Feel free to modify these scripts and share them.
What's new in v6.01?
Documentation Index
Installation
Contributors
Add Multiple Influence ObjectsImproved Tools
Attribute Collection
Bake Redirection
Bridge
Copy Name Space
Create Circle Under Transform
Delete Edge and Cut UVs
Dynamic Secondary Animation
Fix Missing References
FTI Export
Map Unmapped Faces
Merge Selected Border Edges
Merge Selected Vertices by Distance
Merge Vertices by Distance
Mirror Animation
Move Object Pivot To Component Centre
Node Created Callback
Organize Files
Prefix to Namespace
Proportional Transform
Replicate Attribute
Reverse Animation
Setup Arm
Setup Back
Smooth Face Mapping
Stretchy IK
Setup Foot: This now has a third option for the traditional IK foot setup with three IK Handles. It also provides options to specify the foot and knee control objects.Removed Tools
The following tools have been removed from the Bonus Tools as the functionality is now natively available in Maya:
Delete History and Keep Skinning: This is now standard in Maya 6.0 under Skin->Edit Smooth Skin
Find Character: This is now standard in trax in Maya 6.0
Geometry Transmogrifier: This is now standard in Maya 6.0 with Soft Modification
Graph Clip Weight: This is now standard in trax in Maya 6.0
Invert Component Selection: This is now standard in Maya 6.0 with Edit->Invert Selection
Mirror Cut: This is now standard in Maya 6.0 under the Polygons menu
Reorient Animated Character: This is now standard in Maya 6.0 with Character->Redire
Select Face Shader: This is now standard in Maya 6.0 with RMB->Materials->Material Attributes
Test Render Node: This is now standard in Maya 6.0 in the HyperShade
Test Render Node Sequence: This is now standard in Maya 6.0 in the HyperShade
Triangle Count HUD: This is now standard in Maya 6.0 with Display->Heads Up Display->Poly Count
Trim Clip After: This is now standard in trax in Maya 6.0
Trim Clip Before: This is now standard in trax in Maya 6.0
Vertex Normals Tool: This is now standard in Maya 6.0 with Edit Polygons->Normals->Vertex Normal Edit Tool
Window Builder: This has been replaced by Attribute Collection
To use, select the destination object or node, followed by the object or node to copy from. Highlight the attributes you wish to copy in the channel box and Bonus Tools->Copy Attributes.
To use, select the destination object or node, followed by the object or node to copy from. Highlight the attributes you wish to copy in the channel box and Bonus Tools->Replicate Attributes.
To use, select attributes in the Channel Box to add to the window and Bonus Tools->Window Builder.
To use, select an object and Bonus Tools-> Long List Attributes.
To use, with components selected, Bonus Tools->Miscellaneous->Surface Area. The surface area will be printed to the script editor and feedback line.
To use, with components selected, Bonus Tools->Miscellaneous->Volume. The volume will be printed to the script editor and feedback line.
TOOL OPTIONS:
Decision Method: There are two modes that determine the decision-making method used to propogate the edge selection. With "By Edge Order", the next edge is chosen based on the "edge order" about a vertex. With "By Angle", the next edge is determined by the "edge orientation" about a vertex. Propogation also terminates when a mesh border is encountered, or when a vertex branches an "odd" number of edges with "By Edge Order" mode. "By Edge Order" works better for regular, grid-like topologies, or topologies with "predictable" edge branching. "By Angle" will work with any mesh topology in general, looking for the *straightest possible* edgepath.
Max New Edge Paths: This value provides a safegaurd to limit the number of new edgepaths computed by the tool. It specifies the maximum number of edgepaths that is allowable per drag-selection of initial edges to propogate. The higher the value, the longer you wait, expecially for long edgepaths. If too many initial edges are selected, the edgepaths will not be computed, and you will get a warning message.
Max Edges Per Path: Another safegaurd value to ensure that very long edgepaths are not encountered. It specifies the maximum number of edges an edgepath is allowed to have. This also allows you to control how many edges the edgepath will contain.
Border Corner Angle: Edgepath termination on "border" edgepaths end when a sharp "corner" is encountered. This specifies the actual angle that defines a "sharp" angle. Any edges in the edgepath that form angles with the previous edge that are smaller than (i.e. "sharper" than) this Border Corner Angle will terminate the edgepath propogation.
Self Intersection:OBSOLETE. Removed in this version, due to the performance hit needed to detect self-intersecting edgepaths. This rarely happens.
Auto Component Conversion: Converts the resultant edgepath into either vertices or UVs for you. In order to DEselect this row of vertices or UVs, you must drag over an edge whose endpoints are vertices or UVs that BOTH lie on the row of vertices/UVs to deselect.
Auto Backface Culling: Recommended to be left on, since it prevents you from accidently selecting edges at the back of the mesh, that aren't facing you. It clears edges of faces that don't face the user, making a cleaner and clearer view of the edges that are in view of the user, making edgepath selection easier. It is turned off automatically when you exit the tool.
Auto Flush Undo: This is recommended to be checked "on" ONLY if you make MANY subsequent, consecutive calls to this tool, often when one is in a "modeling phase". This can speed up this tool significantly, especially for users who set their undo queue to have a very high number, or to "infinite". When checked "on", you should keep in mind though, that "EVERYTHING BEFORE THE INVOCATION OF THE TOOL CANNOT BE UNDONE". Default is "off". When "on", the undo queue is cleared before each call to compute the edgepaths. This tool can take up much memory when computing very long edgepaths, which makes it more sluggish in subsequent invocations. Or alternatively, you can clear the undo queue just once in a while yourself, by hitting the "Flush Undo" button in this tool's options window.
LIMITATIONS:
TOOL OPTIONS:
Traversal Mode: As indicated above, there are two modes to this tool that determine the algorithm used to propogate the facepath. In "Opposite Edge" mode, which is the default, the "next face" in a facepath is determined by finding the face that's "most perpendicular" to the current face's "separator edge" (the edge shared by the "current face" with the "previous face"). This mode computes facepaths quicker, and is thus the default. In "Use Edgepath" mode, an "edgepath" is first computed using the initial edge, which is then used as the basis for the facepath, by finding all faces that are ADJACENT to the edgepath. So the facepath is "parallel" to the initial edge, and the initial face (which was simultaneosly dragged over with the initial edge) indicates "which side" of the edgepath the adjacent faces to it lie on, forming the final facepath. The edgepath propogation is controlled by the "Edgepath Decision Method" and "Border Corner Angle" options described below. This mode is more computationally expensive than the first.
Max Faces Per Path: A safegaurd value to ensure that very long facepaths are terminated early. It specifies the maximum number of faces a facepath is allowed to have. This also allows you to control how many faces the facepath will contain.
Edgepath Decision: Only relevant when traversal mode is set to "Use Edgepath". There are two modes that determine the decision-making method used to propogate the edgepath computed as basis for the final facepath. With "By Edge Order", the next edge is chosen based on the "edge order" about a vertex. With "By Angle", the next edge is determined by the "edge orientation" about a vertex. Propogation also terminates when a mesh border is encountered, or when a vertex branches an "odd" number of edges with "By Edge Order" mode. "By Edge Order" works better for regular, grid-like topologies, or topologies with "predictable" edge branching. "By Angle" will work with any mesh topology in general, looking for the *straightest possible* edgepath.
Border Corner Angle: Again, only relevant when traversal mode is set to "Use Edgepath". Edgepath termination on "border" edgepaths end when a sharp "corner" is encountered. This specifies the actual angle that defines a "sharp" angle. Any edges in the edgepath that form angles with the previous edge that are smaller than (i.e. "sharper" than) this Border Corner Angle will terminate the edgepath propogation.
Auto Component Conversion: Converts the resultant facepath into edges, vertices or UVs for you. In order to DEselect this "face row" of edges, vertices or UVs, you must drag over a face in that row whose composite edges, vertices or UVs must ALL be currently selected (along with the initial edge, or an edge whose connected faces must BOTH contain ALL composite edges, verts or UVs that must be currently selected).
Auto Backface Culling: Recommended to be left on, since it prevents you from accidently selecting edges or faces at the back of the mesh that aren't facing you. It clears edges and faces that don't face the user, making a cleaner and clearer view of the edges and faces that are in view to the user, making facepath selection easier. It is turned off automatically when you exit the tool.
Auto Flush Undo: This is recommended to be checked "on" ONLY if you make MANY subsequent, consecutive calls to this tool (and/or "edgePath" and/or "facePathSplit"), often when one is in a "modeling phase". This can speed up this tool significantly, especially for users who set their undo queue to have a very high number, or to "infinite". When checked "on", you should keep in mind though, that "EVERYTHING BEFORE THE INVOCATION OF THE TOOL CANNOT BE UNDONE". Default is "off". When "on", the undo queue is cleared before each call to compute the facepaths. This tool can take up much memory when computing very long facepaths, which makes it more sluggish in subsequent invocations. Or alternatively, you can clear the undo queue just once in a while yourself, by hitting the "Flush Undo" button in this tool's options window.
LIMITATIONS:
Select Edges Contained By Vertices
This command converts a selection of vertices into a selection of edges
that interconnect the original vertices (i.e. only edges whose
composite
vertices are contained in the original vertex selection). The
command's
return value is a string array that contains the names of all of the
new
contained edges.
Select Faces Contained By Vertices
This command converts a selection of vertices into a selection of faces
that interconnect the original vertices (i.e. only faces whose
composite
vertices are contained in the original vertex selection). The
command's
return value is a string array that contains the names of all of the
new
contained faces.
Select Faces Contained By Edges
This command converts a selection of edges into a selection of faces
that interconnect the original edges (i.e. only faces whose composite
edges
are contained in the original edge selection). The command's
return
value is a string array that contains the names of all of the new
contained
faces.
Select Poly Projection Node Faces
This command selects the poly faces that are affected by the poly
projection
node that is highlighted in the channel box. Note that the selected
faces
may be more than expected if there are multiple projection nodes
applied
to the mesh. Projection nodes further downstream may override the
affect
of faces mapped by a previous projection node.
Note: These four commands are plug-ins. If the plug-ins cannot be found, they will not be loaded and the tools will be unavailable.
To use, select a face and Bonus Tools->Select Face Shader.
To hide selected faces, Bonus Tools->Show/Hide Faces->Hide Faces.
To show all hidden faces, Bonus Tools->Show/Hide Faces->Show Faces.
Sometimes the display may need refreshing. This can happen when an object with hidden faces is duplicated or if an undo is perfromed after hiding faces. To refresh the view, Bonus Tools->Show/Hide Faces->Refresh Face Display.
To toggle the count, Bonus Tools->Triangle Count HUD.
It is provided because of the snapping and pivot limitations of the manipulator for the Polygon->moveComponent tool. All translation, scaling, snapping, and pivot movement will be done on the handle itself.
Additionally you can also rotate the handle to change the orientation of the move axis. You will need to translate in object mode to take advantage of this.
You can also easily change the relative snap "from" point by moving the pivot of the handle itself.
When using this handle, you will not have to toggle from a local manipulator to a global manipulator, which is necessary when using the standard moveComponent. It will also allow you to snap along a specific axis when moving, which is something you can not do when using standard moveComponent manip.
To use, Bonus Tools->Component Translate Manipulator. Move the
handle
as you would move any other object. You may delete the handle when you
no longer need it.
To use, select some polygon components and Bonus Tools->Move Object Pivot To Component Centre.
To activate the tool, Bonus Tools->Poly Poke Tool. When the tool
is
active, poke a face.
To activate the tool, Bonus Tools->Poly Wedge Tool. When the tool
is
active you will be prompted to select faces and edges for wedging.
To activate the tool, Bonus Tools->Poly Flip Edge Tool. When the
tool
is active, flip edges.
To activate the tool, Bonus Tools->Poly Subdivide Tool. When the
tool
is active, subdivide faces or edges.
To use, Bonus Tools->Create Spiral Curve.
TOOL OPTIONS:
Traversal Mode: As indicated above, there are two modes to this tool that determine the algorithm used to propogate the facepath split. In "Opposite Edge" mode, which is the default, the "next face" in a facepath is determined by finding the face that's "most perpendicular" to the current face's "separator edge" (the edge shared by the "current face" with the "previous face"). This mode computes facepath splits quicker, and is thus the default. In "Use Edgepath" mode, an "edgepath" is first computed using the initial edge, which is then used as the basis for the facepath split, by finding all faces that are ADJACENT to the edgepath, then splitting them. So the facepath split is "parallel" to the initial edge, and the initial face (which was simultaneosly dragged over with the initial edge) indicates "which side" of the edgepath the adjacent faces to split lie on. The edgepath propogation is controlled by the "Edgepath Decision Method" and "Border Corner Angle" options described below. This mode is more computationally expensive than the first, but has the benefit of being able to specify where the facepath will be split from the edgepath (see "Split Distance" below).
Max Faces To Split: A safegaurd value to ensure that very long facepath splits are terminated early. It specifies the maximum number of faces to split a facepath. This also allows you to control how many faces to split a facepath.
Subdivisions: Just like the regular split poly tool, each new edge inserted into each face that's split can be further subdivided into smaller edges themselves. The number of subdivisions in each new edge is controlled by this setting. The default is set at 1.
Edgepath Decision: Only relevant when traversal mode is set to "Use Edgepath". There are two modes that determine the decision-making method used to propogate the edgepath computed as basis for the final split facepath. With "By Edge Order", the next edge is chosen based on the "edge order" about a vertex. With "By Angle", the next edge is determined by the "edge orientation" about a vertex. Propogation also terminates when a mesh border is encountered, or when a vertex branches an "odd" number of edges with "By Edge Order" mode. "By Edge Order" works better for regular, grid-like topologies, or topologies with "predictable" edge branching. "By Angle" will work with any mesh topology in general, looking for the *straightest possible* edgepath.
Border Corner Angle: Again, only relevant when traversal mode is set to "Use Edgepath". Edgepath termination on "border" edgepaths end when a sharp "corner" is encountered. This specifies the actual angle that defines a "sharp" angle. Any edges in the edgepath that form angles with the previous edge that are smaller than (i.e. "sharper" than) this Border Corner Angle will terminate the edgepath propogation.
Split Distance: Again, only relevant when traversal mode is set to "Use Edgepath". This value ranges from 0 to 1, and indicates the "distance from the edgepath" where each face in the facepath (adjacent to the edgepath) will be split. Values closer to 0 indicate that the facepath wll be split "closer" to the edgepath, and values closer to 1 mean the split will be further away. DO NOT SET THIS VALUE TO *EXACTLY* 0 OR 1 - this may generate corrupt geometry!
Auto Backface Culling: Recommended to be left on, since it prevents you from accidently selecting edges or faces at the back of the mesh that aren't facing you. It clears edges and faces that don't face the user, making a cleaner and clearer view of the edges and faces that are in view to the user, making facepath selection easier. It is turned off automatically when you exit the tool.
Auto Flush Undo: This is recommended to be checked "on" ONLY if you make MANY subsequent, consecutive calls to this tool (and/or "edgePath" and/or "facePath"), often when one is in a "modeling phase". This can speed up this tool significantly, especially for users who set their undo queue to have a very high number, or to "infinite". When checked "on", you should keep in mind though, that "EVERYTHING BEFORE THE INVOCATION OF THE TOOL CANNOT BE UNDONE". Default is "off". When "on", the undo queue is cleared before each call to split the facepaths. This tool can take up much memory when splitting very long facepaths, which makes it more sluggish in subsequent invocations. Or alternatively, you can clear the undo queue just once in a while yourself, by hitting the "Flush Undo" button in this tool's options window.
LIMITATIONS:
QUICKY GUIDE
Since it seems that all the mouse-button/modifier combinations may
be somewhat daunting to remember, this little table will summarize the
tool's functions in a nutshell, hopefully making things clearer and
easier
to remember:
Mouse Button/Control Held?
|
Left Mouse Button
|
Middle Mouse Button
|
NO, CTRL RELEASED
|
"Splits" all edges that are drawn over,
WITHOUT
any "vertex -snapping".
|
"Subdivides" all edges drawn over.
For *single*
slice subdivides, new verts are moved to where stroke crosses edges.
|
YES, CTRL PRESSED
|
"Splits" all edges that drawn over WITH
"vertex-snapping"
at stroke's start/end.
|
Same as above (i.e. <CONTROL> has NO
effect when
drawing with the MMB).
|
IMPORTANT IMPROVEMENTS AND RELEASE NOTES:
The tool's "toolButton" now is implemented as a "shelfButton", to avoid
a regressive 4.0 bug.
CONTROLS:
The tool's features can be explained as its controls are being
described
here.
Starting and ending draw stroke on the *same face*: This is how you "cycle" a split (i.e. the last edge's new split vert(s) will automatically be connected to the first edge's new split vert(s) with a new edge between them).
Left-mouse button (LMB) vs. Middle-mouse button (MMB):
Point-clicking while holding <CONTROL> and using the "middle
mouse button" (MMB) will toggle ON/OFF "vertex display" on the current
selected poly mesh. It is a good idea to have the vertices of a
mesh
displayed, especially for "Subdivisions>1" when doing "splits" (i.e.
LMB
drawing), or when doing "subdivides" (i.e. MMB drawing).
MARQUEE-SELECTING: With "nothing" selected, this tool operates like the regular Maya (marquee) Selection Tool, but only "poly meshes" can be selected (i.e. simply mouse-button press and drag a selection box around the mesh that you wish to split/subdivide).
PRESSING MOUSE BUTTON: Starts the draw stroke or selection marquee.
DRAGGING: Dragging the mouse while holding down a mouse button simply draws the stroke used for splitting or subdividing the selected mesh. However, in "line mode" (see below), dragging will also interactively "place" the endpoint of the most recent "line segment" on the stroke which would be "floating around" until you release the mouse button, finalizing the line segment.
RELEASING MOUSE BUTTON: Ends the draw stroke - clears it from view, then computes and does the split/subdivide. Also, when <SHIFT> is held down, "line mode" is invoked each time a mouse button is released.
<SHIFT> MODIFIER: As mentioned right above, holding down <SHIFT> and releasing a mouse button will invoke "line mode". "Line mode" puts the tool into a state that allows you to append "straight line segments" to the draw stroke. "Multiple" line segments in the same stroke is possible (simply keep <SHIFT> held down throughout). Note that after you release the mouse button while holding <SHIFT>, you are merely letting the tool know that you are in "line mode" (and note how the stroke does not yet end and the split is not yet computed). In order to actually "drag out a segment", you must KEEP ON HOLDING <SHIFT> while dragging. If you do not, then line mode ceases, and the stroke draws normally again. This is how you can move in and out of line mode within the same stroke. The line can only be seen with the LMB or MMB pressed. In short, ALWAYS HOLD DOWN A MOUSE BUTTON WHILE DRAGGING OUT A LINE SEGMENT!
<CONTROL> MODIFIER: You're probably going to be using this modifier the most. It can do several things:
TOOL OPTIONS:
Double-click on the tool's shelf button or Sacred Tool icon to reveal
the options window. If you find that for certain options, the value you
desire goes beyond a slider's range, you can try typing the value into
the slider's "numeric field" instead.
"Min Draw Sample Size": This tool's algorithm works by sampling the mesh with "selection voxels", or little boxes that are created as you draw. This setting sets the smallest possible size of these voxels. It is suggested that you play around with different sizes to see which one works best for you. Default is set at "25" pixels. Larger sample sizes give a better chance of successful splits, but leave "clunkier/segmented" draw strokes. Try NOT to set this to be TOO SMALL (e.g. 2, etc...), but it may be necessary, especially when splitting really tight/convoluted areas in a mesh.
"Multi-Slices": New to this version, the tool can now have "multiple adjacent splits" occur within a single draw stroke that is, to have "multiple slices". This option indicates the "number of slices" that each stroke will split/subdivide each "edge split path" into.
"Multi-Slice Dropoff Power": When "Multi-Slices" is set to be >=2, the "spacing" of the slices is determined from the *closest endpoint* from where the stroke crosses each edge for each edge drawn over. This setting sets how the spacing "drops off" from the closest endpoint. The default is "1.0", which is a "linear" dropoff, meaning the spacing between each slice with be "uniform". Values >1.0 means spacing distances between slices "further away" from the closest endpoint will be "greater" than slice distances "closer to" the closest endpoint and greater values will yield more dramatic dropoff. Values <1.0 do the exact opposite. Warning: Please do NOT set this option to be *EXACTLY 0.0*!
"Subdivisions": The number of split intervals between each edge that was split.
"Edge-Snapping": Checking this option ON indicates that for each stroke, the split/subdivide distances on each edge will snap to specific values, specified by the next options. Checking the option OFF (default) means the split distances are dictated by where the draw stroke crosses each edge.
"Edge-Snapping Type": There are TWO kinds "edge-snapping":
"Snapping Endpoint Offset": Applies only for "Closest Endpoint" edge-snapping. It specifies the "distance from the closest vertex to snap to" that the split should be offset from. For instance, a value of 0.5 means that the splits will snap exactly in the "middle" of all edges drawn over. Values range from 0.0 to 1.0, but BE CAREFUL SETTING THIS TO *EXACTLY* 0.0 OR 1.0! This may lead to "invalid splits", and thus SPLIT FAILURE!
"Number Of Snap Intervals": Applies only for "Edge Intervals" edge-snapping. It specifies the "number of imaginary intervals to divide up an edge" for snapping. For instance, if you set it to "3", your splits will snap to 0, 0.333, 0.666 and 1.0. For "10", it would be 0.0, 0.1, 0.2, ... , 1.0, and so forth. Setting a value of "1" is strongly NOT recommended, and be careful when dragging TOO CLOSE to the edge endpoint verts when using "Edge Interval" edge-snapping (i.e. you'll end up splitting consecutive edges with split distances of 0.0 or 1.0, which could cause split failure).
"Select New Verts Upon Exit": For each new split/subdivide, the new vertices introduced to the mesh can be automatically selected for the user upon exiting the Draw Split Tool (i.e. choosing ANOTHER tool). Choosing one of the following settings for this option will affect the new selection in the following manners: 1)Choosing "Never" means the new vertices will NOT be selected. Exiting the Draw Split Tool simply retains the current mesh being split/subdivided as the final selection. 2)Choosing "Last Split" (default) will select only the vertices generated by the MOST RECENT split/subdivide, upon exiting the Draw Split Tool. 3)Choosing "All Splits On Mesh" will select ALL vertices generated by ALL split and/or subdivide operations done on the current mesh, *SINCE THE LAST TIME THE MESH WAS SELECTED*.
"Auto Backface Culling": If checked ON, this Will always automatically turn ON "backface culling" on ALL poly meshes in the scene when this tool is invoked, and will also automatically turn it OFF when exiting the tool. You would want it checked ON if you're splitting/subdividing only those edges belonging to faces "facing you" (i.e. split "at the surface" only), and you'd want it checked OFF when splitting/subdividing *RIGHT THROUGH* the selected mesh. Default is set to "ON".
TIPS:
QUICKY GUIDE:
Since it seems that all the reduction-mode/mouse-button/modifier
combinations
may be a little somewhat daunting to remember, these two little tables
will summarize the tool's functions, hopefully making things clearer
and
easier to remember:
Table #1: "Reduction Type" = "Collapse E./Merge V."
Mouse Button/Control Held?
|
Left Mouse Button
|
Middle Mouse Button
|
NO, CTRL RELEASED
|
"Collapse Edge" on all edges drawn over,
WITHOUT
any "edge-snapping".
|
"Merge Vertex" on ALL endpoint vertices of
any edges
that are drawn over.
|
YES, CTRL PRESSED
|
"Collapse Edge" all edges drawn over, WITH
"edge-snapping".
|
"Merge Vertex" ONLY *ONE* VERTEX PER
EDGE
on any edges that are drawn over.
|
Table #2: "Reduction Type" = "Delete Edges/Verts":
Mouse Button/Control Held?
|
Left Mouse Button
|
Middle Mouse Button
|
NO, CTRL RELEASED
|
Delete all edges drawn over.
Equivalent to
selecting those edges and hitting <Delete>.
|
"Extended" delete on all edges drawn
over.
Equivalent to selecting those edges and doing an "Edit
Polygons->Delete
Edge".
|
YES, CTRL PRESSED
|
Delete *ONE* VERTEX PER EDGE on any
edges
that are drawn over (the vert closer to draw stroke).
|
"Extended" delete on *ONE* VERTEX
PER EDGE
on any edges that are drawn over. Equivalent to "Edit
Polygons->Delete
Vertex" (vert closest to stroke).
|
CONTROLS:
The tool's features can be explained as its controls are being
described
here.
Left-mouse
button (LMB) vs Middle-mouse button (MMB):
This tool is broken up into TWO modes ("Collapse E./Merge V." and
"Delete
Edges/Verts"):
Within the first mode ("Collapse E./Merge V."), ending the draw stroke with the LMB shall "collapse" edges drawn over, where using the MMB "merges" the "endpoint vertices" of edges drawn over.
Within the second mode ("Delete Edges/Verts"), ending the draw stroke with the LMB shall do a "normal delete" on the edges or verts (if <CONTROL> also held) that are drawn over (equivalent of selecting those edges/verts and hitting <Delete/Backspace>. Note that you can only delete "winged vertices" with the LMB. Using the MMB does an "extended delete" (equivalent of doing "Edit Polygons->Delete Edge" or "Edit Polygons->Delete Vertex"). What's the difference, you ask? Well, for "edges" doing an extended delete will first delete the edge itself, but in addition, will remove the edges' "endpoint verts" as well if they are "winged-vertices". For "vertices", doing an extended delete will delete the vertices themselves, plus any "edges connected" to them.
PRESSING
<ENTER>:
Exits the Draw Reduce Tool, and returns to the regular "Select Tool".
<BACKSPACE>
OR <DELETE>
KEYS:
Abort the current drawn stroke (especially in "line mode"), without
completing reduction.
POINT-CLICKS:
Quickly pressing and releasing a mouse button WITHOUT DRAGGING invokes
a few extra tool features:
·Point-clicking WITHOUT holding any modifiers will select another mesh for the tool to operate on. Doing this on "empty space" simply deselects the current selected poly mesh (i.e select "nothing").
·Point-clicking while holding <CONTROL>, and using the LMB will toggle ON/OFF "backface-culling" for the current selected poly mesh. With backface-culling ON, only ONE side of the selected poly mesh shall be reduced at a time, where having it OFF reduces ALL sides at once.
·Point-clicking while holding <CONTROL>, and using the MMB will toggle ON/OFF "vertex display" on the current selected poly mesh. It is a good idea to have the vertices of a mesh displayed while reducing, especially when it is essential to distinguish "winged-vertices" and their connected edges.
MARQUEE-SELECTING:
With "nothing" selected, this tool operates like the regular Maya
(Marquee)
Selection Tool, but only "poly meshes" can be selected (i.e. simply
mouse-button
press and drag a selection box around the mesh that you wish to
reduce).
PRESSING
MOUSE-BUTTON:
Starts the draw stroke or selection marquee.
DRAGGING:
Dragging the mouse while holding down a mouse-button simply draws the
stroke used for reducing the selected mesh. However, in "line
mode"
(see below), dragging will also interactively "place" the endpoint of
the
most recent "line segment" on the stroke, which would be "floating
around"
until you release the mouse button, which finalizes the line segment.
RELEASING MOUSE
BUTTON:
Ends the draw stroke - clears it from view, then computes and does
the reduction. Also, if <SHIFT> is held down, "line mode"
is invoked
each time a mouse button is released.
<SHIFT>
MODIFIER:
As mentioned right above, holding down <SHIFT> and releasing a
mouse
button will invoke "line mode". "Line mode" puts the tool into a
state that allows you to append "straight line segments" to the draw
stroke.
"Multiple" line segments in the same stroke is possible (simply keep
<SHIFT>
held down throughout). Note that after you release the mouse
button
while holding <SHIFT>, you are merely letting the tool know that
you
are in "line mode" (and note how the stroke does not yet end and the
reduction
is not yet computed). In order to actually "drag out a segment",
you must KEEP ON HOLDING <SHIFT> while dragging. If you do
not,
then line mode ceases, and the stroke draws normally again. This
is how you can move in and out of line mode within the same stroke. The
line can only be seen with the LMB or MMB *PRESSED*. In other
words,
ALWAYS HOLD DOWN A MOUSE BUTTON WHILE DRAGGING OUT A LINE SEGMENT!
<CONTROL>
MODIFIER:
This modifier key does FIVE things for this tool, depending on which
reduction type is being used:
If "collapsing edges" (i.e. "Reduction Type" = "Collapse E./Merge V." and you use the LMB to end your stroke), then holding <CONTROL> while DRAGGING the mouse enables "edge-snapping" for only the edges drawn over when <CONTROL> was held. Any edges drawn over with <CONTROL> held shall be collapsed AT PRECISE DISTANCES along them (see "Edge-Snapping" options below for more details).
If "merging vertices" (i.e. "Reduction Type" = "Collapse E./Merge V." and you use the MMB to end your stroke), then holding <CONTROL> while DRAGGING the mouse will include ONLY *ONE* of the edge's endpoint vertices in the merge operation for only the edges drawn over when <CONTROL> was held. The vertex that is chosen within each edge is the one that's *CLOSEST* to the crossing point where the drawn stroke crossed over the edge.
If doing "normal deletion" (i.e. "Reduction Type" = "Delete Edges/Verts" and you use the LMB to end your stroke), then holding <CONTROL> while DRAGGING the mouse will choose ONLY *ONE* of the edge's endpoint vertices to delete, in ALL edges drawn over. The vertex that is chosen within each edge is the one that's *CLOSEST* to the crossing point where the drawn stroke crossed over the edge.
Does exactly the same as 3), but for "EXTENDED deletion". To be precise and long-winded: If doing "EXTENDED deletion" (i.e. "Reduction Type" = "Delete Edges/Verts" and you use the MMB to end your stroke), then holding <CONTROL> while DRAGGING the mouse will choose ONLY *ONE* of the edge's endpoint vertices to do an *extended* delete on, in ALL edges drawn over. The vertex that is chosen within each edge is the one that's *CLOSEST* to the crossing point where the drawn stroke crossed over the edge.
See above to see how <CONTROL> affects "point-clicks".
Hold down BOTH <SHIFT> *AND* <CONTROL> together to SIMULTANEOUSLY have both "line mode" AND any one of the effects that holding <CONTROL> provides (see previous section).
Holding
down BOTH LMB *AND* MMB simultaneously only serves a minor purpose, and
that is to complete the stroke while still in "line mode" WITHOUT
HAVING
TO RELEASE <SHIFT>. For instance, say you're holding down
<SHIFT>
and dragging around to place the stroke's end line segment on your draw
stroke. Normally, in order to complete the stroke (and hence
compute
the crossed), one would FIRST "release <SHIFT>", THEN release the
mouse
button. But this tool has been designed so that you can complete
the tool by holding down the *OTHER* mouse button, and releasing the
"original"
mouse button to end the stroke while in line mode. Just a minor
little
tidbit of a feature. Some also find this little mouse manoever
somewhat
"therapeutic" in an odd little way.
TOOL OPTIONS:
Min Draw Sample Size: This tool's algorithm works by sampling the mesh with "selection voxels", or little boxes that are created as you draw. This setting sets the smallest possible size of these voxels. It is suggested that you play around with different sizes to see which one works best for you. Default is set at "25" pixels. Larger sample sizes give a better chance of successful reduction, but leave "clunkier/segmented" draw strokes. Try NOT to set this to be TOO SMALL (e.g. 2, etc...), but it may be necessary, especially when reducing really tight/convoluted areas in a mesh.
Reduction Type: There are two modes of reduction:
Choosing
"Collapse E./Merge V." will either use the drawn stroke to "collapse"
all
"edges" drawn over (using LMB to draw), or "merge" together the
endpoint
"vertices" of the drawn over edges into one vertex (using MMB to draw).
Choosing "Delete Edges/Verts" will either use the drawn stroke to do
a "normal deletion" of the edges/verts drawn over (using LMB to draw),
or do an "extended deletion" of the edge/verts drawn over (using MMB to
draw).
Merge Vertices At: For the "Merge V." operation (i.e. "Reduction Type" = "Collapse E./Merge V." and using MMB to draw), there are two ways the merged vertices may end up:
Choosing
"End Of Stroke" which is the default, means that the drawn over
edge-verts
shall be collapsed to the point on the mesh where the draw stroke
ends.
If your drawn stroke does NOT end on a mesh, the verts will
automatically
be collapsed at their "centroid" (see next option).
Choosing "Centroid" means that the drawn over edge-verts shall be
collapsed
at the "averaged center" of all of those vertices.
Edge-Snapping When: This indicates when the user can have (or NOT have) edge-snapping enabled for collapsing edges, or similar "endpoint-related" variances of the tool when <CONTROL> is held. Three choices:
Choosing
"Never" means edge-snapping will NEVER be enabled.
Choosing "CTL+Drag" means edge-snapping will be enabled ONLY when
<CONTROL>
is pressed while the mouse is being dragged. This means you will
be able to edge-snap "some" drawn-over edges, and not others in the
SAME
stroke, depending on when <CONTROL> is held or not.
Choosing "Always" means edge-snapping will ALWAYS be enabled,
regardless
of whether <CONTROL> is held down, or not.
Edge-Snapping Type: There are TWO kinds "edge-snapping" for collapsing edges:
The
first kind of edge-snapping is by "Closest Endpoint", which snaps the
collapsing
edge endpoint verts along the drawn over edges by a "fixed distance"
that
is measured from the *CLOSEST VERTEX* ON THE EDGE FROM WHERE THE DRAWN
STROKE CROSSED THE EDGE.
The second is by "Edge Intervals", which breaks each edge drawn over
by the draw stroke, into an integer number of evenly spaced
"intervals".
The collapsing point will snap to the *END OF AN INTERVAL* WHOSE END IS
CLOSEST TO WHERE THE DRAWN STROKE CROSSED THE EDGE.
Snapping Endpoint Offset: Applies only for "Closest Endpoint" edge-snapping. It specifies the "distance from the closest vertex to snap to" that the collapsing point should be offset from, on each edge drawn over. For instance, a value of 0.5 means that the two endpoint vertices of the collapsed edge will meet exactly in the "middle" of that edge, after it has been collapsed. Values range from 0.0 to 1.0.
Number Of Snap Intervals: Applies only for "Edge Intervals" edge-snapping. It specifies the "number of imaginary intervals to divide up an edge" for snapping. For instance, if you set it to "3", your edges' collapsing points will snap to 0, 0.333, 0.666 and 1.0. For "10", it would be 0.0, 0.1, 0.2, ... , 1.0, and so forth.
Auto Backface
Culling:
If
checked ON, this Will always automatically turn ON "backface-culling"
on
ALL poly meshes in the scene when this tool is invoked, and will also
automatically
turn it OFF when exiting the tool. You'd want to keep it "ON",
which
is the default if you're going to do your reductions "ONE side at a
time".
TIPS:
closestPointOnCurve
This plug-in defines both a MEL command and a DG node which takes in
as input, a NURBS curve and a worldspace position, then computes the
closest
point on the input curve from the input position. In addition to
the worldspace "position" at the closest point on the curve, also
returned
are the "normal", "tangent", "U-parameter" and "closest distance from
the
input position", at the closest point on the curve.
closestPointOnMesh
This plug-in defines both a MEL command and a DG node which takes in
as input, a mesh and a worldspace position, then computes the closest
point
on the input mesh from the input position. In addition to the
worldspace
"position" at the closest point on the mesh, also returned are the
"normal",
"U-parameter", "V-parameter" and the "closest face index" at the
closest
point on the mesh.
pointOnMeshInfo
This plug-in defines both a MEL command and a DG node which computes
the worldspace position and normal on a poly mesh given a face index, a
U-parameter and a V-parameter as input.
Note: These three nodes are plug-ins.
To use, Bonus Tools->Adjust Vertex Normals. Select a vertex or a face vertex. The sliders will update to show the current normal values. If more than one item is selected, only the values of the first will be displayed. Changing the values will change the values for all selected.
Auto Reverse: Reverses the ordering of one border line based on the distance of the end points
Reverse: Forces the reverse
Map Edge Count: Uses the edge count of the border parts to determine which edges belong together - instead of just the distance
Quads: Convert the resulting triangles to quads
Quad Angle: The angle for the "Quadrangulate"
To use, select an object to paint emitters onto an Bonus
Game->Paint
Geometry. A window will pop up that allows you to control the geometry
attributes.
To use, first select the mesh with the history you would like to copy. Graph this mesh in the hyperGraph. Select the history nodes in order (first to last) and Bonus Tools->Poly Copy Paste History->Set Nodes to Copy. Second, select the meshes to copy the history to and Bonus Tools->Poly Copy Paste History->Poly Copy Paste History.
Notes:
To use, Bonus Tools->Rotate UVs Around Vertex. In the UV Texture Editor, select the UVs to rotate and a vertex to act as the pivot point. Enter the rotation value in the window and press Rotate UVs.
To use, Bonus Tools->Align UVs. In the UV Texture Editor, select the UVs to rotate and a vertex to act as the pivot point. Enter the rotation value in the window and press Rotate UVs.
To use, Bonus Tools->Grid UVs. In the UV Texture Editor, select the UVs to snap to the grid. Enter the grid size and press Grid UVs.
To use, select the UVs to change and Bonus Tools->UV Precision... Enter the number of decimal places that should be kept for the UV coordinates and press OK.
To use, select the UVs to clamp and Bonus Tools->Clamp UVs... Enter the bounding box coordinates (U min., V min., U max., V max.) and press OK.
To use, select the mesh, or faces of a mesh to map and Bonus
Tools->Automatic
Track Map... This works best on mesh composed of quads - triangles and
n-sided faces may not work perfectly. If this is the case, Align UVs,
Grid
UVs and Map UV Border follwed by Relax UVs may help to make better UVs.
This item is a NURBS to mesh UV projection. It transfers the UVs and shader from a NURBS surface to a poly mesh based on closest point. It then allows the user to manipulate the NURBS surface by translation, rotation, scale and moving CVs and the UVs of the mesh will be updated in real time.
The intended workflow is for a user to model a mesh and then a NURBS surface that will wrap around the mesh like a sock. After the NURBS surface is textured, the command is applied which will assign the UVs of the mesh to be the UV of the point on the NURBS surface that is closest.
To use, select the NURBS surface followed by the mesh, and Bonus Tools->Poly NURBS Projection. The shader and UVs should be transferred to the mesh. Now you can translate/rotate/scale the transform and CVs of the NURBS surface and the UVs of the mesh should be updated in real time.
How It Works
If you selected faces on the mesh the first thing the plug-in will do is split the UVs along the border of the selected faces to maintain the texture border.
The polyNurbsProjectionNode is a construction history node that takes the world space mesh and NURBS surface as input and computes the resulting mesh with projected UVs.
The algorithm is quite simple and works by iterating through each vertex of the selected faces. For each vertex, an API call is made to MFnNurbsSurface::closestPoint to get the point on the NURBS surface that is closest to the vertex. The UVs of this point are assigned to the vertex.
Limitations
The complexity of this plug-in is O(mn) where m is the number of vertices on the mesh and n is the number of CVs in the NURBS surface. Since the plug-in updates in real time a complex mesh and NURBS surface will result in SLOW interaction when you start changing the NURBS surface. That's why the interactiveness of the plug-in is limited to meshes with low poly counts.
WARNING: the 'polyNurbsProjection' command will delete construction history on the mesh right before it hooks up the polyNurbsProjectionNode. I had to force this to prevent the user from hooking up 2 polyNurbsProjectionNodes which caused some really buggy behaviour.
Spherical NURBS projections caused some weirdness in the projection in areas around the seam of the NURBS surface. NURBS planar projections work really well.
To use, select the mesh objects to operate on and Bonus Tools->Layout Multiple UVs.
To use, select the texture to add a layered texture to and Bonus Tools->Make Texture Layered.
To use, select two textures to layer and Bonus Tools->Layer Textures.
Anti-alias: Anti-alias the resulting light maps.
Bake Shadows: Include shadows in the light maps.
All Meshes: Use all meshes in the scene or just the selected meshes. For scenes with a lot of variety in the geometry size, it can be more efficient to generate light maps in a number of passes with different resolutions.
New UV Set: Create a new UV set for the light map.
X Resolution: X resolution of the light map.
Y Resolution: Y resolution of the light map.
File Format: File format of the light map.
Blend Mode: Blend Mode for the layered texture. 4 is Add, 6 is multiply.
File Suffix: Text to apply to the end of the light map file name.
Shading Group Name: Generate light maps requires the name of the shading group to use for the light maps. A default lambert shader will work well for this. If no shading group is specified or the specified shading group does not exist, the command will fail.
UV Set Name:
Name
of the UV set to use or create. If no name is specified, the current UV
set will be used.
To use, set the options and Bonus Tools->Generate Light Maps.
Note: The path to the images must be absolute.
Isometric Render: Renders the current viewport.
Preview: Displays the scene in isometric mode.
Reset: Resets the scene so it is not in isometric mode.
The resolution gate for orthographic does not work well. To get an idea of the resolution gate for an orthographic view, Panels->Tear Off or Tear Off Copy. Then apply some MEL:
lsUI -windows; //lists all the current windows
The freshly torn off window will likely be at the end of the list with a name like "modelPanel6Window". Edit the window's width and height. The width and height may be calculated as follows:
width
= x resolution + 12
height = y resolution + 52
To determine the windows current width and height:
window
-query -width modelPanel6Window;
window -query -height modelPanel6Window;
To set the width and height (for a 320x240 render):
window
-edit -width 332 modelPanel6Window;
window -edit -height 292 modelPanel6Window;
2. Assign a new shader to the geometry (blinn1).
3. Paint/Apply color per veterx.
4. In Hypershade, create a cvColorShader node (swCPV for short) and
connect it to Color attribute of the shader.
5. Render it. This renders cpv as the color component of the shader.
Example 2: with File Texture and Raytracing
1.
From Example 1, disconnect swCPV node from the shader (blinn1).
2. Assign a file texture to Color attribute of blinn1.
3. Reconnect swCPV node to Incandesence of blinn1.
4. Render it.
5. Create a polyPlane under the cube and assign a blinn shader.
6. To use alpha component of CPV, this also needs to be connected to
the shader. To do this, Shift-drag&drop swCPV icon over to the
shader.
Then, connect outAlpha (which is actually transparency) to each
Transparency
(R,G,B) attribute of the shader.
7. Open Render Global, and check Raytracing on and render.
Cautions:
1.
Depending on the type of connections, the actual result may not be
viewed
in the viewport.
2. A shader with a swCPV node connected should not be assigned to
multiple
objects. The shader should be copied and two swColorPerVertex nodes
must
be created and assigned respectively.
This will create a window to control the display of vertex coloring. Settings can be applied to selected geometry or all geometry in the scene.
To use, Bonus Tools->Vertex Color Display.
To use, select an object and Bonus Tools->Toggle Single/Double
Sided.
To use, Bonus Tools->Current Frame Display. The particle object will be selected so you can move it anywhere in the scene.
This does not have to be limited to joints. Any item that is selected will be renamed so it could be useful for level building activities.
To use, Bonus Tools->Rename New Joints. Enter a name to rename the joints to and start placing joints (or objects). The window provides an on/off toggle at the top so that the renaming can be easily interrupted.
To use, select a skinned mesh and Bonus Tools->Prune Influence Objects. Maximum Influences is the number of joints (or influence objects) to have affect the skin. Press Prune Influences to reweight the skin.
Prune below is included as a convenience and works the same as in the Prune Small Weights tool.
Note that this script is not undoable - undo is turned off to improve performance which can be slow with this command.
This is similar to Skin->Edit SmoothSkin->Remove Unused Influence Objects but it will let you selectively remove influence objects. If the character's head is a separate piece of geometry, the feet should not deform it so they can be removed as influence objects. The neck or shoulder joints may not be initially affecting the head mesh but they may be required to so they may be retained initially as influence objects.
To use, select the skinned geometry and Bonus Tools->Remove Influence Objects. A window will open. With the geometry selected, press Load New Skin. The window will show all the influence objects for the selected geometry. Highlight the influence to remove and press Remove Influence.
Only one influence can be removed at a time. A future version may
highlight
the selected influence object in the modeling view.
To use, select the skinned geometry followed by the influence objects to add and Bonus Tools->Add Multiple Influence Objects.
This item creates a clip for a selected IK handle provided that the IK handle is affecting joints that belong to the active character set and there is an active clip for the active character set. This is useful when editing clips. An existing clip can be modified with an IK handle; for example, extending a character's kick for more convincing motion.
After the clip has been created, it can be merged back into the main character set by merging character sets (select the character and subcharacter and Character->Merge Character Sets) and then merging the clips (select the clips and Edit->Merge).
The bake range of the IK Handle is taken from the active time range.
To use, select the IK handle and Bonus Tools->Bake IK to Clip.
StorePose records a given pose for a character by creating a shelf button and icon on the current (top) shelf. This button contains all of the necessary setAttrs for getting back to a particular pose. It will work on either hierarchies (default) or selected nodes. You can create as many poses/buttons as you need. This pose is not to be confused with Trax Poses. There is no association between the StorePose poses and Maya's CharacterSets.
To store a pose for a character, select the parent node(s) of anything related to the character (Root Joint, IK, constraints, locators, etc...) If everything is parented under one node, simple select that node. Then just open the storePoseUI, name the pose and apply using hierarchy mode. To return to the stored pose, simply click the shelf button.
NOTE: This script is loosley basd on the old recordPose.mel script
by
Matt Baer. However, this version addresses various limitations,
including
checks for attributes that are unwritable or locked. (e.g. EndEffectors
or IK handles that are constrained or driven)
FKIK
Control Window
This tool allows for a more friendly ik/fk animation control. As the
user changes the selected object (ik or fk control) the ik blend
attribute is set appropriately and the controls are keyed with an ik/fk
key.
This will bake the effect of the redirection node on the selected
object(s).
To use, Bonus Tools->Bake Redirection
Mirror
Animation
This tool allows you to take an existing animation and mirror it along
a given axis. For example, if you have a character that is
walking from left to right, and you want the identical walk from
right to left. This script can be used to invert the animation.
This script addresses two different situations where you would want to
mirror/invert animation on a character.
Note: the local axis is used,
so be sure to check orientation of joints before setting the mirror
plane if you are unsure which direction to mirror.
This command reverses all animation curves for selected objects
(including hierarchies). You can reverse around specific frame, the mid
point, start or end of the animation.
To use:
Dynamic Secondary Animation: This tool can be used to apply
dynamic secondary animation to a series of joints. You have the option
of using a jiggle deformer, softbody dynamics, hair dynamics or cloth.
This can be useful for creating secondary animation for character
elements such as: ponytails, antennas, ropes, scarves, etc... You will
get varying results depending on the type of driver you choose, so you
may need to experiment with each type as well as it's associated
attributes.
Each of the animation driver types affects a curve which will in turn
drive an IKSpline handle connected to the joint chain. All of the
primary control attributes will then be added to the handle providing
easy access for editing the dynamic animation.
In each case, the IKHandle, curve, and all associated dynamic objects
will be created and connected automatically:
Before applying dynamic secondary animation, you must first select
the root of the joint chain that you wish to make dynamic, followed by
the end joint. After you choose the animation driver type that
you'd like to use, you will also have an option for the detail of the
curve that will drive the chain (Low = 4 cvs : Med = 5 cvs : High = 6
cvs). Lastly you may set the falloff of the given effect. This
refers to the amount that the effect will decay from the end of the
chain to the root. The end of the chain will have the most
movement, the root will have no movement, and the amount of movement
for the joints in between will be determined by the falloff. In
order to modify the falloff afterwards you will need to use the
component editor for softbodies and jiggle deformers. In the case of
hair you can simply edit the stiffness ramp widget in the hairsystem.
Once you've applied the dynamic animation you may be prompted to select
1 or more objects for the softbody, hair or cloth to collide
with. Simply select the object(s) and click the MakeCollide
button. To bypass this just click on NoCollisions. You can
always add collision objects later using traditional methods.
Standins are recommended whenever possible. Collisions will not
be an option if you use a jiggle deformer because it can not
collide.
Note: Hair will only be
available in Maya Unlimited, version 6 or later. Unfortunately
because of time constraints, the Cloth option is turned off in this
version of the script. It will be added at a later date.
To use, select the hip joint, followed by the ankle joint and Bonus Tools->Setup Foot. The command will select the ankle, ball and toe and add the appropriate controls. When finished, the Prefix Hierarchy option box will open so that the nodes may be named.
To use, select an object to paint emitters onto and Bonus
Game->Paint
Emitters Tool. A window will pop up that allows you to control the
emitter
attributes.
To use, Bonus Game->Stereo Camera.
To use, Bonus Game->Create Sun Light.
To use, Bonus Game->FTI Export.
Note: The easiest way to view the image is to give it the name of an
existing icon, restart Maya and then create the node associated with
the icon.
Quick Connect Attributes
This UI is accessed with CTRL + RMB in the channel box. It allows for
the quick connection of attributes for any nodes in the scene.
Irix, Linux and Windows:
1. Extract the appropriate bonusTools60 archive to the user's maya home directory:Macintosh:Sample Irix/Linux path:
/u/user_name/maya/6.0Sample Windows path:Note for Irix/Linux users that the unzip command should be used with the following flags:
unzip -u -aC:\Documents and Settings\user_name\My Documents\maya\6.0The appropriate subdirectories should be maintained and the files within them.2. Using a text editor, edit the bonusTools6.0 file from within the user's maya/6.0/modules directory. The bonusTools6.0 file has a sample line for each operating system and has this basic format:
+ bonusTools6.0 6.0 "absolute path to bonusTools6.0 directory"Uncomment the line that starts with + by removing the //. Replace the user_name from that line with the login name of the user. Save the file.3. Go on to Step 1 of For All Platforms.
1. Extract the package from the disk image.For All Platforms:2. Double click the package and the files will be copied to /Users/Shared/AliasWavefront/maya/6.0
3. Go on to Step 1 of For All Platforms.
1. If you have a userSetup.mel file in your scripts path, open it in a text editor and append the lines from the userSetup.mel supplied with the Bonus Tools.2. Restart Maya and set any of the Bonus Tools plug-ins that you wish to use to auto load.
Note that the contents of the BonusTools menu will vary according to which main menu set (Animation, Modeling, Dynamics, Rendering, Cloth) is active. You may change this behaviour with the Bonus Tools->Toggle Menu Style command.3. Enjoy. You may refer to the bonusTools51.html file (located in the docs directory where the Bonus Tools are located) for an overview of the tools.Note for those who have used Bonus Game with 4.0 or 4.5. The file structure has changed so that the Bonus Tools are no longer directly in the user’s scripts and plug-ins directories. Some of these files have changed and you will not see the improvements if they are still in the scripts and plug-ins directories. They should be removed.