create more complex motion. You have also
learned about simulation modes, and how to use simulation events to control
the transitions between simulation and animation modes.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 7 Importing And Modifying Animation\Tutorial 7
Importing And Modifying Animation - Complete.ens. This scene is an example of
how your scene should look if you have successfully followed all the steps in this
tutorial.

88

TUTORIAL 8
Blending from animation to simulation

Tutorial 8

Blending from animation to

simulation
In the previous tutorial, you imported animation data and used simulation
events to change the simulation mode from animation to simulation.
In this tutorial, you will use transition events to blend back from simulation
mode to an animation mode. Transition events are similar to simulation events,
except that they have a duration of many frames, rather than a single frame.

Before you begin

Before we begin this tutorial, it is important to understand some key concepts
associated with endorphin simulations and transition events.

Using simulation and transition events

You will typically use simulation events whenever you want to change the mode
from animation to simulation, and transition events whenever you want to
change the mode back to animation.
The reason is that it is easy for endorphin to begin dynamically simulating an
animated character without any discontinuities in its position or motion. In
contrast, blending back from simulation to animation is more difficult to achieve
in a realistic manner. This process requires a transition over a number of frames
in order to guarantee a smooth blend between the characters dynamically
simulated position and momentum, and the position and momentum specified
by the animation data.

NaturalMotion endorphin 89
TUTORIALS

Step 1: Loading the scene

In this step we will open an existing scene that we will use for experimenting
with transition events.

To load the scene:

1.

Launch endorphin.

2.

Select File > Open Scene to browse to select

Resources\Tutorials\Tutorial 8 - Blending from Simulation to
Animation\Car_Hit_Begin.ens.

3.

This scene contains a simulation character, along with a car prop

character that represents a simple vehicle shape. The car prop has been
animated with a few keyframes so that it moves towards the simulation
character. The simulation character has an animation event containing a
run-and-jump cycle.

4.

Simulate the scene. The car prop moves towards the character,
controlled by its keyframes. Between Frame 0 and Frame 48, the
simulation character is driven by its animation event. You can tell that the
character is animated, rather than simulated, by the fact that it is
displayed in the dark grey animation colour. At Frame 48, the character
and car collide, and a simulation event has been added to begin
dynamically simulating the character. The character writhes and tucks as
a result of the Writhe and Body Foetal behaviours that have been added
to it.

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TUTORIAL 8
Blending from animation to simulation

Step 2: Using helper props and constraints

In this step we will explore the scene opened in Step 1 in more detail.

Animating using helper props

If you examine the Timeline Editor, you will note that there are two prop
charactersprop01 and prop02. The car prop itself is prop02. The keyframes
have been applied to prop01, which is a small helper prop connected to the
prop02 via a constraint.
This techniqueanimating a prop character indirectly using a helper prop
connected by a constraintis a useful endorphin modeling technique. If we had
animated the car directly, it would be in an animation mode. It would be able to
collide with other scene objects and transfer momentum to them, but its motion
would be completely unaffected by collisions.
In contrast, by animating a helper prop and constraining the car to this helper,
we can keep the car prop in simulation mode. When the car collides with
objects, it can react to collisions dynamically. For example, it may slightly bounce
or wobble during collisions. You can vary the strength of these secondary
dynamics by varying the strength of the constraint. Usually these effects will be
quite subtle but can add to the realism of a scene.

Using helper constraints to control dynamic motion

If you examine the Timeline Editor, you will note that the simulation character
has a constraint that applies between Frames 48 and 117. This is the period in
which the simulation character is spinning through the air. The constraint only
locks the rotation of the character about the global X-axis.
We have added this helper constraint to help ensure that as the character spins
through the air, its roll axis stays aligned to the global X-axis. Constraints are
often useful when you want to add some control to what would otherwise be
unconstrained dynamic motion.

Step 3: Importing blend animation

When you simulate the current scene, the character runs at the car, collides with
it and ends up tucked into a ball on the ground behind the car.
In this step, we are going to create another animation event for the simulation
character. We will import animated motion of the character landing from a jump
with a stumble and run. Our goal is to blend from the dynamic simulation into

NaturalMotion endorphin 91
TUTORIALS

this animation. In a later step we will add the transition event to blend from the
simulation into the animation.

To import animated data representing the final blend animation:

1.

Select Character01.

2.

Select File > Import, and browse to select Resources\Tutorials\Tutorial

8 - Blending from Simulation to Animation\Jump With Stumble.fbx.
Click Open.

3.

In the Import Dialog, select the Hips node in the joint hierarchy tree.

4.

Turn off the Create Simulation Events setting.

5.

Turn on the Transfer From Reference Character setting, and browse to

select the Audiomotion2 reference character. Click OK to import this
motion as a new animation event.

To adjust the animation event timing:

1.

Select the new animation event in the Timeline Editor. You may want to
move the animation event marker to a new timeline track.

2.

Set the Event Start Frame to Frame 76.

3.

Set the Event End Frame to Frame 166.

4.

Set the Animation Start Frame to Frame -4.

5.

Set the Animation End Frame to Frame 166.

92

TUTORIAL 8
Blending from animation to simulation

Step 4: Repositioning the blend animation

In this step, we will reposition the animation data so that it will blend smoothly
with simulated motion.
When you imported animation data in the previous step, its position and
orientation were initially based on the data in the FBX file. However, endorphin
also lets you move and rotate animation data directly in the scene itself. This is
very useful for repositioning the animation so that it coincides with the
dynamically simulated motion of the character during the intended transition
frames. It is very important to position animated data correctly to create realistic
blends from simulation to animation.

To adjust the position of the animation event data:

1.

Turn on animation event data visualisation. To do so, select the

animation event. Use the Property Editor to turn on its Visible setting.
You should see a green jointed skeleton displayed in the viewport, along
with a dashed line that indicates the motion path of the animation data
root.

2.

Select the animation event. When you are visualising the animation data,
you can select the green animation data skeleton or motion path as an
alternative to selecting the animation data marker in the Timeline Editor.

3.

Simulate to fill the frame buffer with at least 100 frames.

4.

Move the time slider to Frame 97. This is the frame at which the character
first makes contact with the ground.

5.

Use the Move and Rotate tools to modify the global position and
orientation of the animation. Your goal is to ensure that the animated
character position closely matches the simulated character position.
When you use these tools, you are modifying the Animation Root Offset
property of the animation event.

NaturalMotion endorphin 93
TUTORIALS

If you use the Rotate tool, ensure that you only rotate about the global Yaxis. Do not rotate about the global X-axis or Z-axis, as this will have the
unwanted effect of moving some parts of the animation cycle off the
ground plane.

6.

You should find that the following values for the position and orientation
of the animation root offset work well:

X Orientation: +180.0.

Y Orientation: -51.9.

Z Orientation: +180.0.

X Position: 0.748.

Y Position: 0.0.

Z Position: 0.176.

Step 5: Transitioning into the blend

animation
We have added the blend animation data, and repositioned it so that it will blend
well with the motion of the simulated character. However, at the moment this
blend animation is not yet used by the simulation character.
In this step, we will add a transition event to the simulation character timeline.
This event will change the simulation mode of this character back from
simulation to animation over a range of frames.

94

TUTORIAL 8
Blending from animation to simulation

To add a transition event to the character:

1.

Right-click on Character01 in the Timeline Editor and select Create

Transition Event.

2.

Set the Start Frame of the new transition event to Frame 90.

3.

Set the End Frame of the new transition event to Frame 112.

4.

If you examine the Timeline Editor, you will notice that the Character01
timeline track has a gradually strengthening blue colour added to its
background over the duration of the transition event. This is the
animation mode colour, and indicates that the character is driven by
animation data rather than by the dynamic simulation.

5.

Simulate the scene. The dynamic motion of the character now blends
smoothly into the animated motion. If you use the time slider to examine
the transition event in detail, you will notice that during the course of the
transition event, the motion of the character is generated by a
combination of simulated and animated motion.
Initially, the character is entirely driven by simulated motion. Over the
course of the transition event, the animated motion has increasing
influence. By the end of the transition event, the character is entirely
driven by animated data. This transition is reflected by the colour of the
character. During the course of the transition, the character blends
towards the dark grey animated character colour.

Step 6: Introducing active animation events

In this step, we will use an active animation event to improve the quality of the
transition from simulated motion to animated motion.

Active animation events

Until now, we have described animation events as applying only when the
simulation mode is set to one of the animation modes. When characters are
driven by animated data in an animation mode, the data completely drives the
character.
However, this is no longer strictly true. You can now also use animation events to
drive characters when they are in the simulation mode. When you use
animation data in this way, you effectively drive the character using a succession
of active poses. This technique is called active animation.

NaturalMotion endorphin 95
TUTORIALS

Active animation does not affect the global position or orientation of the
character root. Rather, it drives the individual joint orientations of a character.
Active animation acts as a physical input during a dynamic simulation. You can
specify the relative strength of the active animation by modifying the animation
event Strength property.

Using active animation events

You can enhance a blend from animation to simulation using active animation
events. Suppose you have a character driven by dynamic simulation, and at a
particular frame you introduce a transition event blend into an animation event.
By default, you would set the Start Frame of the animation event to match the
Start Frame of the transition event.
To use the active animation technique, you would move the Start Frame of the
animation event back a number of frames, and turn on its Active setting. For
example, if a character has a transition event between Frames 100 and 125, and
an animation between Frames 80 to 300, the character will effectively have four
simulation ranges:

Before Frame 80, the character is dynamically simulated.

Between Frames 80 and 100, the character is dynamically simulated,

with the animation event driving joint orientations dynamically.

Between Frames 100 and 125, the character is blended between its
simulated motion and the animation event.

Between Frames 125 and 300, the character is driven entirely by the
animation event.

To improve the transition by using active animation:

1.

Select the animation event.

2.

Turn on its Active property.

3.

Set the Strength property to 0.8.

4.

Set the Blend Period property to 0.15.

5.

Simulate the scene. You should find that between Frame 76 and Frame
90, the animation event drives the character actively. That is, the
character is still dynamically simulated, but its joints are influenced by the
Jump With Stumble animation event. The active animation helps make
the subsequent transition event between Frames 90 and 112 even
smoother and more realistic.

96

TUTORIAL 8
Blending from animation to simulation

Step 7: Experimenting with different blend

animation
In this step, we will experiment with different scene variations by importing more
animation data to create additional animation events. We will use the same
transition event to blend to different animation events, in order to explore
different scenarios.

To import more animation data:

1.

Select Character01 using the Timeline Editor.

2.

Select File > Import, and browse to select the

Resources\Tutorials\Tutorial 8 - Blending from Simulation to
Animation\ Jump Off Box.fbx. Click Open.

3.

In the Import Options dialog, select the Hips node from the node tree
hierarchy.

4.

Turn off the Create Simulation Events setting.

5.

Turn on the Transfer From Reference Character setting, and browse to

select the Audiomotion2_ref reference character. In required, you will
need to browse to the Resources\Characters\Custom folder in order to
locate the AudioMotion2_ref character. Click OK.

To adjust the animation event timing:

1.

Select the new animation event in the Timeline Editor. You may want to
move the animation event marker to a new timeline track.

NaturalMotion endorphin 97
TUTORIALS

2.

Set the Event Start Frame to Frame 77.

3.

Set the Event End Frame to Frame 213.

4.

Set the Animation Start Frame to Frame -9.

5.

Set the Animation End Frame to Frame 213.

To adjust the position of the animation event data:

1.

Simulate for at least 100 frames, and then use the time slider to set the
active frame to Frame 97.

2.

Turn on the Visible setting in the Property Editor.

3.

Use the Move and Rotate tools to adjust the position and orientation of
the animation data so that it coincides with the position of the simulated
character at Frame 97.

4.

You should find that the following values for the position and orientation
of the animation root offset work well:

X Orientation: +180.0.

Y Orientation: -87.2.

Z Orientation: +180.0.

X Position: 0.882.

Y Position: 0.0.

98

TUTORIAL 8
Blending from animation to simulation

Z Position: 0.093.

To improve the transition by using active animation:

1.

Select the animation event.

2.

Turn on its Active property.

3.

Set the Strength property to 0.8.

4.

Set the Blend Period property to 0.15.

5.

Right-click the Jump With Stumble animation event and select Disable
Event.

6.

Simulate the scene. You should find that the character motion now
blends into the Jump Off Box animation.

7.

Now that you have created two animation events, and positioned them
both correctly, you can easily toggle between them by enabling one of
the events, and disabling the other event. In a similar manner, to can
import more animation to create more animation events for a given
character; simply ensure that only one of the animation events is enabled
at any one time.

Timeline priority
Each character has a number of timeline tracks. The topmost track has the
highest priority, followed by the next track and so on, down to the bottom track.
For any given frame, the animation event with the highest priority is used, and
any other animation event at the same frame is ignored. This means that if you
are experimenting with different animation events, you can modify their
respective priorities as an alternative to enabling and disabling them. That is, if
you want to use a particular animation event, move it so that it has the highest
priority of any of its animation events.

NaturalMotion endorphin 99
TUTORIALS

Conclusion
In this tutorial you have imported animation data to create animation events,
and visualised this data in the viewport. You have moved and rotated this
animated data to obtain a good blend between simulation and animation, and
then used transition events to actually generate the transition.
You have also experimented with active animation events to further improve
your blends. Finally, you have experimented with different animation events in
the same scene.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 8 Blending From Simulation To
Animation\Tutorial 8 Blending From Simulation To Animation Complete.ens. This scene is an example of how your scene should look if you
have successfully followed all the steps in this tutorial.

100 TUTORIAL 9
Using multiple characters

Tutorial 9

Using multiple characters

In this tutorial, you will create a scene with multiple simulation characters.
Each simulation character has its own set of force, constraint, sever, active pose,
behaviour and animation events. By blending animation with simulation in a
scene with multiple characters, you can generate more complex interactions
such as tackles.

Step 1: Preparing a new scene with animation

In this step, we will create a new scene and populate it with the AudioMotion2
simulation character. We will then import animation data onto this character.
This animation will contain a sidekick motion.

To prepare the scene:

1.

Launch endorphin, and delete the default character.

2.

Select Character > Add Character, and browse to the

Resources\Tutorials\Tutorial 9 - Using Multiple Characters folder.
Select the AudioMotion2 simulation character and click OK.

3.

Select the new character in the Timeline Editor.

4.

Select File > Import, and browse to select the

Resources\Tutorials\Tutorial 9 - Using Multiple Characters\Martial
Idle To Side Kick.fbx file. Click Open.

5.

In the Import Options dialog, select the Hips node from the node
hierarchy tree.

6.

Turn on the Transfer From Reference Character setting, and browse to

select the AudioMotion2 reference character. Do not modify any other
import setting. Click OK.

7.

Simulate the scene. The character will be driven by animation data, and
will be displayed in the dark grey animated mode colour.

NaturalMotion endorphin 101

TUTORIALS

Step 2: Adding momentum transfer

In this step, we will change the simulation mode property of the initial
simulation event.
By default, the initial simulation event created when you import animation data
will be set to the No Simulation mode. In this mode, the character cannot affect
any other character in the scene. However, in this scene we would like an
animated character to kick a simulated character. This requires transferring
momentum from the kicking character to the other character. To do so, we need
to change the simulation mode of the kicking character to Collision With
Momentum.

To allow momentum transfer:

1.

Select the initial simulation event . This is the event at Frame 0.

2.

Using the Property Editor, set the Simulation Mode property to Collision
With Momentum.

102 TUTORIAL 9
Using multiple characters

Step 3: Adding another character to the

scene
In this step, we will add a second character to the scenean instance of the
AudioMotion1 simulation character. We will then import animation data onto
this character. This animation will contain a run cycle.

To add another character to the scene:

1.

Select Character > Add Character, and select the AudioMotion1

simulation character.

2.

Select the AudioMotion1 character in the Timeline Editor.

3.

Select File > Import, and browse to select the AM_Run.fbx file.

4.

Select the Hips node in the node hierarchy tree.

5.

Turn on Transfer From Reference Character setting, and browse to

select the AudioMotion1 reference character. Do not modify any other
import setting. Click OK. The animation data is imported as a new
animation event on the AudioMotion1 timeline. This animation drives
the AudioMotion1 character in a run cycle.

NaturalMotion endorphin 103

TUTORIALS

To adjust the position of the animation event data:

1.

Select the AM_Run animation event in AudioMotion1 character

timeline.

2.

Using the Property Editor, modify the following Animation Root Offset
properties:

3.

Y Orientation: +180.0.

X Position: -0.068.

Z Position: +3.869.

Simulate the scene again. The AudioMotion1 character should now run
directly at the AudioMotion2 character. However, the two characters will
pass through each other. This is because neither character is in the
simulation mode.

104 TUTORIAL 9
Using multiple characters

Step 4: Simulating a dynamic kick

In this step, we will simulate the running character a few frames before it collides
with the kicking character.
At the moment of collision, the running character will be simulated, but the
kicking character will be animated. However, the kicking character will be in
Collision With Momentum mode, which means the kick will affect the physical
dynamics of the running character.

To simulate a dynamic kick:

1.

Select the second simulation event on the AudioMotion1 character

timeline. This is the simulation event at the end of the animation event.

2.

Set the Frame property of this event to Frame 96. This frame is a few
frames before the impact between the two characters.

3.

Simulate the scene. The running character will now receive the full
impact of the kick.

To improve the kick response:

When simulation characters are hit by impact forces, it is important that their
response appears lifelike. You should avoid limp, ragdoll responses. A good way
to improve dynamic motion is to use behaviours.
1.

Right-click on the AudioMotion1 character timeline, and select Create

Behaviour Event.

2.

Set the Name of this behaviour to Writhe.

3.

Set the Start Frame of this behaviour to Frame 98.

4.

Set the End Frame of this behaviour to Frame 126.

5.

Right-click on the AudioMotion1 character timeline, and select Create

Behaviour Event.

6.

Set the Name of this behaviour to Catch Fall.

7.

Set the Start Frame of this behaviour to Frame 126.

8.

Set the End Frame of this behaviour to Frame 250.

9.

Simulate the scene. The running character now writhes as it falls

backward, and then reaches out to protect itself as it falls towards the
ground.

NaturalMotion endorphin 105

TUTORIALS

Further experiments

Try adjusting the position of the run cycle animation event to generate
different types of collision.

Try changing the Momentum Transfer Factor property of the simulation

event. You can reduce this factor to soften the impact of the kick.

Try changing the behaviour timing to change the way the running
character responds to the kick.

Conclusion
You have created a scene using multiple characters, and used the momentum
transfer technique to affect the motion of a simulated character using an
animated character.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 9 - Using Multiple Characters\Tutorial 9
Multiple Characters - Complete.ens. This scene is an example of how your
scene should look if you have successfully followed all the steps in this tutorial.

106 TUTORIAL 10
Active posing

Tutorial 10

Active posing
In the previous tutorials, you have used a range of different event types to
influence dynamic motion. In particular, you have used forces, constraints,
behaviours and sever events, as well as active animation events.
In this tutorial, you will work with another event typeactive pose events.
Active poses are conceptually similar to keyfames in a traditional animation
system. An active pose represents a desired or intended character pose that
influences the characters joints over a range of frames.
Depending on the duration and strength of the active pose, it may have a subtle
effect or a more pronounced effect on the simulation. Keep in mind that active
poses are one of many influences on the characters dynamic motion.

Step 1: Loading the scene

In this step, we will load a scene that is composed of a simulation character
connected to gymnastic rings via a constraint. The simulation character
represents a gymnast and has a more developed physique than the standard
simulation character.

To load the scene:

1.

Launch endorphin.

2.

Select File > Open Scene, and browse to select

Resources\Tutorials\Tutorial 10 - Active Posing\ Tutorial 10 - Active
Posing - Begin.ens. Click Open.

3.

Simulate the scene. This scene is composed of a single simulation

character connected to gymnastic rings via a constraint. Initially, the
character will simply hang off the rings in a lifeless manner.

NaturalMotion endorphin 107

TUTORIALS

Step 2: Adding an active pose

In this step, we will add an active pose to the character timeline. This pose will
drive the relative joint motion of the simulation character.
This scene is a relatively contrived example in which all the character motion is
generated via active poses. In most scenes, active poses are used to influence
character motion in more subtle ways.

To add an active pose:

1.

Right-click on the Gymnast timeline track in the Timeline Editor and

select Create Active Pose Event.

You will be placed in Editing Active Pose mode. Whenever you

create or select an active pose event, endorphin will
automatically place you in Editing Active Pose mode, with the
Pose Move tool activated.

In this mode, the character is displayed in the corresponding

active pose for this event. You can use the Pose Move or Pose
Rotate tools to edit the active pose. Alternatively, you can
import an endorphin .nma pose file to set the active pose.

Active poses only affect individual joint orientations. An active

pose does not affect the overall position or orientation of the
character itself. You should not use the Move or Rotate tools to
move or rotate the active pose, as these have no effect on the
relative pose.

To exit Editing Active Pose mode, press the Esc key.

2.

Exit Editing Active Pose mode.

3.

Set the Start Frame of the active pose to Frame 0.

4.

Set the End Frame of the active pose to Frame 39.

5.

Right-click on the active pose event marker, and select Load Pose.

6.

Browse to select the file Resources\Tutorials\Tutorial 10 - Active

Posing\Pose 1.nma. You should see the active pose in the viewport
update to reflect the pose stored in the Pose1.nma pose file.

7.

Set the Strength property of this active pose to 4.0. The strength of an
active pose defines the relative influence of the active pose on the
simulation.

108 TUTORIAL 10
Active posing

8.

Simulate the scene. You should find that the character now moves
towards the active pose, and holds this poses until Frame 39. At Frame 39,
the influence of the active pose ends and the character relaxes.

Step 3: Adding more active poses

In this step, we will add three more active poses to the character timeline. These
poses will continue drive the relative joint motion of the simulation character.
These active poses create the first half of a gymnastic movement.

To add a second active pose:

Repeat the previous steps to add another active pose event to the Gymnast
character timeline:
1.

Load an active pose using the Pose 2.nma pose file.

2.

Set the Start Frame to Frame 39 and the End Frame to Frame 69.

3.

Set the Strength property to 6.0, and the Blend Period property to 0.25.
The blend period specifies the relative rate at which the character
assumes the pose.

To add a third active pose:

Repeat the previous steps to add another active pose event to the Gymnast
character timeline:
1.

Load an active pose using the Pose 3.nma pose file.

2.

Set the Start Frame to Frame 69 and the End Frame to Frame 113.

3.

Set the Strength property to 10.0, and the Blend Period property to 0.4.

NaturalMotion endorphin 109

TUTORIALS

To add a fourth active pose:

Repeat the previous steps to add another active pose event to the Gymnast
character timeline:
1.

Load an active pose using the Pose 4.nma pose file.

2.

Set the Start Frame to Frame 113 and the End Frame to Frame 264.

3.

Set the Strength property to 10.0, and the Blend Period property to 0.4.

4.

Simulate the scene. The effect of the four active poses is to move the
gymnasts legs up, leading to a swing that reorients the character upsidedown. The character maintains this pose until Frame 264.
Keep in mind that all the characters motion has been generated by a
combination of active poses, and the effect of those active poses on the
characters dynamics. This is a good example of how a dynamic system
like endorphin differs from a traditional keyframe animation system.
Similarly, all the motion in the ropes is secondary motion caused by the
motion of the gymnast. This realistic motion is an additional benefit of
using a dynamics-based system.

Further experiments

Try changing the Strength, Blend Period, Start Frame and End Frame
properties of the four active poses. Each combination will effect the
overall motion of the gymnast.

Try using the Pose Move and Pose Rotate tools to edit the individual
active poses themselves.

110 TUTORIAL 10
Active posing

Step 4: Completing the gymnastic movement

In this optional step, we will add four more active poses to the character
timeline. These poses will continue drive the relative joint motion of the
simulation character to complete the motion that was started in the previous
steps.

To add a fifth active pose:

Repeat the previous steps to add another active pose event to the Gymnast
character timeline:
1.

Load an active pose using the Pose 5.nma pose file.

2.

Set the Start Frame to Frame 264 and the End Frame to Frame 320.

3.

Set the Strength property to 12.0, and the Blend Period property to 0.8.

To add a sixth active pose:

Repeat the previous steps to add another active pose event to the Gymnast
character timeline:
1.

Load an active pose using the Pose 6.nma pose file.

2.

Set the Start Frame to Frame 320 and the End Frame to Frame 354.

3.

Set the Strength property to 6.0, and the Blend Period property to 0.3.

To add a seventh active pose:

Repeat the previous steps to add another active pose event to the Gymnast
character timeline:
1.

Load an active pose using the Pose 7.nma pose file.

2.

Set the Start Frame to Frame 354 and the End Frame to Frame 385.

3.

Set the Strength property to 5.0, and the Blend Period property to 0.4.

To add an eighth active pose:

Repeat the previous steps to add another active pose event to the Gymnast
character timeline:
1.

Load an active pose using the Pose 8.nma pose file.

2.

Set the Start Frame to Frame 385 and the End Frame to Frame 600.

3.

Set the Strength property to 5.0, and the Blend Period property to 0.4.

NaturalMotion endorphin 111

TUTORIALS

4.

Simulate the scene. The effect of these four new active poses is to
complete the overall gymnastic motion.

Further experiments

Try changing the Strength, Blend Period, Start Frame and End Frame
properties of the four active poses. Each combination will effect the
overall motion of the gymnast. Also, try using the Pose Move and Pose
Rotate tools to edit the individual active poses themselves.

The Left Rope and Right Rope prop characters also have active poses
applied to them. Unlike the active poses applied to the Gymnast
character, the active poses on the prop characters are used to slightly
stiffen these articulated objects. Try changing the Strength property of
these stiffening active poses to make the ropes stiffer or more flexible.

Conclusion
You have used active poses to influence the motion of a simulated character,
and experimented with different active pose strength and blend periods.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 10 Active Posing\Tutorial 10 Active Posing Complete.ens. This scene is an example of how your scene should look if you
have successfully followed all the steps in this tutorial.

112 TUTORIAL 11
Creating characters (advanced)

Tutorial 11

Creating characters (advanced)

In this tutorial, you will explore the more advanced features of creating your own
custom characters in endorphin. You should complete Tutorial 05 - Creating
characters before working on this tutorial.
In particular, you will learn how to reshape your character to match an external
mesh so that your character will interact with itself and the environment
correctly.

Step 1: Creating new characters

In this step, we will create a simulation-reference character pair in endorphin
using Character Edit Mode. The reference character will be based on the skeleton
contained in an FBX file.
This step is similar to Step 1 of Tutorial 5. See that step for more detail.

To create a new simulation-reference character pair:

1.

Launch endorphin.

2.

Select File > New Character. This displays the New Character dialog.

3.

In the Create Character Using group, ensure that Standard Simulation

Character is selected.

4.

Turn on the Create Reference Character Using setting, and click the
Browse button to select the file Resources\Tutorials\Tutorial 11
Creating Characters (Advanced)\MyCharacter.fbx. Click OK.

5.

In the Import Options dialog appears, select the root node from the
node hierarchy, and click OK.

6.

The new character pair is displayed in Character Edit Mode.

NaturalMotion endorphin 113

TUTORIALS

Step 2: Adjusting the root position

In this step, we will be reshaping the simulation character to match the
corresponding reference character. This involves using the Move tool to snap
simulation character joints to reference character joints. The first step is to ensure
that the root joint position of the simulation character exactly coincides with the
root joint position of its reference.
This step is similar to Step 2 of Tutorial 5. See that step for more detail.

To match the root position of the simulation and reference

characters:
1.

Right-click in the viewport and select Skeletal View.

2.

Zoom in on the hips of the two characters.

3.

Activate the Move tool and select the root joint of the simulation
character.

4.

Snap the root joint of the simulation character with the corresponding
root joint of the reference character. When you are snapping joints using
the Move tool, ensure that you are using the purple square manipulator
of the Move tool. If you use the axial or planar manipulators of the Move
tool, joint snapping will not occur.

5.

Select the LowerSpineJoint of the simulation character, and snap it to

the Spine1 joint of the reference character. Working up the spine, snap
all the other joints into place, all the way up to the head.
When you snap joints together, they become locked together. When a
joint is locked, its position is not affected when you move or rotate other

114 TUTORIAL 11
Creating characters (advanced)

joints. For example, if you lock the shoulder and wrist joints, you can
move and rotate the elbow joint without disrupting the snapped
positions of the elbow or wrist. Of course, you can always use the Move
tool to directly move the elbow and wrist joints, which then unlocks
these joints.

Step 3: Reshaping the joint hierarchy

In this step, we will continue the process of reshaping the simulation character
to match its corresponding reference. Starting at the simulation character root
joint, and moving outwards in the direction of its extremities, we need to adjust
the length and orientation of each joint in the simulation character to match the
corresponding joint of the reference character.
This step is similar to Step 3 of Tutorial 5. See that step for more detail.

To reshape the joints of the simulation character:

1.

Select LeftClavicleJoint of the simulation character and snap it to the

corresponding joint of the reference character.

2.

If you inspect the LeftFingersJoint of the simulation character, you will

notice a helix that indicates this is a Hinge Joint. Most other simulation
character joints are Skeletal (ball-and-socket) joints.
The joint represents the simulation characters knuckles. Ideally, this joint
should be aligned so that it is horizontal when the arms are outstretched
in a T-pose. With the LeftClavicleJoint still selected, rotate it about the X
axis using the red circle manipulator. Rotate it such that the knuckles are

NaturalMotion endorphin 115

TUTORIALS

horizontal again. This is a clockwise rotation, when looking down the

left arm from the head to the hand.

3.

With the LeftClavicleJoint in place, snap the LeftShoulderJoint and

LeftElbowJoint into place.

4.

With the LeftElbowJoint still selected, rotate it about the Y axis so that
the LeftForeArmTwist joint is aligned with the forearm of the reference
character.

5.

Bypass the LeftForeArmTwist joint, and snap the wrist and finger joints
into place.

6.

Click the Mirror Left to Right button in the Main Toolbar. This mirrors the
changes you have made from the left arm to the right arm.

116 TUTORIAL 11
Creating characters (advanced)

7.

Select the LeftHipJoint of the simulation character, and snap it into

place.

8.

Continue working down the joints of the left leg until you reach the
LeftAnkleJoint. Snap this joint to the ankle of the reference skeleton.

9.

Select the LeftMidFootJoint and move it until it is roughly halfway along

the foot joint in the XZ plane and vertically above the toe joint in the Y
axis.

10. Snap the LeftToesJoint and the LeftToesEndJoint into place.

11. Click the Mirror Left to Right button in the Main Toolbar. This mirrors the
changes you have made from the left leg to the right leg.

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12. Select File > Save Character. Save the character pair as MyCharacter01.
The viewport label will update to display this new character name.

Step 4: Displaying joint limits

In this step, we will display some of the joint limits of the simulation character.
Each joint in an endorphin character has a corresponding joint limit, which
defines its allowable range of movement. The default joint limits of the Standard
Simulation Character are set for a standard adult human, and often will not need
to be adjusted. To avoid cluttering the viewports, all joint limits are hidden by
default. You can show and hide joint limits by using the Node View.
After you have reshaped a simulation character to match its reference character,
it is good practice to review the joint limits to ensure that all the reshaped joints
are correctly aligned. In the following example, we will examine the joint limits of
the shoulders.

To display the shoulder joint limits:

1.

Ensure that the simulation character is active. If the reference character is

active, click the Activate Simulation Character button in the Main
Toolbar. The viewport label should display Simulation Character MyCharacter01.

2.

Ensure that the Node View is visible. If it is not visible, select View >
Node View to display the Node View. The keyboard shortcut is N.

3.

Select the LeftClavicleJoint.

4.

In the Node View, click the joint limit icons next to the
LeftClavicleJointLimit and LeftClavicleJointLimitOffset nodes. This
displays the corresponding joint limit graphics in the viewport. The

118 TUTORIAL 11
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corresponding icons in the viewport will be drawn solidlyrather than

partially transparentlywhen the joint limits are shown in the viewport.

Swing and twist limits

Skeletal joint limits are displayed using separate swing and twist limit graphics.
Hinge joints are displayed with twist limit graphics only.
The swing limit is displayed as a blue cone that runs along the direction of the
bone, and indicates the allowable swing range of the joint in the two directions
perpendicular to the bone. The twist limit is a blue arc that sits in a plane
perpendicular to the bone, and indicates the allowable twist range of the joint.
Swing limits and twist limits each have a hard limit and a soft limit. The hard
limit is drawn in blue, and the soft limit is drawn in white. Joints can move freely
inside their soft limits, and cannot move at all past their hard limits. Joints can
move between the soft and hard limits, but with increasing resistance.
Each limit also has a yellow offset indicator. A joint limit offset indicates the
current position of the joint with respect to its joint limits.
Note When you are editing characters in Character Edit Mode, it is possible to
reorient joint limits so that their offsets lie outside their valid joint limit range. It
is important to ensure this is corrected before using the character in a
simulation. Otherwise, you will notice the character popping during a
simulationits joints will rapidly rotate back into their allowable ranges during
the first few frames of simulation.

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Step 5: Adjusting the shoulder joint limits

In this step, we will adjust the shoulder joint limits of the simulation character.

To adjust the shoulder joint limits:

1.

Display the LeftClavicleJoint limit (see Step 4 for more detail).

2.

Experiment with the joint limit by adjusting some of the swing and twist
limit values and orientations using the Property Editor. Each time you
change a joint limit value in the Property Editor, you will see an update in
the corresponding joint limit graphic in the viewport. Do not save these
changes.

3.

Discard these changes by reopening the character file without saving the
changes.

4.

Select the LeftClavicleJoint limit in the viewport. It will be displayed

using the orange highlight colour.

5.

Select the Rotate tool.

6.

Toggle the tool coordinate system so that you are rotating in local
coordinates. To do so, select Edit > Toggle Coordinate System. The
keyboard shortcut is X.

7.

Rotate the joint limit so that the joint limit swing offset is located within
the joint swing limit. Ideally, the swing limit cone should be relatively
high in relation to the offset. That is, we want the shoulders to be able to
move up more than they can move downwhich reflects typical human
anatomy. The precise location of the offset relative to the limit depends
on the freedom of movement you want to specify for the character.

8.

Select Character > Mirror Left To Right, or click the Mirror Left To Right
button in the Main Toolbar, to mirror the changes in the left shoulder
joint limit across to the right shoulder joint limit.

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9.

In the Node View, hide the joint limit graphics. The easiest way to do this
is to right-click on the character node and select Hide Type > Joint
Limits.

10. Select File > Save Character, or click the Save button in the Main
Toolbar, to save the character. The keyboard shortcut is Ctrl+S.

Step 6: Importing a skin mesh

In this step, we will import an OBJ file that represents the surface meshalso
called the skin meshof your reference character. This mesh will be contained as
a helper graphical object, which is displayed in the viewport. Helper graphical
objects are very useful when you need to accurately reshape the mass and
collision objects of a simulation character to match the shape and size of your
own character.

To import a helper skin mesh:

1.

Right-click in the viewport and select Shaded View. This will display both
the simulation and reference characters in shaded, rather than skeletal,
mode.

2.

Select the reference character by clicking the Activate Reference

Character button in the Main Toolbar, or by right-clicking in the viewport
and selecting Select Reference Character.

3.

Select File > Import or click the Import button in the Main Toolbar to
import a file. The keyboard shortcut is I.

4.

Browse to select the file MyCharacter.obj.

5.

In the Import Options dialog, leave all the settings as default and click
OK. A new graphical object is created belonging to the reference
character.

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6.

In the Node View, right-click the reference character and select Hide All.
Then, right-click on the MyCharacter graphical object in the Node View
and select Show. The reference character will be hidden, except for its
graphical object representing its skin mesh.

7.

Activate the simulation character. This will deselect the graphical object.
The graphical object will no longer be selectable in the viewport, because
it belongs to the inactive reference character. However, you can still
select the graphical object using the Node View.

Step 7: Reshaping the mass objects

In this step, we will adjust the mass objects of the simulation character by
changing their size, position and orientation. This is often called reshaping the
mass objects.
Each joint in a character (other than the end joints) has a corresponding mass
object. You cannot add or remove mass objects, but you can reposition them
relative to the joint. You can also resize them and change their density. The goal
is to obtain a mass distribution in the simulation character that best reflects the
real mass distribution of your own character. Keep in mind that mass objects are
not involved with collisions.

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To reshape the mass objects:

1.

Right-click in the viewport and turn off Collision Objects. This will hide all
collision objects in the viewport. Also, right-click in the viewport and
select Joints and Bones. This will display joints, which is useful when
positioning mass objects.

2.

Select the PelvisMass mass object.

3.

Use the Move tool to move this mass object to a more central position
inside the hip region of the skin mesh. Keep in mind that when you are
positioning a mass object, you are positioning it with respect to its parent
joint.

4.

Use the Scale tool to adjust the size of this mass object so that it fits the
hip region of the skin mesh. Keep in mind that mass objects are often
heavier than you might think. Mass objects are completely solid objects,
and their overall mass is defined by their size, shape and density. In
general, you should not make mass objects too big. The Standard
Simulation Character has been designed so that the mass distribution
reflects the typical adult male human.

5.

Continue reshaping mass objects along the spine joints. The

UpperSpineMass mass object will also need rotating.

6.

Continue reshaping mass objects throughout the left-hand side of the

character. When you are reshaping the HeadMass mass object, you will
need to hide the HeadGraphic graphical object in order to view the mass
object that is hidden inside it. Right-click on the HeadGraphic graphical
object in the Node View and select Hide.

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7.

Select the spherical HeadMass mass object and use the Move tool to
position it correctly at the centre of the skin mesh head region.

8.

Continue reshaping the mass objects in the left arm and left leg. When
you are reshaping mass objects in the hands and feet, do not make them
too small. Very small mass objects may be ignored by the simulation.

9.

Finally, select Character > Mirror Left To Right, or click the Mirror Left
To Right button in the Main Toolbar to mirror the reshaped mass objects
to the right-hand side of the character.

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Step 8: Reshaping the collision objects

In this step, we will adjust the collision objects of the simulation character by
changing their size, position and orientation. This is often called reshaping the
collision objects.
Each mass object in a character has zero or more corresponding collision objects.
You can add and remove collision objects, and you can also reposition them
relative to their parent mass objects. You can also resize them and change their
material types. The goal is to obtain a collision surface in the simulation character
that best reflects the real skin mesh shape of your own character.

To reshape the collision objects:

1.

Right-click in the viewport and turn on Collision Objects. Also, turn off
Joints and Bones.

2.

Zoom in to view the lower left leg.

3.

Select the LeftLowerLegCollision object and use the Move and Scale
tools to reposition and resize this object so that it matches the shape of
calf region of the mesh. The collision object should not protrude outside
the mesh, but fit as closely inside as possible.
Note We are modeling a complex surface using relatively simple
volumes such as sphyls, so there will not be a complete match between
the mesh surface and your own collision surfaces. Using more collision
objects will result in a more accurate representation of the skin mesh, but
at the expense of slower simulation times.

4.

You can also create additional collision objects. Select the

LeftLowerLegMass object and select Character > Create Sphyl
Collision Object, or click the Create Sphyl Collision Object button in
the Main Toolbar. This will create a new sphyl collision object as a child of

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the selected mass object. Adjust the size, position and orientation of this
new collision object so that it fills the lower knee area of the left leg.
5.

By default, new collision objects will have their Collides With Parent,
Collides With Siblings and Collides With Ancestors settings all turned
on. You will need to turn these settings off where appropriate, in order to
allow for any required movement. To modify these settings, select the
collision object and use the Property Editor to make these changes.

6.

Continue reshaping collision objects throughout the left-hand side if the

character.

7.

Finally, select Character > Mirror Left To Right, or click the Mirror Left
To Right button in the Main Toolbar to mirror the reshaped collision
objects to the right-hand side of the character. This command will also
create or delete collision objects on the right-hand side of the character,
to match the collision objects on the left-hand side of the character.

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Conclusion
In this tutorial, you have learned more about using Character Edit Mode to create
characters. You have learned how to display and edit joint limits, and how to use
imported mesh objects as guides when reshaping mass objects and collision
objects.

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Tutorial 12

Using motion transfer

In this tutorial, you will learn more about using motion transfer to map
animation data from your original reference character onto a reshaped
simulation character.
The most common use of motion transfer is during data import and export. The
Import Options and Export Options dialogs allow you to specify a reference
character for use as an intermediary when you are importing or exporting
animated data.
You can also use motion transfer within a simulation itself, in the form of Motion
Transfer events. These allow you to drive the motion of a simulation character
using a combination of animation data and endorphin events such as behaviours
and active poses.
This tutorial covers the motion transfer events, and introduces you to the
concept of rig nodes. Rig nodes allow you to specify the degree to which motion
is transferred for each mass object.

Step 1: Adding a character pair to a scene

In this step, we will create a new scene, and add a simulation-reference character
pair to the scene.

To add a simulation-reference character pair to a scene:

1.

Launch endorphin and delete the default character.

2.

Select Character > Add Character or click the Add Character button
in the Main Toolbar to display the Add Character dialog.

3.

Click the Browse button and select the folder

Resources\Tutorials\Tutorial 12 - Using Motion Transfer. Click OK. This
updates the working folder for characters.

4.

The character list will be updated to reflect the characters found in the
working folder. Select the AudioMotion1 character from the list. Turn on
the Include Reference Character setting and click OK. Two characters

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will be added to the scenethe AudioMotion1 simulation character, and

the AudioMotion1 reference character. The simulation character is the
same shape and size as the reference character.
5.

New characters are added at the origin of the scene, which means the
AudioMotion1 simulation and reference characters are now
superimposed. Select the AudioMotion1_ref reference character and
move it 2 metres along the X axis. Select the AudioMotion1 simulation
character and move it 2 metres along the X axis in the other direction.

Step 2: Importing animation onto the

reference character
In this step, we will import animation data directly onto the reference character
in a scene. You do not need to turn on the Transfer From Reference Character
setting. This is because we are importing animation data directly onto its
corresponding reference character. You only need to use Auto Motion Transfer
when you are importing animation data onto simulation characters.

To import animation data onto the reference character:

1.

Select the AudioMotion1_ref reference character.

2.

Select File > Import, or click the Import button on the Main Toolbar.
The keyboard shortcut is I. Select the file Resources\Tutorials\Tutorial
12 - Using Motion Transfer\AM_walk.fbx.

3.

Select the Hips node from the node hierarchy.

4.

Turn on the Include Parent Transforms setting.

5.

Click OK. The animation data is imported as a new animation event on

the AudioMotion1_ref character timeline.

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Step 3: Transferring motion to the simulation

character
In this step, we will add a Motion Transfer event to the simulation character
timeline. This will allow us to transfer the motion imported in Step 2 onto the
simulation character.

To transfer motion to the simulation character:

1.

Right-click on the AudioMotion1 character timeline in the Timeline

Editor, and select Create Motion Transfer Event.

2.

Adjust the Start Frame so that is starts one frame after the animation
event. When an animation event is applied to a character, the first frame it
affects is the next frame along. For example, if an animation event is
applied at frame 200, you will first notice its effect at frame 201. If you
would like a motion transfer event to be applied to the results ofan
animation event, it needs to start at least one frame after the animation
event begins.

3.

Adjust the End Frame to match the end frame of the animation event.

4.

Select the new motion transfer event.

5.

In the Property Editor, locate the [Select] command hotlink adjacent to

the Source Character property. Click this hotlink to enter selection mode,
and select the Audiomotion1_ref reference character in the viewport,
Node View or Timeline Editor. Right-click in the viewport to leave this
selection mode. The AudioMotion1_ref reference character has now been
identified as the motion transfer source.

6.

Simulate the scene. The AudioMotion1_ref reference character is driven

entirely by the animation data contained in its animation event. The
AudioMotion1 simulation character is dynamically driven by the
reference character via the motion transfer event. Keep in mind that the
AudioMotion1 simulation character is simulated during the motion
transfer process. This means you can modify the motion of the simulation
character with other endorphin functionality such as behaviours and
active poses.

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Using motion transfer

Step 4: Controlling motion transfer with

active poses
In this step, we will use active poses to help control the transferred motion on
the target character.
Motion transfer involves driving some of the mass objects in a target character
using the motion of corresponding mass objects in a source character. The mass
objects that are not directly driven are able to move freely, subject to conditions
such as joint limit constraints. Occasionally this can lead to mass objects
wobbling in an undesirable manner. Adding a soft active pose is a useful
technique to help smooth out unwanted artifacts of the motion transfer process.

To control motion transfer with an active pose:

1.

Zoom into the feet of the reference character.

2.

If you examine the feet of the reference character, you will notice that it
has two-bone feet. The toes of the reference character pass through the
ground plane during the walk cycle. You can use camera tracking to
follow the motion of the reference character feet.

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3.

Zoom into the feet of the simulation character.

4.

If you examine the feet of the simulation character, you will notice that it
has three-bone feet. The extra bones are designed to improve foot-roll
motion. The toes of the simulation character do not pass through the
ground plane during the walk cycle. This clean-up happens automatically,
due to the interaction of the collision objects in the feet of the simulation
character.

5.

However, this additional joint has a corresponding mass object which has
no corresponding rig node connection. As a result, this joint rotates freely
during the walk cycle. We are going to add an active pose to the
simulation character to prevent this unwanted toe rotation.

6.

Right-click on the AudioMotion1 simulation character timeline in the

Timeline Editor, and select Create Active Pose Event. Ensure that the
active pose has its Start Frame set to Frame 0, and that its duration
matches the duration of the motion transfer event.
The active pose adds some additional joint stiffness to all the joints in the
simulation character. This joint stiffness does not affect joints driven by

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the motion transfer event. However, it will prevent free rotation on joints
that are not driven by motion transfer.

7.

Simulate the scene again. You should find that the foot now behaves
correctly, with no foot-ground slip, foot-ground penetration or toe
wobble.

Step 5: Working with motion transfer rig

groups
In this step we will create new motion transfer rig groups.

Introducing rig groups and rig nodes

Rig groups are composed of rig nodes. Each rig node has corresponding
positional and angular strengths that specify the degree to which the rig node
can transfer motion from a source mass object to a target mass object.
Until now, we have been using the Standard Motion Transfer rig group. You
will use this rig group for transferring all the motion from a source character to a
target character. It can be useful to create additional custom rig groups when
you want to only partially transfer motion. For example, you might want to use
motion transfer to drive a characters torso and legs, and use a behaviour to drive
the characters arms and head.

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To create a new rig group:

1.

Display the Motion Transfer Editor by selecting View > Motion Transfer
Editor. The keyboard shortcut is M. The Motion Transfer Editor is
automatically displayed when you enter Character Edit Mode.

2.

Select the AudioMotion1 simulation character. The Motion Transfer

Editor displays the settings for this character.

3.

Browse to the Strengths tab. This page displays a list of available rig
groups. You should find that the only rig group is the Standard Motion
Transfer rig group.

4.

Click the Add button to create a new rig group. Name the new rig
group Right Arm Free and click OK.

5.

Select the RightUpperArm and RightHand rig nodes. You can hold
down the Ctrl key to select multiple rig nodes.

6.

Change the rig node mode of the selected rig nodes to NoHold. This frees
the right arm so that it will not be driven by motion transfer.

To use the new rig group with motion transfer:

1.

Select the motion transfer event on the AudioMotion1 simulation

character timeline.

2.

Use the Property Editor to change the Rig Group property of the motion
transfer event to Right Arm Free. When the scene is simulated, the
motion transfer will now use the new rig group that you have created,
and the right arm of the simulation character will not be driven by the
walk cycle.

3.

Simulate the scene. You will notice that the mass objects making up the
right arm of the simulation character are no longer displayed in red. Only
mass objects that are driven by rig nodes are displayed in red during a
motion transfer event.
Also, notice that the right arm of the simulation character attempts to
reach out to its side. This motion is due to the presence of the weak
active pose that was added in Step 4. That active pose was a T-pose, in
which the right arm was placed out to the side of the character. However,
we can change the pose used by this active pose event.

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4.

Select the active pose event in the AudioMotion1 simulation character

timeline.

5.

Right-click on the active pose event and select Load Pose. Browse to
select the Holding Shield.nma pose file. In this pose, the character has its
right arm across its chest, as though it were carrying a shield-like item.

6.

Deselect the active pose event.

7.

Simulate the scene again. The character will now lift its arm towards its
chest and hold it there during the walk cycle. Meanwhile, the legs, torso
and left arm of the simulation character continue to be driven by the
motion transfer event.

8.

Experiment with this scene. For example, try changing the strength of
the active pose event. This will change the degree to which the active
pose affects the motion of the right arm.
Also, try adding a mass object to the scene and attaching it to the right
hand of the simulation character with a JoinBodies constraint. This mass
object represents the mass of the shield carried by the simulation

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TUTORIALS

character. Note how the position of the arm is affected by the mass of this
mass object.

Conclusion
You have used motion transfer events to transfer motion from an animation
event onto a simulation character. You have also created additional motion
transfer rig groups to modify the way motion is transferred. Finally, you have
mixed motion transfer events with active pose events to control the motion of
joints that are not driven by the motion transfer.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 12 Using Motion Transfer\Tutorial 12 Using
Motion Transfer - Complete.ens. This scene is an example of how your scene
should look if you have successfully followed all the steps in this tutorial.

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Tutorial 13

Advanced motion transfer and

prop interaction
In this tutorial, you will reuse existing animation data in new ways by using
motion transfer events in conjunction with other endorphin features, such as
mass objects, constraints and active poses. The ability to rapidly reuse motioncaptured or keyframed animation data is an important aspect of endorphin.
In particular, you will reuse a standard walk cycle animation and modify it so that
the character appears to hold a weapon while walking. You can then adjust the
mass of the weapon and the strength of the characters arms to generate
different effects.

Step 1: Adding a character pair to a scene

In this step, we will create a new scene, and add a simulation-reference character
pair to the scene.

To add a simulation-reference character pair to a scene:

1.

Launch endorphin and delete the default character.

2.

Locate the Unit Mass property in Property Editor, and set its new value to
10.0. This property reflects the characteristic, or typical, mass in the scene.
Increasing this value is useful when you want to add larger masses to the
scene.

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3.

Select Character > Add Character or click the Add Character button
in the Main Toolbar to display the Add Character dialog.

4.

Click the Browse button and select the folder

Resources\Tutorials\Tutorial 13 - Advanced Motion Transfer And
Prop Interaction. Click OK. This updates the working folder for
characters.

5.

The character list will be updated to reflect the characters found in the
working folder. Select the AudioMotion2 character from the list. Turn on
the Include Reference Character setting and click OK. Two characters
will be added to the scenethe AudioMotion2 simulation character, and
the AudioMotion2 reference character. The simulation character is the
same shape and size as the reference character.

6.

New characters are added at the origin of the scene, which means the
AudioMotion2 simulation and reference characters are now
superimposed. Select the AudioMotion2 simulation character and move
it 2 metres along the X axis away from the origin.

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Step 2: Importing animation onto the

reference character
In this step, we will import animation data directly onto the reference character
in a scene. You do not need to turn on the Transfer From Reference Character
setting. This is because we are importing animation data directly onto its
corresponding reference character. You only need to use Auto Motion Transfer
when you are importing animation data onto simulation characters.

To import animation data onto the reference character:

1.

Select the AudioMotion2_ref reference character.

2.

Select File > Import, or click the Import button on the Main Toolbar.
The keyboard shortcut is I. Select the file Resources\Tutorials\Tutorial
13 - Advanced Motion Transfer And Prop Interaction\Walk.fbx.

3.

Select the Hips node from the node hierarchy.

4.

Turn on the Include Parent Transforms setting.

5.

Click OK. The animation data is imported as a new animation event on

the AudioMotion2_ref character timeline.

6.

Simulate the scene. The reference character is driven by the walk

animation. The simulation character collapses, because we are not yet
transferring the walk cycle across to the simulation character.

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Step 3: Transferring motion to the simulation

character
In this step, we will add a Motion Transfer event to the simulation character
timeline. This will allow us to transfer the motion imported in Step 2 onto the
simulation character.

To transfer motion to the simulation character:

1.

Right-click on the AudioMotion2 character timeline in the Timeline

Editor, and select Create Motion Transfer Event. Adjust the Start Frame
so that is starts one frame after the animation event. Adjust the End
Frame to match the end frame of the animation event.

2.

Select the new motion transfer event.

3.

In the Property Editor, locate the [Select] command hotlink adjacent to

the Source Character property. Click this hotlink to enter selection mode,
and select the Audiomotion2_ref reference character in the viewport,
Node View or Timeline Editor. Right-click in the viewport to leave this
selection mode. The AudioMotion1_ref reference character has now been
identified as the motion transfer source.

4.

Right-click on the AudioMotion2 simulation character timeline in the

Timeline Editor, and select Create Active Pose Event. Ensure that the
active pose has its Start Frame set to Frame 0, and that its duration
matches the duration of the motion transfer event. This active pose helps
smooth out the motion of any joints that are not driven by the motion
transfer event.

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Step 4: Preparing the initial pose

In this step, we will adjust the start pose of the simulation character. Instead of
using a T-pose, it will use the pose from the first frame of the animation. This will
avoid the sudden jump that you see between Frame 0 and Frame 1.

To set the initial pose of the simulation character:

1.

Simulate for a short duration, so that at least a few frames of animation

have been stored in the frame buffer, and then stop the simulation.

2.

Move the Time Slider to Frame 2. The AudioMotion2 simulation character

should be in the first frame of the animation.

3.

Select the AudioMotion2 character, and then select Character > Save
Pose.

4.

Save this pose as Start.nma. This creates an endorphin .nma pose file
containing the character pose.

5.

Move the Time Slider to Frame 0.

6.

Ensure that the AudioMotion2 simulation character is still selected.

7.

Select Character > Load Pose, and browse for the Start.nma pose file.
Do not modify any of the Load Pose settings, and click OK.

8.

Simulate the scene. The AudioMotion2 simulation character motion

should now be smooth, with no discontinuities between Frame 0 and
Frame 1.

Step 5: Adding a weapon as a prop character

In this step, we will add a new prop character to the scene. Prop characters are
often used to model weapons, vehicles and other objects that can interact with
simulation characters. In this step, the prop character will represent a rifle.

To add a weapon as a prop character:

1.

Move the Time Slider to Frame 0.

2.

Select Character > Add Character, or click the Add Character button
in the Main Toolbar, to display the Add Character dialog.

3.

Select the Gun Large prop character from the Prop Characters list.

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4.

Use the Move and Rotate tools to reposition the Gun Large character so
that its grip is close to the left hand of the AudioMotion2 simulation
character.

5.

Activate the Pose Move tool.

6.

Right-click on the RightShoulderMass mass object to lock it.

7.

Select the RightHandMass mass object, and use the Pose Move and Pose
Rotate tools to pose the hand so that it is holding the gun.

8.

Unlock the RightShoulderMass, and lock the LeftShoulderMass.

9.

Select the LeftHandMass mass object, and use the Pose Move and Pose
Rotate tools to pose the hand so that it is holding the gun.

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Step 6: Controlling motion transfer with

additional active poses
In this step, we will use an active pose to help control the transferred motion on
the target character.

To control motion transfer with additional active poses:

1.

Right-click on the AudioMotion2 simulation character timeline and

select Create Active Pose Event.

2.

Adjust the Start Frame of the new active pose event so that it starts at
Frame 0. Adjust the End Frame of the new active pose event so that it
matches the end frame of the animation event on the AudioMotion2_ref
character timeline.

3.

Select the new active pose event.

4.

In the Property Editor, set its Strength property to 3.0. This is an increase
on the default active pose strength of 1.0.

5.

Locate the [Select] command hotlink adjacent to the Target Joints

property, and click it. This places endorphin in selection mode, and allows
you to specify the joints affected by the active pose. By default, new
active poses affect every joint in the character, unless you explicitly
modify the Target Joints property.

6.

In the viewport, box-select the top half of the AudioMotion2 simulation

character.

7.

Right-click in the viewport to accept the new set of active pose target
joints.

8.

Select the active pose event created in Step 3.

9.

Modify its Target Joints property by box-selecting the bottom half of the
AudioMotion2 simulation character.

10. By default, the two active poses will be called ActivePose01 and
ActivePose02. You can rename these events by editing their Name
properties in the Property Editor. For example, you might rename these
events ActivePoseLowerBody and ActivePoseUpperBody.
Renaming timeline events can make it easier to quickly read a timeline.
This is particularly for constraint and active pose events, since these
events display their names on their timeline markers.

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Step 7: Working with motion transfer rig

groups
In this step we will create a new motion transfer rig group, so that the new
active pose can control the upper body of the AudioMotion2 simulation
character.

To create a new rig group:

1.

Display the Motion Transfer Editor by selecting View > Motion Transfer
Editor. The keyboard shortcut is M. The Motion Transfer Editor is
automatically displayed when you enter Character Edit Mode.

2.

Select the AudioMotion2 simulation character. The Motion Transfer

Editor displays the settings for this character.

3.

Browse to the Strengths tab. This page displays a list of available rig
groups. You should find that the only rig group is the Standard Motion
Transfer rig group.

4.

Click the Add button to create a new rig group. Name the new rig
group Arms Free and click OK.

5.

Select the RightUpperArm, RightHand, LeftUpperArm and LeftHand

rig nodes. You can hold down the Ctrl key to select multiple rig nodes.

6.

Change the rig node mode of the selected rig nodes to NoHold.

7.

Select the LowerSpine, UpperSpine, Head, RightShoulder and

LeftShoulder rig nodes.

8.

Change the rig node mode of the selected rig nodes to

TranslationAndRotationHold.

9.

Change the rig node strength to 100.0 for all position and angular
strengths.

To use the new rig group with motion transfer:

1.

Select the motion transfer event on the AudioMotion2 simulation

character timeline.

2.

Use the Property Editor to change the Rig Group property of the motion
transfer event to Arms Free.

3.

Simulate the scene. You should find that the lower body of the simulation
character is driven by the motion transfer event, and the upper body of

144 TUTORIAL 13
Advanced motion transfer and prop interaction

the simulation character is driven by the active pose that you applied to
the upper body.

Step 8: Adding constraints between

characters
In this step we will add a constraint between the Gun Large prop character and
the AudioMotion2 simulation character. This is required to simulate the effect of
the character holding the rifle.

To add a constraint to the scene:

1.

Right-click in any of the character timelines, and select Create Constraint

Event. Unlike other event types, it does not matter which timeline track
we use to add the constraint event.

2.

Adjust the Start Frame of the new constraint event so that it starts at
Frame 0. Adjust the End Frame of the new constraint event so that it
matches the end frame of the animation event on the AudioMotion2_ref
character timeline.

3.

Select the new constraint event.

4.

In the Property Editor, set its Type property to JoinBodies.

5.

Locate the [Select] command hotlink adjacent to the Target Objects

property, and click it. This places endorphin in selection mode, and allows
you to specify the mass objects affected by the constraint.

6.

Click on the Gun Large character to select its Prop0 mass object.

7.

Hold down the Ctrl key, and select the LeftHandMass and
RightHandMass mass objects. This adds these mass objects to the list of
target mass objects of the constraint event. Ensure that only these three
mass objects are the only mass objects in the Target Objects list.

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TUTORIALS

8.

Simulate the scene. You should find that the simulation character now
holds the rifle as it walks. You can adjust the strength of the active pose to
change the degree to which its arms are driven by this active pose.

Step 9: Changing the mass of the prop

character
In this step we will modify the density of the mass object contained in the Gun
Large prop character. The simulation character is holding the rifle using the
strength of an active pose. We can simulate the effect of a heavier weapon by
reducing the strength of the active pose, or by increasing the density or size of
the mass object.

146 TUTORIAL 13
Advanced motion transfer and prop interaction

Introducing Edit Character In Scene mode

By default, you cannot edit characters directly in scenes. The usual workflow is to
use Character Edit Mode to create or edit custom characters, and then add
instances of these custom character into your scenes. However, it can be useful
to edit characters directly within scenes themselves. Keep in mind that any
changes you make to a character in a scene are not copied to the character
definition stored in its .nmc file.

To modify the mass of the Gun Large character:

1.

Select the Gun Large prop character.

2.

Select Character > Edit Character In Scene to edit this character

directly in the scene. Alternatively, you can right-click on the character
name in the Timeline Editor and select Edit Character In Scene. When
you are editing a character directly in a scene, its timeline track is
displayed in a bright red colour. In addition, the viewport label displays
the text Editing Character.

3.

Display the Node View, and expand the Gun Large character node
hierarchy. The rifle is made up of a single mass object, Prop0, and a
number of collision objects defining the shape of the rifle.

4.

Select the Prop0 mass object

5.

In the Property Editor, set the Density property of the Prop0 mass object
to 5.0.

6.

To exit Edit Character In Scene mode, hit the Esc key, or right-click on the
character name in the Timeline Editor and select Exit Character Editing.

7.

Simulate the scene again. You should find that the character slumps over
under the weight of the rifle.

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8.

Edit the Gun Large prop character again, and set its Density value to 10.0.

9.

Simulate the scene again. You should find that the character slumps even
more.

10. Experiment with different mass object densities. Also experiment with
different active pose strengths. Finally, experiment with different motion
transfer rig node strengths.

Conclusion
You have used motion transfer events in conjunction with active poses and
constraints in order to repurpose a basic walk cycle. You have also learned about
Edit Character In Place mode.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 13 Advanced Motion Transfer And Prop
Interaction\Tutorial 13 Advanced Motion Transfer And Prop Interaction Complete.ens. This scene is an example of how your scene should look if you
have successfully followed all the steps in this tutorial.

148 TUTORIAL 14
Active animation and motion transfer

Tutorial 14

Active animation and motion

transfer
In this tutorial, we will use animation events in a special new modeActive
Animation mode. In this mode, we can effectively use the data in an animation
event dynamically as a sequence of active poses.
Active animation events and motion transfer events are broadly similar, in the
sense that a dynamically simulated character is driven (and least in part) by
animation data.
However, active animation events and motion transfer events differ in a number
of ways. The most important difference is that active animation events drive
simulated characters locally via their joints. They cannot drive the global
position or orientation of characters themselves. In contrast, motion transfer
events drive simulated characters globally via their mass objects.
In addition, motion transfer events offer the ability to specify individual rig node
positional and angular strengths, whereas active animation events have a single
Strength setting that affects all its target joints equally.
In this example scene, an animated sword swipe will be used to drive both a
motion transfer event, as well as an active animation event.

Step 1: Loading the scene

In this step, we will load a scene that contains a reference character with an
animation event preloaded.

To load the scene:

1.

Launch endorphin.

2.

Select File > Open Scene, and browse to select

Resources\Tutorials\Tutorial 14 - Active Animation And Motion
Transfer\SwordPlay_Begin.ens. Click Open.

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3.

Simulate the scene. This scene is composed of a single AudioMotion1

reference character driven by an animation event of a sword swipe.

Step 2: Driving a simulation character using

motion transfer
In this step, we will add a corresponding simulation character to the scene, and
drive its motion using a motion transfer event.

To transfer motion to a simulation character:

1.

Select Character > Add Character, or click the Add Character button
in the Main Toolbar.

2.

Select the AudioMotion1 character from the Simulation Characters list.

3.

Right-click on the new AudioMotion1 simulation character timeline in

the Timeline Editor, and select Create Motion Transfer Event. Adjust the
Start Frame so that is starts one frame after the animation event on the
reference character. Adjust the End Frame to match the end frame of the
animation event.

4.

Select the new motion transfer event.

5.

In the Property Editor, locate the [Select] command hotlink adjacent to

the Source Character property. Click this hotlink to enter selection mode,
and select the Audiomotion1_ref reference character in the viewport,
Node View or Timeline Editor. Right-click in the viewport to leave this
selection mode. The AudioMotion1_ref reference character has now been
identified as the motion transfer source.

150 TUTORIAL 14
Active animation and motion transfer

6.

Simulate the scene. The AudioMotion1_ref reference character is driven

entirely by the animation data contained in its animation event. The
AudioMotion1 simulation character is dynamically driven by the
reference character via the motion transfer event. Keep in mind that the
AudioMotion1 simulation character is simulated during the motion
transfer process. This means you can modify the motion of the simulation
character with other endorphin functionality such as behaviours and
active poses.

Step 3: Preparing the initial pose

In this step, we will adjust the start pose of the simulation character. Instead of
using a T-pose, it will use the pose from the first frame of the animation. This will
avoid the sudden jump that you see between Frame 0 and Frame 1.

To set the initial pose of the simulation character:

1.

Simulate for a short duration, so that at least a few frames of animation

have been stored in the frame buffer, and then stop the simulation.

2.

Move the Time Slider to Frame 2. The AudioMotion1 simulation character

should be in the first frame of the animation.

3.

Select the AudioMotion1 character, and then select Character > Save
Pose.

4.

Save this pose as Start.nma. This creates an endorphin .nma pose file
containing the character pose.

5.

Move the Time Slider to Frame 0.

6.

Ensure that the AudioMotion1 simulation character is still selected.

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TUTORIALS

7.

Select Character > Load Pose, and browse for the Start.nma pose file.
Do not modify any of the Load Pose settings, and click OK.

8.

Simulate the scene. The AudioMotion1 simulation character motion

should now be smooth, with no discontinuities between Frame 0 and
Frame 1.

Step 4: Working with motion transfer rig

groups
In this step we will create a new motion transfer rig group, so that the animation
data only drives the lower body of the simulation character.

To create a new rig group:

1.

Display the Motion Transfer Editor by selecting View > Motion Transfer
Editor. The keyboard shortcut is M. The Motion Transfer Editor is
automatically displayed when you enter Character Edit Mode.

2.

Select the AudioMotion1 simulation character. The Motion Transfer

Editor displays the settings for this character.

3.

Browse to the Strengths tab. This page displays a list of available rig
groups. You should find that the only rig group is the Standard Motion
Transfer rig group.

4.

Click the Add button to create a new rig group. Name the new rig
group Legs Only and click OK.

5.

Select all the rig nodes, and set the rig node mode to NoHold. You can
select multiple rig nodes by holding down the Ctrl key.

6.

Select the RightUpperLeg, RightFoot, RightToes, LeftUpperLeg,

LeftFoot and LeftToes rig nodes, and set the rig node mode to FullHold.

To use the new rig group with motion transfer:

1.

Select the motion transfer event on the AudioMotion1 simulation

character timeline.

2.

Use the Property Editor to change the Rig Group property of the motion
transfer event to Legs Only.

152 TUTORIAL 14
Active animation and motion transfer

3.

Simulate the scene. You should find that the simulation characters legs
will be driven by the motion transfer event, whereas its upper body
should be loosely flopping.

Step 5: Adding an active animation event

In this step we will add an animation event to the simulation character. This
event will contain the same sword swipe animation data used in the reference
characters animation event. However, the new animation event will be used as
an active animation event applied directly to the simulation character.

To add an active animation event:

1.

Select the Audiomotion1 simulation character.

2.

Select File > Import, or click the Import button in the Main Toolbar. The
keyboard shortcut is I.

3.

Browse to select the SwordSwipe.fbx file, and click OK.

4.

Select the Hips node as the import root node in the node tree.

5.

In the Import Options dialog, turn off Create Simulation Events. When
this setting is turned off, the character simulation mode is unchanged. In
our case, this means the character will remain in Full Simulation mode,
and so the animation will drive this fully-simulated character actively. In
contrast, when simulation events are added to set the simulation mode to
No Simulation, Collision Only or Collision With Momentum, the animation
drives the character passively.

6.

Turn on the Transfer From Reference Character setting, and browse to

select the AudioMotion1 reference character. Keep the other settings at
their default values, and click OK.

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TUTORIALS

7.

Animation will be imported from the SwordSwipe.fbx file using Auto

Motion Transfer. A new animation event will be created.
Note We now have two animation events in the scene, both using the
SwordSwipe.fbx animation data. One of these animation events is
applied to the reference character, and was created by direct animation
import. The other animation event is applied to the simulation character,
and was created using Auto Motion Transfer from the reference character.

8.

Ensure that the new animation event has its Start Frame set to Frame 0.

9.

Select the animation event and drag it upwards until it is placed on the
topmost timeline track. This ensures that this new animation event has
the highest priority in the simulation character timeline.

10. Use the Property Editor to set the Strength property of the new
animation event to 1.0.
11. Use the Property Editor to turn on the Active property of the new
animation event. This is the critical step that converts the event from a
standard, or passive, animation event, into an active animation event.

12. Simulate the scene. The same animation source file is now driving two
different sections of the simulation character using two different routes.
Each of these routes has a different effect:

The motion transfer event drives the lower body of the

simulation character using the animation event on the reference
character timeline. This event drives the mass objects of the legs
in global coordinates.

The active animation event drives the upper body of the

simulation character using the data in the event. This event
drives the joints of the torso and arms in local coordinates.

154 TUTORIAL 14
Active animation and motion transfer

Step 6: Connecting props to the simulation

character
In this step we will add some mass objects to the simulation character. These
objects will model the effect of weapons held by the simulation character.

To add a prop mass object to the Environment character:

1.

Select Environment > Create Sphyl Mass Object. Alternatively, click the
Create Sphyl Mass Object button in the Main Toolbar. A new sphyl mass
object is added to the Environment character.

2.

Select the new mass object. Using the Property Editor, set the mass object
Length property to 0.8. Also, set the Radius property to 0.02.

3.

Use the Move and Rotate tools to position and rotate the mass object so
that one end of the object is close to the right hand of the simulation
character. Alternatively, enter the following values directly as the Position
And Orientation properties of the mass object:

Position: X: 0.22; Y: 0.70; Z: 2.43.

Orientation: X: -44.0; Y: +46.0; Z: -64.0.

To connect the mass object to the simulation character:

1.

Right-click on the AudioMotion1 simulation character timeline in the

Timeline Editor and select Create Constraint Event.

2.

Adjust the Start Frame and End Frame properties of the new constrain
event to match the range of the animation events.

3.

Use the Property Editor to set the constraint event Type to JoinBodies.

NaturalMotion endorphin 155

TUTORIALS

4.

Locate the [Select] command hotlink adjacent to the Target Objects

property, and click it. This places endorphin in selection mode, and allows
you to specify the mass objects affected by the constraint.

5.

Select the new mass object.

6.

Hold down the Ctrl key and select the RightHandMass mass object.

7.

Simulate the scene. You should find that the character now holds the
mass object during the sword swing.

Step 7: Adding collision objects to the

environment
In this step, we will add a collision object to the Environment character. This
object represents an object that the simulation character may be striking.

To add a collision object to the Environment character:

1.

Ensure no objects are selected. The Property Editor should be displaying

the Simulation Settings and Timeline Settings.

2.

Create a new box collision object in the Environment character by

selecting Environment > Create Box Collision Object, or by clicking the
Create Box Collision Object button on the Main Toolbar.

3.

Select the new collision object.

4.

Use the Property Editor to set its Width value to 1.0. Also, set its Height
and Length values to 0.25.

4.

Use the Move and Rotate tools to position the new collision object in
front of the simulation character. Alternatively, enter the following values
directly as the Position And Orientation properties of the collision object:

Position: X: 0.0; Y: 1.08; Z: 3.10.

Orientation: X: 0.0; Y: 0.0; Z: 0.0.

156 TUTORIAL 14
Active animation and motion transfer

Step 8: Modifying the mass object density

In this step, we will change the density of the mass object representing the
weapon held by the simulation character.

To modify the density of the mass object:

1.

Select the Prop01 mass object.

2.

Use the Property Editor to increase its Density value to 10.0.

3.

Simulate the scene. You should see the right arm of the simulation
character swing more slowly than its corresponding source animation
data. This is due to the inertia of the heavier mass object.

4.

Experiment with different density values.

Step 9: Modifying the active animation event

strength
In this step, we will modify the strength of the active animation event. The
strength of an active animation event is very similar to the strength of an active
pose event. This is because active animation events are effectively just a
sequence of active poses.

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TUTORIALS

To modify the strength of the active animation event:

1.

Select the active animation event on AudioMotion1 simulation character

timeline.

2.

Use the Property Editor to set its Strength value to 0.3.

3.

Simulate the scene. You should find the simulation character slumping
and unable to raise the mass object to its previous height.

4.

Experiment with different active animation strength values.

Step 10: Modifying the collision object

material
In this step, we will modify the material of the collision object. Materials specify
the surface friction properties of an object. For example, you can specify a
collision object as being smooth or rough. Materials also specify the volumetric
properties of an object. For example, you can specify whether an object is rigid,
soft or rubbery.

To change the material of the collision object:

1.

Select the active animation event on the AudioMotion1 simulation

character timeline, and set its Strength value back to 1.0.

2.

Select the box collision object created in Step 7.

3.

Use the Property Editor to set its Material property to Rubber.

4.

Simulate the scene. You should find that the mass object now bounces
off the collision object after colliding with it. Also note that this bounce
affects the simulation character itself, in addition to the mass object.

5.

Experiment with different animation strength values and materials to

modify the collision response.

6.

Use the Property Editor to set the Material property of the collision
object to Sponge.

7.

Simulate the scene. You should now find that the mass object penetrates
the collision object after colliding with it.

158 TUTORIAL 14
Active animation and motion transfer

Step 11: Adding a helper constraint

In this step, we will add a short-duration constraint event. This constraint will lock
the mass object for a few frames, in order to mimic the effect of the mass object
becoming temporarily lodged inside the collision object.

To add a help constraint event:

1.

Right-click the AudioMotion1 simulation character name in the Timeline

Editor, and select Add Event Track. This adds a new event track to the
characters timeline.

2.

Simulate the scene, in order to fill up the frame buffer.

3.

Move the Time Slider to the frame at which the mass object has its
deepest penetration into the collision object.

4.

Right-click on the simulation character timeline at this frame, and select

Create Constraint Event. You will automatically be placed into selection
mode. This mode allows you to specify the mass objects that are to be
constrained by the constraint event. When you are in the selection mode,
endorphin displays the text Selecting in the viewport label.

5.

Select the sword mass object.

6.

Modify the constraint event End Frame so that the event has a duration of
around 45 frames. For example, it might have a Start Frame of Frame 50,
and an End Frame of Frame 95.

7.

Simulate the scene. You should find that the sword mass object now
penetrates into the collision object, and is held in place for the duration of
the constraint event. When the constraint event ends, the mass object
springs back and the character quickly resumes its original animation.

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TUTORIALS

Conclusion
You have learned to use active animation events poses, which effectively
influence the motion of simulated characters via a sequence of single-frame
active pose events. You have also used helper constraints to increase the realism
of simulated scenes.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 14 Active Animation And Motion Transfer\Tutorial
14 Active Animation And Motion Transfer - Complete.ens. This scene is an
example of how your scene should look if you have successfully followed all the
steps in this tutorial.

160 TUTORIAL 15
Working with fluids

Tutorial 15

Working with fluids

In this tutorial we will concentrate on learning how to use a new endorphin 2.7
feature: fluids.
To model the effect of fluids, fluid objects are added to a character, and a Fluid
behaviour is applied to the character. The Fluid behaviour generates drag and
buoyancy forces on the fluid objects. Drag forces have the effect of slowing
down fluid objects as they move through the fluid. Buoyancy forces have the
effect of causing fluid objects to float in the fluid.
In this example scene, you will create a small boat and a character that will dive
from the boat into water.

Step 1: Building a simple boat using fluid

objects
In this step we will create a simple boat that can interact with endorphin fluids.

To create a new boat character:

1.

Launch endorphin, and select File > New Character.

2.

Select the Standard Prop Character from the standard character list, and
click OK.

3.

Reshape the mass object to roughly represent the size and weigh of a
small boat.

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TUTORIALS

4.

Build the collision surface of the boat using sphyl collision objects for the
sides and cube collision objects for the bottom.

To model the boat buoyancy using fluid objects:

1.

Select the boats mass object.

2.

Select Character > Create Sphyl Fluid Object. This will create a new fluid
object that represents a floating body. The default fluid object shape is a
sphyl but this can be changed using the Property Editor.

3.

Use the Move, Rotate and Scale tools to position and resize the fluid
object to match one of the side collision objects.

4.

Keep creating as many fluid objects as you need to define the parts of the
boat that will interact with the fluid. Fluid objects do not need to cover
every part of your objectonly those that are going to be affected by the
fluid.

162 TUTORIAL 15
Working with fluids

As a general rule, try to keep the number of fluid objects to a minimum.

Also, try not to overlap fluid objects where possible. Buoyancy is
calculated based upon the total volume of the fluid objects, and does not
correct for intersecting fluid objects. This means that the volume of
intersection is effectively counted twice when calculating the total
buoyancy force.
5.

Once you are happy with the boat character, select File > Save
Character, and save the prop character as MyBoat. Click OK.
Hint To increase the stability of the boat, try moving the mass object
downwards with respect to the centre of mass of the boat.

Step 2: Adding characters to the scene

In this step we will create a new scene, and add the boat character to it. We will
add an instance of the new standard simulation character that ships with
endorphin 2.7. This character has already been equipped with fluid objects.

To load the boat prop character in the scene:

1.

Select File > New Scene.

2.

Load your small boat character. To do this select Character > Add
Character. Find the prop character named MyBoat and click OK.

NaturalMotion endorphin 163

TUTORIALS

To load and position the new standard simulation character in the

scene:
1.

Select the Character01 standard simulation character using the Timeline

Editor or Node View.

2.

Use the Move tool to move the character so that it is placed roughly
above the small boat.

3.

We now apply a pose to the character. With the character still selected,
select Character > Load Pose. Browse to the resource folder for this
tutorial and select the pose file named on_the_dingy.nma. (A dingy is
type of small boat.)

4.

Click OK in the Load Pose window. The character will be placed quite
high in the sceneyou may need to adjust the viewport zoom to see it.

5.

Select the boat and use the Move tool to move it into position
underneath the character.

Step 3: Adding a fluid cube to the

environment
In this step we will add a fluid cube to the scene that will constitute the volume
of the fluid. We will then set some of the cubes properties.

To add a fluid cube:

1.

Right-click on the simulation character timeline, and select Create

Behaviour Event to create a new behaviour event for that character.

164 TUTORIAL 15
Working with fluids

2.

Set the behaviour Name property to Physical Effect: Fluid 1. Each fluid
behaviour has a corresponding fluid cube. Most often, you will use fluid
cubes to represent water, but you can represent thicker fluids like
quicksand and mud, as well as thinner fluids like air. Note that the fluid
cube is not displayed in the viewport until you have simulated at least
once.

3.

Edit the Start Frame and End Frame properties of the Fluid behaviour, so
that it begins at Frame 0 and ends at Frame 600.

To edit the fluid cube properties:

1.

Right click on the viewport and select Fluid Objects. Fluid objects should
now be displayed.

2.

Fluid behaviours include a number of parameters that define the

properties of the fluid contained by the fluid cube, as well as a Floating
Bodies property that defines the set of fluid objects that interact with the
fluid cube. Click the [Select] hotlink in the Property Editor to edit the
Floating Bodies selection set.

3.

Use box-selection to select all objects in the viewport. All selected fluid
objects are added to the Floating Bodies set of the Fluid behaviour.

4.

Locate the Cube Size parameter, and change value of the cube size to 20.
This will increase the size of the fluid cube.

5.

Keep all other parameters at their default settings. The default fluid
density matches that of water.

6.

Simulate the scene to see how the fluid behaviour behaves. The fluid
cube should be displayed as a semi-transparent cube, and the simulation
character and the boat prop character should float on the surface of the
water.

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TUTORIALS

Step 4: Completing the scene

In this step we will place the boat prop character and the simulation character
above the surface of the fluid, and add a Jump And Dive behaviour to the
character. This will make the character dive into the fluid cube.
You will also experiment with other parameters of the fluid and refine your scene
so that the final animation is richer and more compelling.

To add a dive behaviour to the character:

1.

Right-click on the standard simulation character in the Timeline Editor

and select Create Behaviour Event.

2.

Set the behaviour Name property to be the Jump And Dive 1.

3.

Adjust the timing of this behaviour so that it begins at Frame 0 and ends
at Frame 150.

4.

Simulate the scene. The first jump might be unsuccessful. Try

experimenting with the jump timing and strength parameters to obtain a
clean and successful jump.

166 TUTORIAL 15
Working with fluids

To refine the diving motion:

1.

Try to add behaviours to the character so that it reacts while underneath the
water. For example, try adding Arms Windmill 2 and Legs Kick 2 behaviours
to the characterthese behaviour both generate the kinds of movement that
one might expect from the submerged character. Experiment with the
behaviour parameters to obtain a better motion.

2.

To obtain a smoother and more plausible trajectory of the diving character

within the fluid, try changing the drag parameters of the fluid behaviour. The
drag parameters define the degree to which the motion of fluid objects is
retarded by the fluid. For example, try decreasing the value of the Drag
parameter and increasing the value of the Angular Drag parameter. Also, try
setting the value of Turbulent Drag to 0. Keep simulating the scene and
changing these parameters until you are satisfied with the resulting motion.
Hint For better scene visualisation, right-click on each character in the Node
View and select Hide Type > Fluid Objects. You can also hide the mass
object for the small boat prop character by selecting this mass object in the
viewport and clicking on the correspondent icon in the Node View to hide it.

Further experiments

Try posing the head of the character so that it remains aligned with its body.
Introduce some soft constraints to the chest of the character to help increase
its stability while its head remains above the level of the fluid cube.

Try changing the size, shape and position of the fluid objects for both the
small boat and the simulation character to see how these changes affect the
buoyancy of the characters. Experiment with the various fluid parameters
such its density and stream vector. You can visualise the stream vector as a
current or wind direction.

Try turning on the fluid waving system. Increase or decrease the amplitude
and frequency of the waves.

Try creating your own prop characters and attach fluid objects to them. See if
you can correctly model their expected buoyancy properties.

Try simulating multiple fluid cubes in the same scene to model different fluid
effects.

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Conclusion
In this tutorial we have looked at how to work with the fluid physical effect
behaviour.
We have learned how to model characters using fluid objects, and how to add a
fluid cube in a scene. We have also modified the properties of the cube to obtain
different fluid effects and how to control the way objects are affected by the
fluid.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 15 Working With Fluids\Tutorial 15
Working With Fluids - Complete.ens. This scene is an example of how your
scene should look if you have successfully followed all the steps in this tutorial.

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Tutorial 16

Using physical effects

In this tutorial we will introduce a range of physical effect behaviours. Unlike
most behaviourswhich act on characters internally by driving their joints
physical effect behaviours model environmental conditions that influence
characters externally.
You will create a scene in which two simulation characters engage in aerial
combat. Physical effectssuch as pushing, twisting and damping behaviours
will be used to generate various types of motion.

Step 1: Creating a stylised jumping character

In this step we will add a character to a scene, and use physical effect behaviours
to create a highly-stylised jump that will also involve a twist.

To position the character and start the jump:

1.

Select File > New Scene, and select the Character01 standard simulation
character using the Timeline Editor.

2.

Use the Move tool to move the character back to the edge of the grid.
This is a Z-position of approximately -10.5.

3.

Right-click on the Character01 timeline and select Create Behaviour

Event.

4.

Set the new behaviour name to Jump And Dive 1.

5.

Move the behaviour marker so it lies on the topmost timeline track.

6.

Adjust the behaviour timing so that it begins at Frame 0 and ends at

Frame 80.

7.

Simulate the scene to obtain some visual feedback.

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To create a long jump using the Push physical effect:

1.

Right-click on the Character01 timeline and select Create Behaviour

Event.

2.

Set the new behaviour name to Physical Effect: Push 1.

3.

Move the behaviour marker so that is on the middle timeline track. This
ensures that this behaviour has lower priority than the Jump And Dive 1
behaviour.

4.

Adjust the behaviour timing so that it begins at Frame 67, and ends at
Frame 117.

5.

The Force X, Force Y and Force Z properties define the direction and
strength of the force applied by this behaviour. Set the Force Y property
to 20. Set the Force Z property to 40.

6.

The TargetMassObjects property defined the mass objects that have the
force applied to them. Note that the usual Target Objects property is not
used by this behaviour. Click the [Select] hotlink to edit the target mass
objects.

7.

Use box-selection to select the entire character in the viewport. Make

sure that all its mass objects have been selected.

8.

Right-click in the viewport to exit Selection mode.

9.

Simulate the scene. The character should now be pushed forward rapidly
by the Push behaviour. You should also notice a red arrow appearing in
the viewport while the physical effect is simulated. This arrow represents
the magnitude and direction of the push force.

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To stabilise the jump with an active pose:

1.

To make the jump more stable we will apply an active pose to the character
in order to increase its stiffness. Move the Time Slider to Frame 83.

2.

Right-click on the Character01 timeline, and select Create Active Pose Event.

3.

Move the active pose marker to the bottom timeline track.

4.

Adjust the active pose timing so that it begins at Frame 83 and ends at Frame
117.

5.

In the Property Editor, set the active pose Strength property to 15.

6.

Simulate the scene. You should now see a more stable jump.

To add a twist during the jump:

1.

Right-click on the character name section of the Character01 timeline and

select Add Event Track.

2.

Right-click on the Character01 timeline and select Create Behaviour Event.

3.

Set the new behaviour name to Physical Effect: Twist 1.

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4.

Move the behaviour marker so that is on the bottom timeline track. This
ensures that this behaviour has lower priority than the active pose.

5.

Adjust the behaviour timing so that it begins at Frame 70, and ends at Frame
117.

6.

The Torque X, Torque Y and Torque Z properties define the axis about which
the torque force is applied, and its strength. Set the Torque Z property to 15.
This will ensure that objects are rotated about the Z-axis by the Twist force.

7.

The TargetMetaBodies property defined the mass objects that have the
torque applied to them. Note that the usual Target Objects property is not
used by this behaviour. Click the [Select] hotlink to edit the target mass
objects.

8.

Zoom into the character torso, and select the four body parts formed by the
pelvis and the three spine objects.

9.

Right-click in the viewport to exit Selection mode.

10. Simulate the scene. You should now have obtained a Twist jump. Next we will
add another character to the scene, and have this character jump towards our
existing character and collide with it in midair.
Note You can turn off the display of behaviour helper graphics by rightclicking on the viewport, and turning off the Display > Events setting. Also, if
the behaviour helper graphics are too large or small you can change their size
by adjusting the Arrow Scale property of the Push and Twist behaviours.

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Step 2: Creating an additional jumping

character
In this step we will introduce a new character available from our custom
character folder. We will try to make this character jump towards our first
character from the opposite side while assuming a fighting pose.

To position a new character:

1.

Add a new character by selecting Character > Add Character.

2.

Browse to the Custom character folder ([install

location]\Resources\Characters\Custom) and select the Muscular
simulation character. Click OK.

3.

Use the Move tool to position this new character at the opposite side of the
grid to the previously created character.

4.

While the new character is still selected, rotate it around the Y-axis by setting
its Y Orientation property to 180 in the Property Edutor. The two characters
should now be facing each other.

To start a new jump:

1.

Right-click on the Muscular character timeline, and select Create Behaviour

Event. Set the behaviour name to Jump And Dive 1.

2.

Adjust the new behaviour timing so that it begins at Frame 0 and ends at
Frame 60.

3.

Move the behaviour marker to the topmost timeline track.

To create a new long jump:

1.

Right-click on the Muscular character timeline on the middle track and select
Create Behaviour Event. Set the behaviour name to Physical Effect: Push 1.

2.

Adjust the new behaviour timing so that it begins at Frame 54 and ends at
Frame 117.

3.

Move the behaviour marker to the middle timeline track.

4.

Set the behaviour Force Y property to 10 and the Force Z property to -30.

5.

Click the [Select] hotlink of the TargetMetaBodies property, and select the
mass objects that which will be affected by the Push behaviour. Use boxselection to select the entire character in the viewport. Make sure that all
objects have been selected.

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6.

Right-click in the viewport to exit Selection mode.

7.

Simulate the scene for visual feedback.

To specify a combat pose for the new character:

For this tutorial we have provided you with a pose file for you to use with the
new character. This pose will be assigned to the character as an active pose.
1.

Right-click on the Muscular character timeline and select Create Active

Pose Event.

2.

Move the active pose marker to the bottom timeline track.

3.

Right-click on the active pose marker and select Load Pose.

4.

Browse to the fighting_pose.nma file located in the resource folder for this
tutorial. Double-click on the pose file to load it.

5.

Adjust the active pose timing so that it begins at Frame 75 and ends at
Frame 135.

6.

Set the active pose Strength parameter to 5.

7.

Set the active pose Blend Period to 0.7.

8.

Simulate the scene for visual feedback. The characters should now collide in
flight. In the next step we will concentrate on the collision between the
characters.

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Note At this stage, the characters are moving extremely fast. You may
find that some intersections between collision objects are not detected at
the standard simulation frame rate, resulting in undesirable penetration
of collision objects. In later steps we will reduce the velocities of the
characters to avoid this problem.

Step 3: Creating a dynamic collision between

the characters
In this step we will try to obtain a spectacular impact between the two characters
so that one of the characters the standard simulation character will try and grab
the other character while in mid-air.
For this purpose we will modify some of the parameters for our jump events. We
will also introduce the damping physical effect. The damping effect lets you
slow down the motion of a character.

To make the characters collide centrally:

1.

Select the Push event on the Muscular character timeline and adjust its
Force Y property using the Property Editor. Experiment with slightly
higher and lower values of Force Y. The goal is to have the simulation
character narrowly miss the kick of the muscular character. Simulate the
scene each time until you are satisfied with how the two characters
intersect during the collision.

2.

Use the Move and Rotate tools to slightly adjust the position and
orientation of the characters in order to get the arms of the twisting
character around the body of the other character. Experiment with
increasing the distance between the two characters. Again, continue
making small changes iteratively until you are satisfied with the collision
of the two characters.

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To slow down the standard character:

1.

Right-click on the Character01 standard character timeline, and select

Create Behaviour Event.

2.

Set the behaviour name to Physical Effect: Damping 2.

3.

Move the behaviour marker to the bottom timeline track. If necessary,

create an additional timeline marker track.

4.

Adjust the behaviour timing so that it begins two frames before the
collision between the two characters. Resize the event so that its duration
is 10 frames.

5.

With the event still selected, use the Property Editor to set the
LinearVelocityDamping property to 0, and set the
AngularVelocityDamping property to 30. These parameters define the
magnitudes at which the linear and angular velocities should be reduced.

6.

Click the [Select] hotlink in the MassObjects section.

7.

Adjust the viewport camera so that it focuses on the standard character.

8.

Select the pelvis mass object together with the three mass objects that
form the spine of the character.

9.

Right-click in the viewport to exit Selection mode.

10. Adjust the End Frame properties for both the Twist and Push physical
effects and the active pose present on the standard character timeline so
that they match the Start Frame property of the damping physical effect.

To slow down the muscular character:

1.

Right-click on the muscular character timeline, and select Create

Behaviour Event.

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2.

Set the behaviour name to Physical Effect: Damping 2, and move the
behaviour marker to the bottom timeline track. If necessary, create an
additional timeline marker track.

3.

Adjust the behaviour timing so that it begins two frames before the
collision between the two characters. Resize the event so that its duration
is 6 frames.

4.

With the event still selected, use the Property Editor to set the
LinearVelocityDamping property to 40. Leave the
AngularVelocityDamping property at its default value.

5.

Click the [Select] hotlink in the MassObjects section.

6.

Adjust the viewport camera so that it focuses on the muscular character.

7.

Select the entire character, excluding its shoulders, arms and head.

8.

Right-click in the viewport to exit Selection mode.

9.

Simulate the scene. Note that the two characters suddenly decrease their
speed when the damping physical effects are triggered.

To make the standard character grab the muscular character:

1.

Right-click on the standard character timeline and select Create

Behaviour Event.

2.

Set the behaviour name to Tackle 5.

3.

Adjust the timing of the behaviour so that it begins the same as the
damping physical effect.

4.

With the event selected, set its Arms Strength and Arms Speed
properties both to 1.

5.

Click the [Select] hotlink in the TargetUpSpine section. While in

Selection mode, select the UpperSpineMass object of the muscle
character. Right-click in the viewport to exit Selection mode.

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6.

Click the [Select] hotlink in the TargetPelvis section. While in Selection

mode, select the PelvisMass object of the muscle character. Right-click in
the viewport to exit Selection mode.

7.

Simulate the scene. The standard character should now be able to grab
the muscular character while it is in mid-air. If this is not the case,
continue to adjust the parameters of the damping physical effect for
both characters until their velocities are slow enough to allow the
activation of the tackle behaviour.

Hint Check that the standard character active pose event does not
extend into the timeframe of the tackle behaviour, as the active pose
stiffness can override the behaviour and prevent it from simulating
correctly.

Further experiments

Try changing the poses used by the active pose events, as well as the attack
angles, to obtain different attack results.

Try experimenting with the various physical effects by applying them to

different body parts and modifying their related parameters.

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Conclusion
In this tutorial we have looked at how to work with the Push and Twist physical
effect behaviours to create linear and rotational forces that apply to characters
over multiple frames. We have also used the damping behaviour to slow down
to motion of various body parts.
We have also looked at how behaviours and active poses can be used in
conjunction with the physical effect behaviours to create more compelling
animation.
If you have any problems with this tutorial, open the corresponding scene
Resources\Tutorials\Tutorial 16 - Using Physical Effects\Tutorial 16 Using
Physical Effects - Complete.ens. This scene is an example of how your scene
should look if you have successfully followed all the steps in this tutorial.

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Tutorial 17

Working with Maya

You can use endorphin with Maya in an animation pipeline.
To do so, you need to configure the pipeline. You can then import animation
data from Maya into endorphin, and export animation data back from endorphin
into Maya. This pipeline requires the use FBX for transferring data in both
directions.
The following six steps outline the process of transferring data from Maya to
endorphin and back, using specific example files.

Step 1: Preparing your Maya character

In this step you will prepare your Maya character so that it can be used in
endorphin.
You need to ensure the following:

Ensure that your Maya character is posed in a similar T-pose to the

standard endorphin character. Your characters legs should point straight
down, and your characters arms should point straight out in a sideways
direction.

Ideally, you should set the Maya Linear Working Units to Centimeters.
However, if this is not possible, you can still make scale adjustments
during import and export.

Step 2: Exporting your character from Maya

In this step you will export your character as an FBX file. You will also save the
character skin mesh as an OBJ mesh file.

To save your Maya to FBX and OBJ files:

1.

Launch Maya.

180 TUTORIAL 17
Working with Maya

2.

Open the Maya scene Resources\Tutorials\Tutorial 17 Working with

Maya\MayaChara_RigidBind.ma.

3.

Select the character in this scene.

4.

Select File > Export All. Choose FBX from the File Type list, and specify
MayaChara as the export filename.

5.

Click Export. The skeletal structure of your Maya character will be saved
into an FBX file.

6.

Select File > Export All. Choose OBJ from the File Type list, and specify
MayaChara_Mesh as the export filename. It is generally good working
practice to name the FBX and OBJ files using the same name.

7.

Click Export. The polygonal skin mesh of the Maya character will be saved
into an OBJ file.

Step 3: Creating corresponding endorphin

characters
In this step, you will create a pair of characters in endorphin that represent your
Maya character. Once you have created this simulation-reference character pair,
you will be able to use them to import animation from Maya into endorphin
using dynamic motion transfer.
One of the characters will be an endorphin simulation character that has been
reshaped to have the same dimensions as your Maya character. The other
character will be an endorphin reference character created from the FBX file you
saved in Step 2.

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To create a simulation-reference character pair:

1.

Select File > New Character.

2.

Choose the Standard Simulation Character as the simulation character.

3.

Turn on the Reference Character setting, and import the

MayaChara.FBX file that you saved in Step 2. In the Import Options
dialog, select the root of your FBX character from the joint hierarchy tree,
and then click OK.

4.

You will automatically enter Character Edit Mode. In this mode you will
be able to edit both the simulation and the reference characters. Turn on
the Skeletal View viewport display setting, and then snap align the
simulation character joints to match the reference character joints. Also,
adjust the sizes, shapes and positions of the mass objects and collision
objects of the simulation character, if needed. See the User Guide and
tutorials for more detailed information on creating simulation-reference
character pairs.

5.

Display the Motion Transfer Editor, and use the following connection
settings to connect the mass objects of your reference character to the
Standard Character Rig. See the User Guide and tutorials for more
detailed information on rigging reference characters.

6.

Once the simulation and reference character skeletons are aligned, select
File > Save Character. You can browse for a location to save the
character, and specify MayaChara as the character name. endorphin will
save both the simulation and reference characters as two separate .nmc
character files.

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Keep in mind that the reference character will be used to import and
export animation, whereas the simulation character will be used to
actually generate new animation data in endorphin.

Step 4: Filling out the simulation character

In this step, you will modify the collision objects of the simulation character to fill
the volume of the skin mesh saved in the OBJ file in Step 2. You may also add
new collision objects as well as modifying existing collision objects. This is often
called filling out a character.

To fill out the simulation character:

1.

While you are still in Character Edit Mode, right-click and select Shaded
View.

2.

Click Activate Reference Character button on the Main Toolbar. This

activates the reference character.

3.

Select File > Import and select the MayaChara_Mesh.OBJ file that you
saved from Maya in Step 2. Click Open, and then click the OK button on
the Import Options dialog. If necessary, you may need to adjust the
orientation of the OBJ file in the Import Options dialog.

4.

The OBJ file is imported as a new graphical object, and associated with
the reference character. The graphical object is displayed partially
transparently.

5.

Select View > Node View to display the Node View. The keyboard
shortcut is N.

6.

Right-click on the Reference Character and select Hide All. This hides all
the entities that make up the reference character, including all mass
objects, collision objects, graphical objects, joints and joint limits.

7.

In the Node View, identify the node representing the graphical object
MayaChara_Mesh that you created from the imported OBJ file. The
graphical object name will match the corresponding OBJ file name. Click
this node to display the graphical object of the mesh.

8. Select Activate Simulation Character. You will still be able to view the
mesh, but it will no longer be selectable.

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TUTORIALS

9.

You can now move, rotate and scale each of the simulation character
collision objects to match the shape specified by the skin graphical
object.
You can also select individual mass objects and create new child collision
objects. This is useful for filling out the mesh more accurately.
You can use the Mirror Tool in Character Edit Mode to quickly copy
changes from one side of the character to the other side.
See the User Guide and tutorials for more detailed information on filling
out simulation characters.

10. It is good practice to regularly save your changes when you are editing
characters.

Step 5: Exporting animation from Maya into

endorphin
In this step, you are going to export animation that you have created in Maya,
and then import it into endorphin, using an FBX file to transfer the data.

To export animation from Maya:

1.

Open the Maya scene Resources\Tutorials\Tutorial 17 Working with

Maya\MayaChara_RunJump.ma.

2.

Select File > Export All. Specify MayaChara_RunJump as the export

filename and choose FBX file from the File Type list.

3.

Click Export to create the FBX file.

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To import animation into a new endorphin scene:

1.

Select File > New to create a new scene.

2.

Delete the default simulation character.

3.

Select Character > Add Character. This displays the Add Character
dialog.

4.

Select the character that you created in Step 3 and Step 4. You may need
to browse if you have saved that simulation-reference character to a
different location. You do not need to turn on the Include Reference
Character setting.

5.

Select the character using the Timeline Editor, and then select File >
Import. This displays the Select File To Import dialog.

6. Browse to select any FBX file that you created using Maya with the
corresponding character. Click Open to display the Import Options
dialog.
7. In the Import Option dialog, turn on the Source Reference Character
setting.
8.

Click the Browse button in the Auto Motion Transfer settings. Select the
MayaChara reference character file you created for importing data in
Step 2.

9.

In the General settings, turn on the Include parent transforms setting.

10. In the node hierarchy tree, select the Hips node. This ensures that only
motion on this jointand its child jointsis imported.
11. Click OK to import the animation in the FBX file using dynamic motion
transfer. Internally, endorphin imports this FBX animation onto the import
reference character, and then uses dynamic motion transfer to map this
motion onto the selected simulation character in your scene.
You can import many different animation segments onto the same
endorphin simulation character. Typically, you will create a separate
animation event for each set of animation data keyframes, although you
can also import the animation data directly as keyframes in the simulation
character timeline.

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Step 6: Exporting animation from endorphin

into Maya
In this step, you are going to export animation that you have created in
endorphin, and then import it into Maya, using an FBX file to transfer the data.

To export animation from endorphin:

1.

Select the character that contains the animation data that you want to
export.

2.

Select File > Export. This displays the Select File To Export dialog.

3.

Set the Save As type to FBX Files. You can enter a new name, or choose
an existing FBX file to replace it. Click Save to display the Export Options
dialog.

4.

In the Export Options dialog, turn on the Target Reference Character

setting.

5.

Click the Browse button in the Auto Motion Transfer settings. Select the
MayaChara reference character file you created for importing data in
Step 2.

6.

Click OK to export the animation to the FBX file using dynamic motion
transfer. Internally, endorphin uses dynamic motion transfer to map the
character motion onto the specified export reference character, and then
exports this mapped motion.

To import animation into Maya:

1.

In Maya, open the MayaChara_RigidBind.ma scene that you want to

import animation into.

2.

Select File > Import and browse for the FBX file that you saved from
endorphin.

3.

In the Import Dialog, turn on Exclusive Merge and Pre-Normalize

Weights. Click OK.

4.

Press Play in Maya to see the animation applied to the character. You can
now modify this animation like any other Maya animation.

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Conclusion
In this tutorial, we have configured the Maya animation pipeline. We have then
imported animation data from Maya into endorphin, and exported animation
data back from endorphin into Maya.

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Tutorial 18

Working with the Maya

Control Panel
In this tutorial, we will introduce you to the basic workflow for working with the
endorphin Control Panel plugin for Maya. This plugin is available for Maya 7.0 and
Maya 8.0, and is designed to improve the pipeline for exchanging animation data
between Maya and endorphin.

Step 1: Adding an endorphin character to

your Maya scene
In this step we will open a Maya scene, and add an endorphin character to this
scene.

To add an endorphin character to a Maya scene:

1.

Launch Maya, and open the ExampleIKRig.mb file. This file contains a
very simple example of a typical IK keyframing rig.

2.

Click the endorphin Control Panel button on the endorphin shelf. This
launches the endorphin Control Panel editor.

3.

On the endorphin Character Editor page, enter a proposed character

name for your new character.

4.

Click the New Character button to create a new endorphin character in

the scene. A new tab will appear in the Control Panel notebook. The
name of this tab will correspond to your character name.

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Step 2: Reshaping the endorphin character

In this step we will reshape the endorphin character to match a Maya custom
skeleton.

To reshape the endorphin character:

1.

Reshaping the endorphin character requires snapping it to the custom

skeleton. Turn on the Snap To Points editor setting on the Maya main
toolbar.

2.

Starting with the endorphin root joint, snap the endorphin joints
contained in the blue skeletonto their corresponding joints in the Maya
custom skeleton. In some cases, there is no one-to-one correspondence
between the endorphin and Maya joints. In these cases, manually position
the endorphin joints partway between the corresponding Maya joints.

3.

When you have completed the reshaping process, click the Save
Character As button. In the file browser, enter a filename that matches
your character name, and click Save. This saves a copy of the endorphin
character that contains your reshaped joint positions and orientations.

Step 3: Creating import connections

In this step we will create import connections that connect the endorphin
character to the Maya character. These connections allow the endorphin import
character to drive the Maya character.

To load the Maya character control rig root node:

1.

Click on the notebook tab that corresponds to the name of the new
endorphin character. This displays the character editor notebook for
that character. The character editor notebook includes the Create Import
Connections editor, the Create Export Connections editor, and the
Exchange Animation Data editor.

2.

Use the Maya Outliner or Hypergraph to select the topmost node of Maya
control rigthe Master node.

3.

In the Create Import Connections editor, click the << Load button. The
Load button loads all the child nodes of the selected Master node into the
list of Maya character control rig nodes.

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To create an import connection between the characters:

1.

We now need to create import connections between the endorphin

skeleton and the control rig nodes.
In the diagram of the endorphin character, click on the root button. This is
the button located at the centre of the character. The button will be
displayed yellow to indicate that it is selected. The corresponding joint is
selected in the Maya viewport. Also, the corresponding joint is selected in
the list of endorphin character nodes below the diagram.

2.

In the Maya viewport, select the box graphic that contains the root of the
Maya custom character. You should find that the corresponding node is
selected in the Maya character control rig nodes list.

3.

With an endorphin node selected, and a Maya node selected, click the
Create Import Connection button to create a connection between these
nodes. The selected diagram button will now be displayed red to indicate
that it is a connected node. In addition, the connected nodes are
displayed as pairs of nodes in the endorphin and Maya node lists. With the
root nodes connected, any animation applied to the endorphin character
root will now drive the Maya character root.

To create a look-at import connection between the characters:

1.

A common feature of Maya control rigs is the use of IK chains to define

the motion of arms and legs. By connecting the endorphin look-at helper
nodes to the IK pole vector nodes of the Maya custom character, you can
use endorphin animation to drive the IK chains making up the Maya
custom character, which then drive the underlying Maya skeleton in a
manner which is similar to the original endorphin motion.
The import character look-at helpers are displayed alongside the elbows
and knees in the connection diagram. If you are not sure which button is
associated with which joint, hover over the button to display its
corresponding ToolTip. Alternatively, click the button to select its
corresponding node in the node list underneath the diagram.

2.

Click the LeftKneeJointLookAtHelper button.

3.

In the Maya viewport, select the left leg look-at controller, which is
represented by a blue arrow graphic.

4.

Click the Create Import Connection button to create a connection

between these nodes.

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To fully connect the endorphin and Maya characters:

1.

Once you are comfortable with the process of creating import

connections, continue creating import connections between the
endorphin and Maya characters. If you make an error, select either of the
nodes that are connected, and click the Delete Import Connection
button to delete the connection. Alternatively, click the Delete All
Import Connections button to delete all of the import connections.

2.

Each time you create a connection, a corresponding connection locator

graphic is created in the Maya viewport. To toggle the visibility of these
locators, select Display > Display Connection Locators menu item.

3.

By default, the list of Maya control rig nodes displays only the node name
itself. If you want to view entire node namesqualified by their full
parenting pathselect the Display > List Maya Full Node Paths item.
Similarly, by default the lists of endorphin and Maya nodes display the full
set of nodes. If you want to view only the nodes involved in import
connections, select the Display > List Connected Nodes Only.
Continue creating import connections until you have the following node
pairs connected. Note that none of the endorphin end joints appear in
the endorphin node list, or in the endorphin node diagram. These joints
never contain animation data, and so never need to be connected to your
Maya character. Also note that not every endorphin node requires
connecting to a corresponding Maya character:
endorphin node

Maya node

Root

HipsCTRL

LowerSpineJoint

Spine1CTRL

MidSpineJoint

Spine2CTRL

UpperSpineJoint

Spine3CTRL

LowerNeckJoint

NeckCTRL

UpperNeckJoint

HeadCTRL

LeftClavicleJoint

LeftShoulderCTRL

LeftElbowJointLookAtHelper

LeftElbowLookat1

LeftWristJoint

LeftHandCTRL

LeftFingersJoint

LeftFingersCTRL

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LeftKneeJointLookAtHelper

LeftKneeLookat1

LeftAnkleJoint

LeftFootCTRL

RightClavicleJoint

RightShoulderCTRL

RightElbowJointLookAtHelper

RightElbowLookat1

RightWristJoint

RightHandCTRL

RightFingersJoint

RightFingersCTRL

RightKneeJointLookAtHelper

RightKneeLookat1

RightAnkleJoint

RightFootCTRL

Step 4: Creating export connections

In this step we will create export connections that connect the endorphin
character to the Maya character. These connections allow Maya character to
drive the endorphin export character.

To load the Maya character skeletal rig root node:

1.

Click on the notebook tab that corresponds to the name of the new
endorphin character. This displays the character editor notebook for
that character. The character editor notebook includes the Create Import
Connections editor, the Create Export Connections editor, and the
Exchange Animation Data editor.

2.

In the Create Export Connections editor, the skeletal node has already
been loaded, and we do not need to change this setting. In fact, now that
we have reshaped the endorphin character to match the Maya skeleton,
we can very quickly create a set of export connections automatically,
using a simple proximity test.

3.

Click the Quick Create Export Connections button to create the export
connections based on proximity, and click OK in the confirmation dialog.
The Control Panel compares the position of each endorphin joint to each
Maya joint, and connects pairs of joints that are located within a tight
distance threshold from each other.

4.

In this example, we are satisfied with the export connections created by

this command. However, you are able to create and delete individual
export connections using the Create Export Connection and Delete
Export Connection commands, just as for import connections.

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Step 5: Creating sample endorphin animation

In this step we will launch endorphin, and create some sample endorphin
animation that uses the endorphin character that we created in Maya in Step 2.

To create sample endorphin animation:

1.

Launch endorphin, and create a new scene. Delete the default

Character01 character.

2.

Click the Add Character button, and browse to the folder in which the
endorphin character created in Step 2 was saved.

3.

Select the character from the character list, and click OK to load this
character into your scene.
At this stage, the endorphin character will appear somewhat unusual. This
is because the endorphin Control Panel for Maya plugin does not yet
support the editing of mass and collision object positions and
orientations. Future releases of the plugin may support additional
character-editing functionality; for the moment, the endorphin Character
Edit Mode must be used to complete the character-editing process.
In the current tutorialin which we are generating some sample
animation to demonstrate the animation pipelinewe can ignore the
incomplete editing state of the character. Of course, when editing
characters to create actual animation, you will need to use Character Edit
Mode to adjust the mass and collision objects and joint limits to ensure
that they match the physical dimensions of your Maya character.

4.

Right-click on the character timeline and select Create Behaviour Event

to create a new behaviour.

5.

With the event marker selected, use the Property Editor to set it Name
property to Stagger 3. Also, set the Start Frame to 0, and the End Frame
to 200.

6.

Right-click on the character timeline and select Create Force Event to

create a new force event. Set the Frame of the fore to 0.

7.

Simulate the scene to generate some sample animation.

8.

Select the character.

9.

Select File > Export, and save the animation to an FBX file.

10. Close endorphin.

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Step 6: Importing endorphin animation into

Maya
In this step we will import the sample animation created in Step 5 into our Maya
scene. This motion will be applied to the endorphin import character. The import
connections created in Step 3 will drive the corresponding Maya character using
this motion.

To import endorphin animation into Maya:

1.

In Maya, open the endorphin Control Panel, and browse to the Exchange
Animation Data tab associated with the endorphin character in the
scene. There should be only one endorphin character in this scene.

2.

Click the Import Animation button, and browse to the FBX file
containing the animation generated in Step 5.

3.

Click Import to import this motion onto the endorphin import character.

4.

Use the Maya Time Slider to scrub through the animation. You should
find that the endorphin import character is correctly animated by the
animation. Importantly, however, you should also find that your Maya
control rig is now driven by the endorphin motion as well. Note that the
Maya control rig does not have any keyframed motion itselfinstead, it is
constrained to the keyframed motion of the endorphin import character.

Step 7: Modifying the imported endorphin

animation
In this step we will modify the motion of the Maya control rig. You can modify
the motion in a number of ways. In particular, on a node-by-bode basis you add
to the endorphin motion, replace the endorphin motion, or create a blend
between your motion and the endorphin motion.

To animate over the endorphin motion:

1.

We are driving the Maya control rig using the import connection
constraints created in Step 3. However, we can now animate the control
rig over this motion. That is, we can use the endorphin sample animation
as a baseline on top of which we animate. In this example, we want to
change the motion of the left hand of the character such that it reaches
backwards as though reaching for an object.

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2.

Select the Maya LeftHandCTRL node, which is represented as a blue box

graphic.

3.

Move the time slider to frame 0, and set a key.

4.

Move the time slider to frame 25, and set a key.

5.

Move the time slider to frame 10, and adjust the position of this control
node. Move the hand back so that the character is reaching behind itself,
then set a key.

6.

Scrub through the timeline to see the new Maya animation. The Maya
character is still driven by the endorphin import character; on top of this
motion we have added some additional left arm movement. In this
manner you can modify the entire endorphin motion to stylise it as
required by your target scene.

To replace the endorphin motion with animation:

1.

In the previous steps, you added to the motion transferred from

endorphin to Maya via the import connections. However, you can also
reduce the strength of the constraints that transfer this motion. By
reducing the strength of these constraints to zero, you can entirely
replace the endorphin motion with your own motion. By choosing an
intermediate setting for these constraints, you can blend between the
endorphin motion and your own motion.
There are separate position and orientation blend strength settings for
each import connection. Blend strengths may vary from a maximum of
10.0 to a minimum of 0.0.
In this example, we would like to reduce the endorphin contribution of
motion to zero for a few frames, in order to completely replace it with our
own motion.

2.

With the hand control object still selected, in the Maya timeline, rightclick and copy the key at frame 10.

3.

Move the time slider to frame 20 and paste the key.

4.

Move the time slider back to frame 10.

5.

On the Exchange Animation Data page of the endorphin Control Panel,

locate the position and orientation blend strength controls for the left
hand of your Maya character. It will be labelled LeftHandCTL /
endorphin LeftFingersJoint. These are the Maya and endorphin nodes,
respectively, that are connected by the import connection.

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6.

Click the large K button to create keys for both the translation and
rotation blend strengths. At this stage, both of these strengths should be
at their maximum (10.0).

7.

Move the time slider to frame 11.

8.

Set the translation and rotation blend strengths to their minimum (0.0).

9.

Click the K button to create new blend strength keys for both translation
and rotation.

10. Move the time slider to frame 20.

11. Click the K button to create new blend strength keys for both translation
and rotation.
12. Move the time slider to frame 25.
13. Set the translation and rotation blend strengths to their maximum (10.0).
14. Click the K button to create new blend strength keys for both translation
and rotation.
15. Scrub through the animation to see how changing the translation and
rotation blend strengths affects the transfer of motion from the
endorphin character to the Maya character.

Between frames 0 and 10, the blend strengths are at their

maximum, and the endorphin left hand motion is entirely
transferred to the Maya character.

Between frames 11 and 20, the blend strengths are zero, and
none of this motion is transferred. Any left hand motion is
entirely generated by your own keys.

Between frames 21 and 25, the blend strengths gradually

increase from zero back to their maximum. Over this range,
more and more of the endorphin left hand motion is applied to
the Maya character left hand control.

From frame 25 onwards, the blend strengths are at their

maximum, and endorphin is once again fully driving the left
hand control.

In this way, you can not only animate over the top of the endorphin
motion, you can also replace the endorphin motion altogether if required.

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Conclusion
In this tutorial, you have used the endorphin Control Panel to create, reshape and
save endorphin characters. You have also created import and export connections
to associate endorphin characters with corresponding Maya characters.
You have then created animation in endorphin, and imported it onto endorphin
characters in Maya. This motion has then driven connected Maya characters via
the import connections that you created.
You then experimented with animating the Maya control rig over the endorphin
motion, and finally, by adjusting the relative blend strengths over time, replaced
the endorphin motion with your own motion for certain periods. In this way you
have taken motion generated by endorphin, and customised it to the needs of
your Maya scene.