For those who don’t know the tool: Hive Auto Rigger from Create 3D Characters is bundled with Zoo Tools Pro for Autodesk Maya. It builds modular character rigs that do not require Zoo Tools on the animator’s machine and targets animation and game export workflows.

A face to match the body

Hive Auto Rigger can now generate full joint based facial rigs inside Maya. The update adds production ready components for eyes, brows, cheeks and mouth, completing the facial set within the existing modular framework. The mouth module, previously labelled beta, is now described as “production-ready”. Create 3D Characters states that the system supports both human and creature characters, including snouted designs.

The facial setup is joint-based rather than purely blendshape-driven. In practice, deformation is controlled by skeletal joints and skin weights. This approach is commonly favoured in real-time pipelines where predictable evaluation and engine export matter more than sculpt heavy setups.

Built for real time, on paper

According to the official product page, the facial modules are engineered for real time performance in Unreal Engine and Unity. The facial components follow the same modular logic as Hive’s body rigs. Users position modules in Maya, generate the rig, and export through standard workflows such as FBX. Hive also supports auto skin workflows and corrective blendshapes. An API is available for technical customisation, although the public documentation does not detail its scope.

Compatibility and cost

Hive Auto Rigger supports Maya 2020 and later on Windows, macOS and Linux, and works with Commercial, Indie and Educational licences. Zoo Tools Pro, including Hive, is sold via subscription. The first month costs 40 dollars and includes access to the full toolset, training and assets. Subsequent months are 10 dollars per month.

Create 3D Characters states that after the first month, users may continue to use the acquired version commercially even if they cancel. For teams already using Hive for body rigs, the addition of full facial modules removes the need for a separate face system. Whether the joint based approach meets your deformation standards is something you will need to test on real production assets.

// Official product information and pricing
// https://create3dcharacters.com/maya-hive-autorigger/

// Company homepage
// https://create3dcharacters.com/

The post Hive adds joint facial rigs to Maya first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Kangaroo Builder is a character rigging toolkit for Autodesk Maya used to build body and facial rigs, manage skinning and author blendshapes. It sits squarely in character TD land and complements Maya’s rigging tools without pretending to replace them. It is developed by Thomas Bittner and integrates directly into Maya-based pipelines.

A familiar problem, now inside the rig

Transferring facial blendshapes between meshes with different topologies remains one of the more time-consuming and error-prone tasks in character production. It usually appears late in the process, just when schedules are already tight. Artists either rebuild shapes by hand, rely on wrap-based deformation tools, or accept compromises in deformation quality. Kangaroo Builder’s latest update introduces a feature explicitly designed to address this gap from inside the rigging toolset itself.

Kangaroo Builder now includes a new topology transfer workflow called “Landmark Warp”. The tool is included in version 5.19 and later and is designed to warp one mesh onto another using user-defined landmarks, even when the two meshes have different vertex counts and edge flow. This is not a general retopology solution, nor is it presented as one.

What Landmark Warp actually does

Landmark Warp works by letting users place corresponding markers on a source mesh and a target mesh. These markers define spatial relationships rather than relying on shared topology. Once enough landmarks are placed, the system computes a deformation that warps the source mesh to match the target mesh’s overall shape. The warped result can then be used to transfer existing facial blendshapes via Kangaroo Builder’s Shape Editor.

The key point is that this process operates on shape deformation rather than topology matching. The meshes do not need identical structure, only a reasonably comparable form. This makes the tool applicable to character variants, cleaned-up scan data, or iterative design changes where topology has drifted but proportions remain recognisable.

The developer notes that Landmark Warp relies on SciPy, a Python scientific computing library, which must be installed and accessible in Maya’s Python environment. This dependency is documented but may be overlooked in locked-down studio setups, which is worth flagging early in any evaluation.

Intended use, and what it is not

Nobody would describe Landmark Warp as a fully automatic solution. The quality of the result depends heavily on landmark placement and mesh preparation. Internal geometry such as teeth, tongues, or inner mouth surfaces can interfere with the warp unless managed carefully. This is stated explicitly in the documentation.

It is also not intended to replace dedicated wrap deformers or offline retargeting tools. Instead, the value proposition is convenience and context. Landmark Warp lives inside the same environment used to build and edit the rig. For many teams, that maybe matters more than absolute automation.

Why this matters in production

Topology drift is a fact of life in character production. Directors ask for changes. Scans get cleaned. Game and film assets diverge. Facial rigs, however, tend to be built once and guarded carefully. Any tool that reduces the cost of reusing that work deserves attention.

By embedding topology transfer directly into a rigging toolkit, Kangaroo is addressing a real and persistent problem. The approach is conservative rather than flashy. It assumes skilled users, manual setup, and informed judgement. That will suit experienced character TDs more than newcomers, which aligns with the tool’s existing audience.

It also reflects a broader trend of rigging tools absorbing tasks that used to live in separate utilities. Whether this is desirable depends on pipeline philosophy, but it does reduce context switching, which is often where errors creep in.

Compatibility and licensing

Kangaroo Builder runs on Autodesk Maya. At the time of writing, version 5.19 supports Maya 2023 and later on Windows and macOS, and Maya 2024 and later on Linux. Landmark Warp is included in the standard distribution and does not require a separate licence.

Licensing remains unchanged. Kangaroo Builder is free for non-commercial use, including students and personal projects. Commercial licences are available for indie users and studios. Pricing is published on the official website and may change, so readers should check the current terms directl.

At the time of writing, these are the prices: (Copied from the site)

Indy Perpetual – 220 USD
For freelancers making less than 85k USD per year in revenue

Single Perpetual – 400 USD
Recommended for or small studios with only one rigger

3 Seats Perpetual – 1000 USD
Recommended for small studios

6 Seats Perpetual – 1800 USD

Unlimited Seats Perpetual – 4000 USD

What is still unclear

No public information is available on how Landmark Warp behaves on extreme topology differences or highly stylised characters. There is also no data on performance with dense meshes or very large blendshape libraries. These gaps do not invalidate the feature, but they do mean that due diligence is required before deployment.

As with any rigging or deformation tool, results will depend on mesh quality, landmark placement, and user expertise. Early adopters should expect iteration, not miracles. Anyone hoping for a one-click solution will be dissapointed. s always, new tools and workflow changes should be tested thoroughly on representative assets before being introduced into active production.

The post Kangaroo Builder learns to move faces between meshes first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Character rigger Julen Armendariz has released WaveManager, a free Python-based tool for Autodesk Maya. The script generates procedural wave motion on any hierarchy of controls, using Maya’s native expression system instead of keyframes. WaveManager operates entirely through driven expressions, allowing a single driver control to manipulate the entire wave behaviour across a chain of objects. This approach makes it especially suitable for rigging and animating tentacles, tails, ropes, wings, or any FK-based control structure.

One Control to Rule Them All

All motion parameters are centralised in one driver. The available attributes—amplitude, speed, length, falloff, and offset—can be tuned independently or together, and they act simultaneously on the X, Y, and Z axes. The tool applies the wave procedurally, so timing and spacing adjustments propagate across the hierarchy in real time. Armendariz includes an optional Create Offset Group function. When enabled, the script inserts an additional node above each control, isolating the wave expression from the original animation channels. This keeps rigs non-destructive and clean for keyframed animation.

Fully Expression-Based

Unlike tools that rely on dynamic simulations or baked motion, WaveManager uses pure expressions in Maya. The result is a lightweight, deterministic system: behaviour is fully defined by a mathematical expression, with no simulation cache or physics overhead. Expressions can be removed per control or cleared globally with one command, returning the rig to its original state. The tool also includes Select Childs, an option that automatically collects all children of a selected control, simplifying setup for long FK chains.

Installation and Workflow

WaveManager is distributed as a single Python file. Installation is straightforward: drag and drop WaveManager.py into the Maya viewport, or execute it from the Script Editor. Users can create a custom shelf button for faster access. To use the tool, select the controls that should carry the wave, assign a single driver, and configure the desired parameters. All motion remains non-destructive and can be adjusted interactively during animation.

Non-Destructive, Animation-Friendly Design

Because expressions are stored separately from animation channels, artists can combine procedural motion with hand animation. This workflow is particularly valuable for rigging setups that require secondary motion or layered deformation without simulation. All expressions can be deleted at any time, leaving no residual data in the scene. The tool is entirely Python-based and uses only Maya’s built-in features, which ensures compatibility and avoids reliance on external plugins or compiled code.

Availability

WaveManager version 1.0 is available now as a free download under a pay-what-you-want model (listed at €0+). It can be obtained via Julen Armendariz’s release page. As with any utility, users should test the tool thoroughly before integrating it into production pipelines.

The post Free WaveManager Brings Procedural Motion to Maya first appeared on DIGITAL PRODUCTION and was written by Bela Beier.