3D character rigging for animation in Cinema 4D Masterclass | Moy Lobito | Skillshare

3D character rigging for animation in Cinema 4D Masterclass

Moy Lobito

3D character rigging for animation in Cinema 4D Masterclass

Moy Lobito

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36 Lessons (8h 5m)
    • 1. Promo

      2:17
    • 2. Before we start

      4:57
    • 3. Setting up the Cinema 4D file

      5:22
    • 4. Character symmetry

      11:39
    • 5. Optimizing the character

      13:12
    • 6. Creating the rig base

      14:32
    • 7. C4D backups

      5:55
    • 8. Working with layers in C4D

      8:14
    • 9. Adjusting the character object - Part 1

      9:38
    • 10. Adjusting the character object - Part 2

      6:35
    • 11. Adjusting the character object - Part 3

      26:54
    • 12. Binding the character

      14:20
    • 13. Working with the cloth surface object

      19:44
    • 14. Weighting the character - Part 1

      17:47
    • 15. Weighting the character - Part 2

      17:11
    • 16. The weight tool explained

      21:30
    • 17. Normalization basics

      13:59
    • 18. Auto Normalization

      12:02
    • 19. Weighting the character - Part 3

      14:59
    • 20. Weighting the character - Part 4

      10:07
    • 21. Weighting the character - Part 5

      28:01
    • 22. Adjusting the controllers - Part 1

      13:50
    • 23. Adjusting the controllers - Part 2

      9:25
    • 24. Adjusting the controllers - Part 3

      8:42
    • 25. Inverse Kinematics and Forward Kinematics explained

      8:46
    • 26. Adjusting the controllers - Part 4

      9:13
    • 27. Weighting the character - Part 6

      34:09
    • 28. Weighting the character - Part 7

      14:50
    • 29. Weighting the character - Part 8

      13:55
    • 30. Using the update command

      9:29
    • 31. Weighting the character - Part 9

      34:18
    • 32. Weighting the character - Part 10

      2:25
    • 33. Organizing the file

      8:03
    • 34. Gathering references to pose the character

      6:48
    • 35. Running pose - Part 1 - Posing the legs and arms

      17:47
    • 36. Running pose - Part 2 - Posing the head fingers and eyes

      14:27
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About This Class

Create professional full body character rigs in Cinema 4D - Get your 3D characters to another level. Rigging Masterclass.

In this course you will learn everything you need to know to rig a 3D character in Cinema 4D using the Character Object. I'm going to cover everything, from the very basics, all the way to the more advanced stuff.

We will start by learning about the great importance of character symmetry and character optimization. And you will learn how to properly optimize your characters before rigging them.

Then, we will create the base rig using the Character Object. We will create the full skeleton including the spline, legs, arms, fingers, head and eyes. And to make the rig more useful, it will have both IK and FK controllers which we will be able to switch with just one button.

After that, you will learn how to adjust the Character Object, so the skeleton fits the character mesh. Then, we will bind the Character Rig and the character mesh together. Later, you will learn different techniques to properly weight your character. And, as a bonus, we will pose the character in a very dynamic running pose.

Those are the main topics we will cover, but you will also learn how to work with the Cloth Surface Object when rigging a character. How to properly use the Weight Tool. You will also learn the basics of normalization and auto-normalization in Cinema 4D. And of course, you will also learn about Inverse Kinematics (IK) and Forward Kinematics (FK).

This course is packed with lots of valuable information that you'll be able to apply in any character rigging project you work in the future.

By the end of this course you will have a clear understanding of how the 3D character rigging process works in Cinema 4D, and you will also be able to create your own rigs for your own characters.

So, get ready to learn a lot, and I'll see you inside.

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Moy Lobito

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Transcripts

1. Promo: Hello, everybody, and welcome to another amazing cinema for the course. In these cars, you will learn everything you need to know to rig a character in Cinema 40 using the character object. And I'm going to cover everything from the very basics to the more advanced half. And when I say everything I mean everything, you're going to learn about character symmetry and character optimization. Then we're going to create the base rig using the current object in cinema for day. After that, I'm going to teach you how to adjust the character object so it feeds your counter. Then we're going to bind the character and the character rig together. After that, you're going to learn different techniques to properly wait your character and to finish. We're going to post our character in a running post. Now, those are the main topics that I'm going to cover. But you will also learn about how to work with the clothes surface object when rigging a character, how to properly use the way tool. You will also learn the basics of normalization and out of normalization in cinema four D. And of course I'm also going to teach you about inverse schematics, also known as I K and for working a Matics also known asked F K. So these currents is over eight hours long, and it is eight hours long because it is packed with a lot of valuable information that you will be able to apply in any character. Regan project that you work in the future. So by the end of the scars, you will have a clear understanding of how the rigging process works in cinema 40. And you will also be able to create your own rigs for your own characters. So if you want to learn how to read a character in Cinema four D, these he's the perfect chorus for you. And I know that you want to take these cars and you know that you went to take thes cursed . So what are you waiting for? I will see you inside 2. Before we start: hello, class and welcome to the course. I hope that you are doing great today. And I also hope that you are ready to learn a lot. Because, believe me, you are going to learn a lot. Now. There are a few things that I would like to discuss before we start the cars. The 1st 1 is that I usually trying to talk as clear as possible. But English is my second language. So if at some point I mispronounced a word or two are if I misuse a word, please just ignore those mistakes. And please try to concentrate on the content rather than the language. Okay, Now moving to another topic. Remember that you can download the cinema for the file from the resources section off this lesson. It comes in a safe file. So all you have to do is to download that file. I'm compress it, and then you will be able to access the cinema for the file and all of the files that you will need to follow along with the curse. Now, another very important thing is that this curse is for inter mediate students. So I assume that you already know the basics of cinema 40 including how to navigate and how to use the most basic tools, like this. Elect, move, rotate and scale tools. So if you are an absolute beginner, I recommend you to take my cinema four d from scratch course that I also have available in these platform. Or you can watch a few YouTube videos on the very basics off Cinema 40 so you can follow along with these cars now in these cars were going to rig a complex character with different elements, which makes the rigging process more time consuming. But this will help you to learn how to rig a complex character. And that means that if when you want to read your own characters, those characters are complex characters, you will know how to handle that job. And if your own characters are made off your elements, you will be able to rig those characters very easily because you don't really know how to rig more complex characters. Now, during the course, I'm going to mention two concepts that are very similar. I'm going to be talking about a character mesh and a character object. Now you have to make sure that you understand the difference between those two concepts. When I refer to the character measure, I am talking about the polygons that make the different elements off the character, the polygons that make the body off the character and the different elements that create that character. And whenever I talk about the character object, I am talking about an object that Cinema 40 has to create the skeleton off the character. And one more thing. When we started working with this skeleton off the character, you will see that I will use the word bone or bones a lot. And this is not an accurate word. When rigging a character, the Greg Ward is joined our joint. So whenever I say bone, I am actually talking about the joints, which is the correct term for the bones off a three D character rig. Also, when we work with objects in cinema, for the we can work in different moments, we have the polygon mode, the point mode, the edge mode and the model mode. Now the model mode used to be called the object mode in previous versions off Cinema four D , but they are the same. They only changed the name. And since I've been working with cinema for the for more than 10 years, I've always known it as the object mode, and that's the way I am used to calling it. But it is the same as the model moat and depending on your version, off cinema for the you may see it as the object mode or as the model mode. But again they are the exact same thing, and the same may apply toe other names off tools or commands I use. So if I tell, has a different name, don't worry about it, Okay, so now we are ready to start the cars. So I really hope that you enjoyed this course and that you learn a lot from it, so get ready and let's begin. 3. Setting up the Cinema 4D file: Hello, class. And welcome back in this lesson. We're going to set up our cinema for the file, so let's start. Okay? So as you can see, I am at my finder. And as you can see here, I have a new folder called Character Rigging. Now you can get this folder with all of its contents. If you download the file from the resources section off these class now you're going to be able to download a seep file. So you have to download it and extracted. And you're going to get these, Father. So I'm going to open up this folder. And as you can see here, we have three different elements. The 1st 1 is a C 40 Backups folder. Now this is a very important folder, and I use it for every single project that I work in cinema for the Now I'm going to explain all about this folder and why I use it and also how I use it in a future lesson. For now. Just keep in mind that this is a very important folder Now. I also have another folder for my Texas. So let's open it up. And as you can see here I have the textures for the character that we're going to be rigging. I'm going to go back. And here I have also the cinema for the file that contains the character that we're going to be rigging. So let's open up these files, and this is the character that we're going to be reading in these cars. So as you can see, this character has different elements. And if we go to the objects manager here, we can see all of the elements that create these current. So you can see here that we have a pair of sunglasses, and if I turn off the visibility for these sunglasses by clicking on these that's here, you're going to see that now we can see the eyes of the current er. Now, if I turn on the visibility for this other group here, you can see that Now we have a monocle for our current er. I'm going to turn it off again, and I'm going to turn back on the visibility for the glasses like So Now we can also change the hair, sell off our character. You can see that now we have a Mohawk hairstyle and some buried here. But if I come over here and I turned after the civility for this object, now you can see that our current east bald. But I'm going to turn on the visibility for these other object here, which only has the hair. You can see that we don't have the beard anymore. And if I turn this off and I turned on these other hairstyle, now we have a different hairstyle. So this character is pretty flexible. I'm going to turn off these one here, and I'm going to turn back on these one. Now you can see that this character has different elements. For example, here this character has a ring on its right hand. If we go to the ear, we can see that this character has two piercings here now, inside of the mouth. It has some teeth, a tongue, and it has different elements. So, as you can see, this character is a simple character but has different elements. And this is good, because this way, you're going to learn how to read a character with multiple elements. Okay, Now I'm going to go labs These group here, and as you can see here we have another group, which is for our lighting. Now, as you can see, the disability for the view port off this group on all of its contents is turned off. You can see that because the top that is red. So if I click here and I turned on the disability again, you can see the lighting set up that we have here. So I'm going to get closer here, and I'm going to make a quick render so you can see how this corrected looks with the textures and delighting. So this character looks much better now. Okay, So again, these group is only for our lighting. So I'm just going to turn off their viewpoint visibility for these group because I don't want all of those elements getting in our way. So that's how this file is set up. And again, you can get this file if you go to the resources section off this curse and you download the CEB file. And that's all for this lesson. Thanks. Hello through watching and I will see you in the following lesson 4. Character symmetry: hello class and welcome back in this lesson. We're going to talk about character symmetry, so let's start. Okay, so you can see here we have our character, and one of the most important things about character creation, including modeling deck Cering and rigging, is that characters are usually symmetrical. And that means that if we trace a vertical line in the middle off our character, we're going to see that what is on the left side off the current ER is the exact same as what is on the right side off the current ER. So if we traced a line in the middle, it is going to be a perfect reflection on each of the sides now. Like I said, characters are usually symmetrical. But there are exceptions. For example, if we have a pirate, it may have a normal leg, but the other leg, maybe a wooden leg. Or, for example, if we have a futuristic character, it may have a normal arm, but the other arm could be a robotic arm, so some characters will be asymmetrical. But usually the general shape off a character. He's symmetrical, and there isn't for these is because we humans are symmetrical now. We're not perfectly symmetrical, but the overall shape off our bodies and faces is symmetrical and the same happens with animals. And since most off our characters are going to be based on humans or animals, then our characters are going to be usually symmetrical, at least in the overall shape. Now the character that we're going to be working with ease, symmetrical. Now let me go to the Objects model year, and I'm going to turn off the visibility for the glasses. So I'm going to Don't click here and we can see that this character is symmetrical. So most of the elements are a reflection off themselves on the other side. Now, even though this character is symmetrical in the oval shape, we have some asymmetrical characteristics. For example, we can see that this character has a ring on one hand, but on the other hand, it doesn't have that ring. The same happens with these piercings here on the ear. You can see that over here we don't have the piercings, so our current ER is symmetrical in general, but it has some asymmetrical characteristics now. Symmetry is also very important when it comes to reading characters because when we create the skeleton or the rig off the character, usually we're going to create a symmetrical rig, and that's going to help us to save a lot of time, because we will only need to work on half of the character. And then we're going to mirror the work that we did on that half onto the other half so we can have a fully rigged character now for this to work. The elements that are supposed to be symmetrical in our character have to be perfectly symmetrical because if they are not, then our rig is not going to work properly, and I'm going to show you what I mean. So I'm going to go to the front view, and here you can see more clearly that our character is, in fact, symmetrical. Now I'm going to go to window. I'm going to go to another file, which is this one here, and you can see that here I have the rig that we're going to be creating. So I'm going to copy this rig. I'm going to go back to my current profile and I'm going to baste it here. I'm going to turn off the visibility for the character for a second. And as you can see now, here we have our rig on. As you can see, the rig is perfectly symmetrical. Now, if I turned back on the visibility for our character Andi, I'm going to make a copy of the jacket. So I'm going to come over here, select these jackets, object, and I'm going to make a copy. And I'm going to hide these other jacket here just for a second. Now with this other jacket, you can see that right now it is perfectly symmetrical, but I'm going to move some of the point, so the jacket is not symmetrical anymore. I'm going to select the lasso selection tool. I'm going to select some of these different points here. I'm going to retain him a little bit and I'm going to move him as well. I'm going to rotate also these ones here, so I'm going to use the lip selection tool and I'm going to retain him a little bit, just like so. Now I'm going to turn off the visibility for the rest of the character so we can focus on the jacket. So I'm going to click here to turn it off. And now you can see that this jacket is not symmetrical anymore. You can see that the shape of this arm is different from the shape of thes other arm. Now, the problem is going to come when we work on this side off the jacket and we want to reflect these onto the other side. We're not going to be able to do it properly because this arm has a different shape. So the bones will, def ERM these arm in a different way because the polygons have a different position. And when we tried to animate this character and we move this arm, this is going to be the firm in a different way, and it is not going to look good. So for the elements of the character that are supposed to be symmetrical, they have to be perfectly symmetrical. Now I'm going to delete these rig because we don't need it anymore. And I'm going to show you how you can fix these kind of problems when you have a character that is not perfectly symmetrical. So I'm going to start by selecting my object. I'm going to go to the point moat. Now I'm going to come over here, click and hold, and I'm going to select the rectangle selection tool. And I'm going to get rid off half of the point so you can see that this arm is OK Because this is straight and this other arm is the one that is not okay, So I'm going to delete these points on the left, so I'm going to click and drag to select all of those different points and I'm going to delete them. So just make sure that you don't let all of these points that are in the middle. Now I'm going to select this point in the middle here. I'm going to make sure that all of these points are placed right in the center. So to do that, once you have all of these points elected, all you have to do is come to the cartoonist manager, and you have to make sure that the size for eggs is said to Ciro. And also the position for eggs is said to zero. So, for example, if I select some of these points and I move them around like that, you can now clearly see that these points are not all in the center. So I'm going to select them all, including this one here. I'm going to go to a size. I'm going to set this size for eggs to zero. As you can see now, they are all in a straight line, but they are not in the center. So I'm going to change the position for X 20 and now you can see that they are in a straight line and right in the center. So that's how you make sure that the points in the center are right in the center. So now that we have fixed, that I'll have to do is create a new symmetry object, and we're going to select the object and place it making a child off the cement object. So we're going to have a reflection on the other side. Now, this is still only half of the object, because if I turn off the symmetry object, you can see that we don't have these other part off the jacket. So I'm going to turn back on the symmetry object. I'm going to select the symmetry object. I'm going to make it creditable, either by clicking here or by pressing see on my keyboard. Like so and now I can take this object moving outside of diesel object on Guy can also delete is no object because I don't need it anymore. And now if I select the jacket object, you can see that now it is on the one piece on it. He's perfectly symmetrical, and that's how you make sure that the objects that have to be symmetrical in your character are perfectly symmetrical. Now, in animation studios, they usually have different departments, so a department is going to design the characters. Another department is going to model those characters. Another department is going to text her those characters, and another department is going to rig those characters. And finally, another department is going toe animate those characters. So if you're working for a studio, you don't have to worry about this kind of stuff because when they give you the model, it is going to be optimized and ready to rig. However, if you're going to work as a freelancer, this is something that you will have to do yourself, and that's the reason why I showed you how to do it now. The corrected that we're going to be using for these cars has already been optimized. So for this character, you don't have to worry about anything else except for the Reagan part. So now I'm just going to select this object that I don't need any more. I'm going to delete it. And that's all for this lesson. Thanks a lot for watching and I will see you in the following lesson. 5. Optimizing the character: hello, class. And welcome back in this lesson. I'm going to show you how to optimize your character before rigging it. So let's start. Okay, So this is where we left in our previous lesson. So I'm going to turn back on the visibility for our character. I'm going to some out. I'm going to select the life selection tool and I'm going to open app this group and I'm going to turn back on the visibility for the jacket like So now, like we saw in a previous lesson, this character is made off different objects. So if I turn off the visibility for this jacket, you can see that on Lee. The jacket is non visible. The other elements are still reasonable because they are separate objects. For example, the hands I can turn off TV simulating for the hands are for the jeans also for the boots on the rest of the elements. So, as you can see, this character is made off different objects and this is a good idea because this is going to give us a lot of flexibility. Now I'm going to turn back on the disability for this element on the only downside for working with a character that is made of different elements is that we're going to have a lot of different objects. So we're going to make sure that we only have the object that we need. So, for example, if we select the glasses, I'm going to turn back on the disability for these classes. I'm going to expand these group now you can see that here we have two different objects making these glasses. So here we have the frame. You can see that it is a separate object from the glasses themselves. So I'm going to undo these. So these glasses go back to their position. And having two different objects for the glasses doesn't really make sense. Because whenever we want to move the sang glasses, we will want to move both of these objects together. So there's no point in having these as separate objects. So what I'm going to do is select these to object. I'm going to right click. I'm going to go down here, and I'm going to select this option, connect objects plus the lit. And this action is going to merge those two different objects together into one object So now you can see that here we have only one object. I'm going to rename these two sunglasses. And now if I move the object, you can see that the whole object is going to move at the same time. Now all they have to do now is go to the object mode and enable the Axis option. And with this option enabled, we're going to be able to modify the position of the axis without affecting the precision off the object. So I'm going to make sure that the Axis position for X is said to zero. So I'm going to go to my coordinates manager and I'm going to place these at zero, like so, and I'm going to deactivate the Axis option. So now the Axis is at zero, and we can move now our object, like so? So you can see now, instead of having two different objects for the sunglasses, we only have one. So I'm going to take this outside of the's. No object here. I'm going to move it outside and I'm going to delete these. No object because I don't need it anymore. Now I'm going to turn off the disability for the sunglasses, and I'm going to turn on the visibility for the monocle. I'm going to expand these group. And as you can see, these monocle is made off different objects. In this case, we have three different objects, So we're going to the same. I'm just going to select all of these objects here. I'm going to right click, and I'm going to go to the action, connect objects and the lit. So now these monocle is only one object, and I can select this object that I can move the whole object. So I'm just going to rename this to Monocle. I'm going to take it outside off these No object, and I'm going to delete it because I don't need it anymore. Now these other elements they are okay. They have to be separate object because, for example, with the hair, we want to be able to turn off the visibility for this hairstyle and turn on their basically for the other one. So these actually have to be as separate objects. So these are okay now, if we go to the piercings, I'm going to go to the perspective. You so we can see this better going to some in. You're gonna see that Here we have two piercings and we're not going to move the position of the piercings, so it doesn't really make sense to have them as separate objects, so I'm just going to select them both. I'm going to right click, and I'm going to select the option connect objects plus delete. I'm going to rename these two piercings like, so I'm going to hide these monocle, and I'm going to turn back on the visibility for the sunglasses. Okay, Now, here we have the eyebrows and you can see that these eyebrows are together in a single object. But for the eyebrows, we actually want the opposite. We want the eyebrows to be separate because we want to have the ability to modify the eyebrows separately. So, for these, I'm going to select these eyebrow object. I'm going to make a copy. I'm just going to go control C Control V. I'm going to move it back inside of this group, and now I'm going to turn off the visibility for this one, and I'm going to select this other eyebrow object. And you can see that now we can go to the point mode. We can use the correct angle selection tool, and we can select these eyebrows here and the lead them like So. So now we have on Lee the right eyebrow. So, Eve, I'm saying they write I brought not because it is under right when we see it, but because it is the characters. Right, eyebrow. Okay, now I'm going to turn off the disability for these eyebrow. I'm going to turn on the visibility for these other object, which has the two eyebrows. So this time I'm going to select these other points. I'm going to delete them, and this one is going to be the left eyebrow. So now each of the eyebrows is a separate object. Andi, I can reset the access for these two different Abrams, so I'm going to select it, make sure that the Axis mode is on, and I'm going to make sure that I am on the object mode and I'm going to change the position for eggs to zero. I'm going to do the same with these on an object. And now our eyebrows are ready. I'm going to hide the glasses for now, and you can see that here we have. They're right. I we also have the left eye so I can turn off the visibility for the right eye. And you can see that this is a separate object from the left eye. Like so, I'm also going to make sure that the Axis moment is on and I'm going to reset the position for eggs like So Now the tongue has to be a separate object. I'm going to go up on. You can see that here we have some eye leads. So I have the left eyelid, the top one. You can see that this is a separate object. Also the bottom eyelid. We cannot see these rain now because it is inside of the head. But if I turn off the character's head, you can see these are ill. It here So you can see that D C is the one on the bottom like so. And we also have these other eyelids as separate objects like that. I'm going to turn on the visibility for the hand. Now I'm going to turn off the axis mode. Andi, With these eyelids, we can just rotate the eyelid and our character is going to be able to blink like so. So that's the reason we have these different islets. I'm going to undo that. And it is very important that these islets are separate objects because we want to manipulate him by themselves. Now the head is also a separate object on also the teeth there once at the bottom and the ones at the top. The boots are also separate objects, but as you can see, these are separate objects from the rest of the body. But they are only one object. Even if they are separated, they are only one object. And this is important because we're going to have to mirror the work that we do with this boot. And it is better if he's are asked only one object. I'm going to turn on the cloth object here and we have the same with hands. You can see that these hands are a separate object from the body so we can turn this off and you can see that they are separated from the rest of the body. But they are together in one single object, so their right hand and the left hand are in one single object. Now we also have a ring. You can come over here. You can see that the sea is also a separate object. Because maybe I want to turn it off sometimes. And maybe sometimes I want to turn it on. I'm going to come over here to the jacket area. You can see that here we have three different buttons. So it's button one button too on a button. Three. So these buttons, they could be together in one single object. So I'm going to select them all. I'm going to Right click. I'm going to go and select connect objects. Andi, deal it. So now you can see that these buttons are one single object. Now I'm going to rename this. Now we have the jacket on disease, also separated from the rest of the body. Onda, we also have a T shirt here. You can see that it is also a separate object. We already so the genes and we have the belt buckle here, which is also a separate object. All right, so no, our character is optimized and ready to rig. And we're going to do that in the following lesson. So that's all for this lesson. Thanks a lot for watching and I will see you in the next one 6. Creating the rig base: hello, class. And welcome back in this lesson. We're going to start creating the rig for our character. So let's start. Okay, So this is where we left in our previous lesson. And if you remember now, our character is completely optimized. Andi ready to be rigged so I can collapse now. This group here. So we have more space here in our objects, my lawyer, and to create the rig for this character, I'm going to use the character module in cinema for D. So I'm going to go to the menus and I'm going to go to the character menu. And here I'm going to select the character object. So I'm going to click here, and now you can see that we have a new character object now to be able to see better what we're going to be doing. I'm going to turn off the characters, mesh. So that way we're going to be able to see only the character object and the bones that were going to be creating with the character object. So I'm going to double click here so we don't see our character anymore. So now we're going to be able to see only the elements of thes character object. Now, if I select the character object here at the bottom at the attributes manager, we can see different elements and different taps. So the basic tab is going to give us just some basic information on We're not going to use these tab too much. Now, the coordinates stop is going to help us to position our character within the campus so we can change the position, the scale and the rotation off these character. So we're going to use these later on, but for now, we're not going to use it now. If we go to the object tap, this is where most of the work is going to happen. Now you can see that within the object tap, we have other subtypes. So we have the bill top the ad, just tub the binding tab and the animate tab. So we're going to start with the bill tap, which we're going to use to build the different elements off the character or the different bones that create these character or take character rig. Then we're going to go to the ad just up toe, adjust the size and position off those bones to match with our character mesh. And then we're going to use the binding tab toe bind those elements together, the character rig with the character mesh. And finally, we're going to go to the animate tab to be ableto animate our character. Okay, so let's go back to the build option Now, Here in the build option, you can see that we have an option to select which template we went our rig to be based on . Right now, it is said to a mix of control Rig which is used for bipeds on our character is a bi bit, so we can use these option. But if I click here, you can see that we have additional options now. Like I said, our character is a bip it. And when it comes to buy pets, we have three main options. This one is the advanced Bipin option. We also have a simple Bible option and the makes him a control rig. Now we also have the mo cap, which is for motion capture, but we're not going to be using that. So we have these three options. It makes him a control rig. The advanced Piper option and this simple Bible option. Now, the one that is going to give us the most flexibility and the most control over our counters is the advanced Piper option. So this is the one that we're going to be using. So I'm going to select it here and now we can go ahead and create a route for these character. So I'm going to click on route, and now you can see that here we have new elements. So these are the elements off the route. So now that we have the route, we can create this pine off our character. Now you can see that this spine is said toe I K and F K blend. Now I k stands for inverse schematics and f k stands for forward cinematics. Now I'm going to explain a little bit more about, like A and F k in a future lesson. But for now, just click on spine. Now you can see that when we create a spine here in our canvas, we have new elements and these elements are the spine. So you can see that here we have different bones that were created automatically and this is great because this is going to help us to save a lot of time. So now we don't have to do everything manually. With this template, we can create all of these different elements with just one click. So that's great. Okay, now it will select the spine. You can see that here we have other options. Now we can create an arm, a leg, a job and also on I. So the arm and the leg have the same actions I k f k only which again I k stands for inverse cinematics and f K stands for forward cinematics. But if I click here, you can see that I have another option, which is the A k f K Bandy option. But the option that we're going to be using is this one here i k f k only. So make sure that you sell like this one. And if I want to create an arm, I can just click here and that is going to create the arm. Now you can see that here we have the different bones that create these arm. However, this is not what I want to do because I want to have two different arms. And I want these two arms to be symmetrical. Remember, in a previous lesson with this cast the importance off symmetry when it comes to rigging characters. So I'm going to undo that. And if I want to grow eight the two arms at the same time, what I have to do is press and hold the command or control key on my keyboard and then press the arm button. And now you can see that both of the arms got created at the same time. Now, if I create a hand by clicking on hand, it is going to create both hands at the same time because you're gonna see that both off our arms are selected. So this time I don't need to praise the command or the control key on my keyboard because these two arms are selected. So I'm just going to click on hand now. You can see that when I pressed on hand, the hand got created for both off these arms and just noticed that both of these hands are still selected, and then I can start creating the fingers. So if I create a new thump by clicking here, the thumb is going to be created for both of these hands. I'm going to rotate these a little just a view so we can see these better. So with these two different hand selected, I'm going to click on the thumb and again you have the option to create and f K Tom or an F K finger. But I'm just going to click on thumb like that. You can see that now we have the bones for these farm in both hands. Now you can see that we don't have any additional options now because there are no options to create other bones inside of these thumbs. So what I have to do is select the hand, go back. You can see that when I select the hand, I have these options again. If I select the thumb, I don't have the absence. So I have to select the hand, and I can continue creating more fingers now to be able to create their fingers for both hands. At the same time, I have to select both hands, so I'm going to click here to select this hand. I'm going to press the command or control option, and I'm going to click on these other hand here. Now both of these hands are selected. And now I'm going to collect here and I'm going to change these two fingers. I'm going to select this and you can see that now I have an additional finger on each of these hands. Now, you can see that again. We don't have the actions to create anything because we are selecting these fingers. So I'm going to have to select the hands against. I'm going to click here to select this hand, press command or control and select this other hand so both hands are selected at the same time. I'm going to create a new finger like that and you can see that now we have a thumb and two fingers. Now we need to check how many fingers our character has, because that's the number of fingers that we want to have in these rig. So I'm going to click here to turn on the visibility for the character. And I'm just going to check how many fingers thes has. So it has a thumb and for fingers, I'm going to turn off the visibility again on now. We have one time on two fingers, so we still need to additional fingers. So again, I'm going to select this hand, President, hold control or command. So, like this other hand and click on finger. Now we have three fingers and a thumb on each hand, so we need another one. I'm going to click on hand. I'm going to present halt the command or control key and click on the other hand and I'm going to create another finger. So now you can see that we have one thumb and for fingers for each of thes hands, one thumb and for fingers. Okay, so the C's done, the arms are done. So if we want to create the legs, we have to go back to the spine because we cannot create the leg starting from the finger because the finger is over here on. We cannot have a leg growing out off this finger. We cannot create the leg from the hand for the same reason. And we're gonna create the leg from the arm from the same reason. So we have to go all the way back to the spine. Okay, so now that we have our spine selected again. You're gonna see that Here we have the option to create the leg again. So I'm just going to do the same that we did before press and hold the command or control key and click on leg. Now you can see that we have that to legs that we need. And here in this legs, you can see that I have an option to create the toes. But seems our character ease using boot. We don't really need to create the toes, so we're not going to make him. So the legs are going to stay there like that and I'm going to go back to the spine and I'm going to go eight and I or in this case, two eyes. So I'm going to press and hold the command or control key, and I'm going to click on I. So because you know that I were Rick is almost complete because now we have this pine of the character. This point has the neck of the character over here. This one is the bone for the head Onda. We have the arms with all of the fingers that we need and we also have the legs so our character is basically complete. The creation of the bones is basically complete on what we have do. The next is to adjust these different bones so they fit with the proportions off our character. So before doing that, I'm just going to check that everything is OK. We went to get closer, make sure that we don't make anything and it looks like we are OK to continue. I'm just going to go back to the spine on. We don't need a job and we have the arm, the leg on the eyes. So this is complete. Well, they have to do is save my file. So I'm going to go to file and I'm going to click Unsafe product. And now the bones for this character are complete. And that's all for these lessons. Thanks a lot for watching, and I will see you in the next lesson. 7. C4D backups: hello, class. And welcome back in this lesson. I'm going to show you how I do my C for the backups. So let's start. Okay? So as you can see, they seize where were left in our previous lesson, and we have done a lot of work. And this is the perfect time to do one off the separately backups that we're going to be doing in this project. So the first thing that I do when I do my seat for the backups is to save my file. So I'm going to go to file, I'm going to select Save Project, or I can use the shortcut Command s so I'm going to click here and now I'm going to close down this project, so I'm going to go to file. I'm going to select clothes or I can use the shortcut, so I'm going to close it down, and now I'm going to go back to my finder on here. You can see that I have this folders that we talked about before, and I have these files, which is the file that we're working on. So this is the file that we're going to be backing up So I'm going to select this file. I'm going to go to edit. I'm going to select Copy. I can also use the shortcut here. And now that I have copied this file, I'm going to go inside of these C for the backups folder. And here I'm going to paste the file. So I'm going to go to edit. I'm going to paste it here. Okay. So as you can see here, we have a copy off our original file. Now, why do I do these copies? Well, the thing is that we work with computers and computers sometimes fail now when computers fail or when your program that you're using, for example, cinema for the in this case, Sometimes when that program fails, the father you're working on is going to get corrupted, and then it will not open up anymore. So if that happens to you, you're going to lose all of the progress that you had done. Now, if you had done just that little progress, let's say you had work two or three hours on your project, then it is not a big deal. You can always go back to the beginning and start over Now, the real problem is when you have been working on a big project. Let's say you have been working on this file for two or three weeks and then out of nothing , you lose all of that progress. And if you are working for a client, then you have to deliver that project in a particular date. So trust me, you don't want that happening to you. I had to learn these the hard way. And it's better if you don't have to learn it the hard way. So just make sure that you do you receive for the backups. Now let's go back inside of the sea for the backups folder. And since we're going to be adding different files at different stages off the project, I'm going to rename these files. So I'm going to select it and I'm going to rename it on. All I'm going to do here is to add W I. P. Which stands for working progress, and I'm going to add a number in this case, I'm going to add cereal one. So now this backup is complete. Now I can go back to my main folder on I can reopen these file, so I'm going to double click on it to open it again. Okay, So let's say that we're going to continue working on this project and we have done a lot of progress again. Then it is time to do another C for the backup. So when you have them or progress, you're going to the same. So you're going to go to file, you're going to save your project. Then you're going to go to file again. Close this project going back to the finder, select the file. The original file Goto added, Copy this file going side of thes see for the backups folder on Paste It Here. So add it and paste. And now all we have to do is rename this file. So I'm going to add W I. P. I'm going to add zero to because he sees our second copy. And when we're done making these backup, we can go back to our main folder up in the main, fail again and continue working on these projects now. Like I said, this is very, very important. And trust me, this is going to save you a lot of time. If anything wrong, ever happens toe any off your main files. Okay, Now I'm going to go back to my finder. I'm going to get inside of the sea from the backups folder, and I'm going to select the second file that we made a copy off. I'm going to deliver it because we didn't make any real changes to this file. So I'm going to delete this one. I'm just going to keep the first backup. I'm going to go back again here, and I will continue making different backups of different stages off the project. Now, when I do that, I'm not going to record it on D show with every single time I do it because it would be a waste of your time. But I'm going to let you know that I'm going to make a backup on. You will know how to do it. So that's all for these lessons. Thanks a lot for watching, and I will see you in another lesson. 8. Working with layers in C4D: Hello, glass. And welcome back in this lesson. We're going to talk about layers in cinema four D. So let's start. Okay, So this is where we left in our previous lesson. No. You can see that our skeleton is complete, but we still need to work on the skeleton to be able to apply it to our character measure. But before doing that, I want to show you what layers are and how we can use it When Reagan characters in cinema four D Now, to make things easier, I'm going to collapse this group, and I'm going to turn off the visibility for our character object. And I'm going to turn back on the visibility for our character mesh. So this is the character Misha that we had. And right now this character is organized here in our objects. Mother. Here. So you're gonna see that here we have a subdivision Scarface object. If we expand these, you can see that we have different elements inside of thes subdivision surface. Now we have a group. You can see that we have anal object that is acting as a group. And inside of this group we have other groups like this head group, you can see that this head group has different elements inside and we have other elements here. Now. This is an easy way to organize our different elements in the Objects manager. However, there is a much more powerful way to organize our different elements in cinema. Four D On it is by using layers now to use layers. All we have to do is add the different elements to a new layer, and that's where we're going to be doing here. So I'm going to select the subdivision surface and I'm going to wreck click on it and I'm going to select these command select Children. And that's going to select all of the elements inside of these subdivision surface so you can see that all of the different elements are now selected. Now I'm going to right click again. I'm going to go down here. I'm going to select these option Add two new layer. I'm going to click here, and as you can see now, we have a square to the right off each of these different elements in our objects monitor. And that means that all of these different elements belong to the same layer. Now how can we take advantage of these layer? It's very simple. All we have to do is go to the letter stop. So I'm going to come all the way down here. You can see that Here we are at the attributes tab. So this window is showing us the different attributes off the elements that we have selected. But if I change the top, if I click here on the layer, stab, you can see that now we can see the different layers that we have in this file. Now, at the very bottom, we have a new layer and this is the layer that we just created. You can see the color is the same of these color that we have here, so I can double click here, and that's going to allow me to rename this layer. So I'm going to call it character mish. No, we have here different options that we can turn on enough, and that's going to affect what happens with the elements within these layer. So, for example, I can turn on enough the view for the elements within this layer by clicking on the's, I can hear So if I click here, you can see that now. The view for these elements is off and we cannot see the elements anymore. I can turn it back on by clicking here and we can see the elements again. Now we can also turn off the view for the elements within our objects. Manner you. So if our objects money your ease too crowded on, we have to get rid of some of these elements. I can just come over here and I can click on this option here. And this is going to turn off the view for all of the elements within this layer on the Objects Manager. So you can see that these elements are still reasonable here in our project. But they are not visible in our objects. Manager. If I want to see them again in our objects Manager, I can click again here and now I can see them again. Now I'm going to use the selection tool. I'm going to make sure that I am in the object mode and I'm going to select these elements . You can see that against the leg. All of these different elements inside of thes group here. Now, if I want to lock the selection abilities, I can do it by clicking on these lock Agon. So if I turn this on now, this is going to lock these elements so I still can see them here. I still can't see them also here in the objects manlier, but they are great out. But I cannot select these elements, neither here nor here in the ABC's monitor. So this is going to help us a lot, because when we work with characters, especially when we're reading characters, sometimes we went to turn off the selection abilities for dimension of the character that we are working on, and we only want the ability to select the elements off the skeleton. So if I want to be able to select these elements again, all they have to do is turn off these luck Agon. And you can see that now I can select on modify these different elements again. Now we have other options when using layers, for example, here, if I turn off this option when we make a render, the elements within this layer are not going to render because this is going to stop out of the elements from rendering Onda. We have additional options, but they once I showed you are the ones that were going to be using when rigging. Now another thing that we can do is double click on the square, and you can see that now we can select the color for this layer. So now the square has a different color, and I'm going to change the color for these one, like so. So that's the basic off layers. And those are the different options that we're going to be using when rigging our characters in Cinema four D. Like I said, there are other options that we can use when using layers. But the ones I showed you are the most essential ones that we're going to be using. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 9. Adjusting the character object - Part 1: hello, class. And welcome back in this lesson. We're going to adjust the character object so it matches with the character measure. So let's start. Okay. So as you can see, they seize where we left in our previous lesson. And here we have the character mess and I'm going to close this down. If I turn on these character object, you can see that here we have the different bombs that create the skeleton for these character. Now you can see that there is a problem. And the problem is that the skeleton is much smaller than the current Ramesh. So we have to make this skeleton the same size as the character mesh. So to do that, we're going to adjust these different bones. Now I'm going to select my current er and I want to see the properties of this character. So I'm going to go back to the attributes staff here and now, selecting these character object, make sure you are on the object tap and here you can see that right now we are on the build tap. Now let me get closer here because something is going to happen with these bones now to make it easier to say I'm going to turn off the visibility for the character mash just for a second, and you can see that now here we have the bones. Now let's see what happens when we change to the ad. Just tap. Now it changes. Now we don't have the bones. We have some small circles here and with the circles, we're going to be able to adjust the size and position off the bones. Now, just make sure that you have selected the just tap. So I'm going to turn back on the visibility for the mesh and now we're going to move these different points around. So they met with the structure off our character mesh. So to make it easier, I'm going to go to the front view. Andi, I'm going to start modifying these skeleton, so I'm going to use these cultural I'm going to select it and just make sure that the three axis are turned on. They have to look blue. So if one is not looking blue, just click on it and it is going to look blue. Now make sure that the character object he selected the one with the skillet. Um, and using this cultural, I'm going to scale this out and you can see that we can scale it out as big as we need it. Or we can scale it down as small as we needed. And I'm just going to try to scale it. So a similar in size to the character mesh. Maybe it is too much. I'm going to undo that. I'm going to Skilling again like this. This is going to look better, going to get closer here and now I can select the individual that's here. You can see that we have some that are surgical's. I can select them on to manipulate him one by one. So I'm going to do that. I'm going to use thes selection tool, and I'm going to select these one here at the top. Now, you can see that when I try to select, they start here. I selected the character mesh by accident, so no, If I tried to move anything, I'm going to be moving the character mess. I'm going to undo that. So to prevent that, I'm going to lack the layer off this character. Misha. So remember, we talked about layers in the previous lesson. So I'm going to go to the later stab and here I'm going to lack thes layer that contains all of the elements of this character measure. So now, even if we try, we cannot elect these elements off the character mesh. Okay, Now let's go back to the legs here, and I'm going to select the character object. And I'm going to select these that here and I'm going to move it to the right because this that has to be in the middle off this leg. I'm going to move it like this and you can see that when I move these one here, the other one on the other side is going to move as well Because, like I said in a previous lesson, when working with characters, symmetry is really important. So Cinema four D knows that, and it is going to move the other side according to what we do on the other side. So now this point is on the correct place on I have to move these other point. So I'm going to select this now. You can see that when I tried to select this point, this other area. I got selected, so I'm going to select my selection tool. I'm going to go back to the attributes, stab, and I'm going to reduce the radios. So I'm going to use a smaller radius. Maybe it read yourself to and now you're going to see that the radio. See smaller. So when I tried to select this one, it's going to be much easier to select now. I'm not going to be selecting these line here by accident. So now I'm going to move. These went to the right just a little bit like these because you can see that legs come this way here. And the legs were straight down, but this legs are in this shape here. So now I'm going to select these other that Here, let me get closer. I'm going to like this one here. Andi, I'm going to move it to the right for the same reason. Now you can see that this leg is going in this direction and the bones are now going in the same direction. So all we have to do here is follow the characters shape. So these three dads are okay now, and I'm going to go to the right view. And now I'm going to the same bat from thes other perspective. So I'm going to change the display mode so we can see the character better on. I'm going to make sure that I select the one that I need. This case is this one here. I'm going to go back to the right view. I'm going to move it a little bit to the front like that because the goal is to have it about in the middle off these mesh. So I'm going to select this other one here and I'm going to move it back just a little bit for the same reason this has to be at about the middle off the mesh. So this one, I'm gonna get closer here on going to move it back just a little bit like so. And then I'm going to select the last one. There's one at the end, and I'm going to move it all the way. We can have it a little bit outside off the mesh like that. Okay, so let's go back to the front view to see how this looks. Let's see that what we modified on The other perspective doesn't affect this perspective here. So you can see that we still have these straight line here in this angle. So everything is OK. Now let me go back to the perspective, you and now you can see that the legs of the character now much the character perfectly. And if we go to the character we selected and we go back to the bill tap, you can see that now the bones of this character much the character perfectly. I'm talking about the bones off the legs because we haven't modified the other bones yet, but the bones of the legs much the character perfectly. So that's all we have to do just, ah, just the position and size off thes different bones with our character. I'm just going to storm out a little bit and see how these looks. And as you can see, this looks really good. In the next lesson. We're going to continue adjusting this size and position off the bones, so they much the characters fresh. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next one 10. Adjusting the character object - Part 2: Hello, glass. And welcome back in this lesson. We're going to continue adjusting the character object so it matches with the character measure. So let's start. Okay, So this is where we left in our previous lesson. And as you remember in the previous lesson, we finished adjusting the legs. So now the legs are okay. And now we have to work on the spine, the head on and the arms off this character. So we're going to do that. And to make it easier, I'm going to go to the front view. And now I'm going to select the character object, and I'm going to change to the at Just tap. Perfect. Now I'm going to start with the spine and these two. That seemed to be okay because, as you can see, these one is for the hips on. We have the hips here, and this one is for the pelvis. And we have dip Elvis here. So these two are okay. They are in the right place now. This one is for the chest, and you can see that they sees a little bit too low. So I'm going to select this one here, and I'm going to move it up like so perfect. No, the spine is okay on going to work on the arms. So I'm going to select this one here. But this one looks like it is in the right place. So I think that the one that I have to move these, these other one because this one is for the shoulder. So we have to move these one. I'm going to move it over here so you can see that here we have the shoulder and I'm going to place it around dinner. Now you're going to see that these arm is pointing this way. But the arm off our character match is pointing these other way, so I'm going to rotate this point here, So I'm going to use the rotator, and I'm going to rotate all of these points at the same time like this. Now I'm going to use these capital because you can see that this one here is for the wrist and the rest of our character match is around here. And this one is for the elbow on the elbow off. Our character matches around here, so we have to make these larger. So I'm going to use these cultural for these, and I'm going to scale this out like that. So now we have the rest of these skeleton here, and it now matches with the wrist off the counter measure and also the elbow. Now we have the elbow here and the elbow off the character mash is around here. So now this is better. Okay, Now, what I'm going to do is to go to the top view. I'm going to come over here. I'm going to zoom in just to see these better. I'm going to change the display mode so I can see this character. Now you can see that this is not what it has to be. So I have to move it just a little. I'm going to go to the right view as well, because I want to see what I have to place these point. So I'm going to move these to the back the next so and now you can see that this bone is at the center off these shoulder on also here, you can see that the bone is at the center off the shoulder. Now I'm going to select these other one here, which is for the elbow. And these one has to be at the center as well. So here on the tub, you we can see that this is what it has to be. I'm just going to move it a little bit like so Now the wrist is what it has to be. We don't have to modify that one. And here it is also what has to be. So now the arms are also complete. Now, I'm just going to modify these one here. This one is for the neck. So I'm going to modify these one just a little bit. I'm going to move it down. I want this one to be where the next starts. So should be at around here on this other point. Here should be word in their ends. Which is around here. You can see here the next ends here on. This is where the head begins. Okay, Now I'm going to select this last one, and this is the one that is going to control the head. So I'm going to move it all the way up next. So maybe not too much? I think so. Perfect. So now let's go back to the perspective. You and I'm going to select the character again and I'm going to go back to the build tap so we can see the bones. Now, let's see. And the spine bones look to be okay. Also, the neck and the head bone. You can see that they are where they are supposed to be and also the arm bones. So I think that we did a good job. So this looks really, really good within a good job. Now the fingers are going to be a little bit harder because they are really small bones and we have different bones for each finger. So we're going to do that in the next lesson. And that's all for this lesson. Thanks a lot for watching and I will see you in the following lesson. 11. Adjusting the character object - Part 3: hello, class. And welcome back in this lesson. We're going to continue adjusting the character object so it feeds with the character mesh . So let's start. Okay, So this is where we left in our previous lesson and we have adjusted most of the counter. So all we need to do now is to adjust the hand. So since we have done a lot of progress, this is a really good time to make another C for the backup. Now, you can do it if you want. I'm not going to do it on screen because it's going to be a waste of time, since you already know how to do it. So you can do you a receipt for the back up if you want. And now I'm just going to continue. Okay, so I'm going to select the character object, and I'm going to make sure that I am in the just tap so we can adjust these different bones here. So I'm going to go to the ad just up, and now we can manipulate these fingers so I'm going to start with any of the fingers. It doesn't really matter. But to make things easier, I'm going to go to the top view on. I think I'm going to start with the pinky. I'm going to select this first point here. I'm going to move it over here like this. Now, the first point. This one here it is not going to be part of the finger. It has to be in the palm area. So this is the circle. Here is where the finger starts. So if we place these like this, the finger is going to start bending over here and not here. So we have to blaze these like these Because this is the first, the first bone that is going to bend. So this finger, this point here has to be in the palm area. Now, this one over here is where the finger starts. So I'm going to select this one here on this. Looks like it is in the right place. But as you can see, this other points are not supported enough. So they are too close together. So I can move these one by one. Or I can select this one here, and I guns kill these out so they separate evenly like that. And then I can move these back into place. But first, I'm going to change the coordinates system. So right now it is said to world, But I wanted to be said to object. So I'm going to click here and now any set to object? So the difference is that you're going to see that if I click here and set it to a world, it is going to take the world coordinates off this file. So this is X on. This is C on. Why ease up on down? So if I have an object, it doesn't matter if I rotate this object, this arrows will be pointing always to these different sites. But if I click here and I turned on the object mode on the coordinate system now it is going to take into account the orientation of the object I'm modifying. So you can see that now this arrow is align with these different bones that I have here. So that's basically the difference between the world mode and the object mode. So anyways, let's continue. I'm going to come over here and I'm going to make sure that these bones are inside of these finger. In fact, they have to be about at the center of thes finger, so I'm going to move him down. So right now you can see that they are in the center. I'm just going to rotate this a little bit like that. Maybe a little bit less like so. So now you can see that they are in the center. And if we look at this other view, you can see that here They also seem to be in the center. Now, let's just make sure by going to the right view and make sure that these look that they are in the center as well on it looks like they are. So this looks to be okay now. Perfect. Now I'm just going to select this one here. I'm going to move it back a little bit like this because I want this finger to bend over here. Now. These other one is okay here. And the last one, I'm going to move it out like so perfect. Now, just to check how this is coming out, I'm going to go back to the build mode now you can see their fingers on the bones of the fingers here, So this is said properly now. And when we bend this finger, it is going to bend over here, over here and over here. Okay, so now we have to do the same with the rest of the fingers. So I select the character object. Let's go back to the at. Just mode on. Let's do the same this time with these other fingers. I'm going to select them all. He's one, this one on this one here. I'm going to move him into place, and I'm going to kill them out just a little bit, okay? That's going to work. I'm going to move him like that. So I'm going to So, like this one, I'm going to move it into place. Has to be around here. I'm going to retain it, and we have to move it down like this. And this is not pointing the right way. So I'm going to rotate it, maybe less, and I'm going to move it into place. I think so. Now I'm just going to go to the top view here just to make sure that this is the right way . So, again, this one here has to be part of the poem this one here is where the fingers start. So I'm going to move this back inside, like so. So the C's were the finger starts. This one is where the finger is going to start banding like this. These other one, These were the other part of the fingers going to bend. And this one is for the tip of the finger, like So let's go back to the perspective. You, and make sure that the seas at the center off the finger because these are the bones. They have to be at the center going to move this back inside a little on this Looks like it is okay, Perfect. That's going to work now. It's the same with these other ones. So I'm going to select these one here. I'm going to go to the top view. I'm going to move these first I'm going to rotate it like this, and I'm going to more with just a little bit and rotated back like so. So again, this has to be part of the poem. This is where the finger starts and these ones are were the finger is going to bend, and the last one is where the finger ends. So now let's go to the front view to make sure that he sees in the right place. I'm going to rotate it a little bit like this. Remember, these are the bone. So they have to be at the center of the finger like so. And now I'm going to go back to the perspective. You and here I'm going to make sure that the different points are where they have to be. So this one is where the fingers going to bend. I think it is in the right place. This one is also in the right place, and I'm just going to have to move these one a little bit next. So I think I have to rotate it just a little bit next. So okay, that's going to look much better. And now we're going to have to do the same with the other finger. Before that, I'm going to move these a little bit more just a little bit, because I went this fingers just to start at the same place. So this one waas up here on this one, they have to be at the same place where the finger starts the same with these one. And now all they have to do is work with these other finger here. So let's do it again. Let's go back to the top view here. Let's make sure that he sees at the center. Let's rotate it a little bit. So it has the same angle as this finger. Let's move it to the center like that and let's go to the front view. And I'm going to change the view from the front view to the back here. So I'm going to go two cameras and I'm going to change to the back view. Okay, so now we can see these finger better. Let's see, this is this finger here. So it's going to be these finger right here, So I'm going to move it down, and I'm going to rotate it a little bit like so. Make sure it is at the center of the finger like that, and then I'm going to make sure that these other points are where they have to be. So again, these one here is where the finger starts. So that one looks like it's OK. This one here is where the finger is going to bend. It also looks like it is in the right place. I'm just going to move it a little bit like this. I'm going to move these one also a little bit. Just tell your bit. Maybe not too much. And this one, I'm going to move it outside of the finger, like so perfect. Now all we have to do is adjust the thumb. So I'm going to the same. I'm going to select this one here, which is going to be part of the Palm. I'm going to go to the top of you. I'm going to more of these into police and I'm going to rotate it. So it has the same direction as this finger and I'm going to go. This time I'm going to go back to the front view, so I'm going to go to camera and front. I'm going to go soon in a little bit on. You're going to see that I have to retain these down like this. I'm going to make sure that the seas in the right place. So if I come to the right view, you can see that this is the finger you have to rotated a little. I'm going to move it up just a little, okay? Looks like I have to scale this out. I'm going to rotate it again. So sometimes this is a little bit tricky, but ah, we can do it. We're just going to scale this out a little bit like this. I'm going to move it into place. Remember, this is where the finger starts. Now you can see that there is a difference between the thumb on the other fingers. So you can see that here we have 1234 and five different circles for each of these different fingers. But for the thumb, we only have four because the thumb is going to bend on Lee here and also here. But it's going to bend only here. And these fingers are going to have to places where they are going to bend. Besides these here where the finger starts so these are different. And since they have less less bones, these ones are easier. I'm just going to select it. Make sure that these are at the center off this finger, and I'm just going to select thes circle here. I'm going to move it like So Okay, now these circles don't really need to be outside of the finger. I just ah, place him like that because I don't know. I got used to doing that way, but they can be inside of these of the skin. Okay, so now these are complete. But before finishing it, I'm going to test these fingers, so I know that they are going to bend in the right way. So we just like the character. I'm going to switch tabs. So right now we're at the adjust up. I'm just going to change to the animate tab. I hear you can see the different bones on. If I turn off the visibility for the mash, I'm going to go to my layers. Here is my character, mesh. I'm going to turn off the view. You can see that Here we have the controllers. Remember, we are in the animate, animate tap. We've seen our character object. So if I now select this cynical here and I retain it, you can see that now this is going to rotate these way. I'm going to turn back on the view for these character and I need to make sure that these are going to bend in the right way so you can see that this is going to bend the right way like this. So as you're going to see, it's going to start bending from here. This other section is this one here. So it's going to bend here as well on this one Here is going to bend, right? I'm are here. Okay, Perfect. So I think this is OK, but you can see that this is not bending properly because the finger should bend in this direction. And it is spending like in this other direction, so you can see that it is not bending properly. This this Ah, fingers should been to the center, which is right here, and they're spending sideways. So I'm going to fix that. I'm going to select the character object. I'm going to go back to the attributes, stab, and here I'm going to go back to the just up. But before doing that, I'm going to so, like the character, go to object and reset the post. So I'm going to click on recent Post so these fingers go back to their position. I'm going to go back to adjust. I'm going to select this finger here and now what I'm going to do since this finger is bending sideways, I'm going to rotate this finger a little bit like this. Okay? And now let's go back to the character. Go back to animate. Let's ah, select the controller for these finger when I get closer here. So this is the controller here and now let's bend. Oh, I didn't select the right one. So I'm going to turn off the current er I'm going to go back to layers on. I'm going to turn off the character much like this finger here. I'm going to turn back on the view for the character. Now, let's try to bend this finger again. Now you can see that this finger is bending to the center. Now it is not bending sideways anymore. So this one is fixed, and I'm going to the same with the rest of these fingers. So I'm going to turn off the view so we can see the skeleton. I'm going to the same here. I'm going to select this circle. I'm going to rotate it so it bends the same with these ones. I'm doing these just to make sure that these fingers are going to bend the right way when we animate him going to turn back on the view for this character and you can see that these fingers are okay. They are all bending to the center. So the pinkies okay, he's going to make sure that the rest are OK as well. So I'm going to bend them a little bit more just to make sure that they are pending into the circle. Okay. And you can see that all of these fingers are now pointing the right direction, including the some. I'm just going to make sure that the thumb it's OK. So I'm going to select these controller here, and I'm going to band it even more. And I'm going to turn on the view for the character, Misha. Now maybe I can rotate this thumb so it bends into the center, so I'm going to select the character object. I'm going to go to the attributes on making sure that I am at the object tab. I'm going to reset the post by clicking here, and I'm going to change from the and may tap through the adjust tap. I'm going to select these one here, and I have irritated So it was bending this way. So I'm going to rotated his way a little bit. I think so. Going to select the character again, Go back to the animate tab, Select the controller and bandit again, and you can see that now this is pointing to the center and it's going to look better. Okay, I'm just going to select the character, making sure that I am in the object. Tap on, reset the post by clicking here. So these fingers are the way they should be. You can see that now. All of the bones are in the right place for this hand, and all I'm going to do now is make sure that they are also okay in these other hand. So since we are mirroring the work that we do on one hand into the other hand, one of these should be okay. So this is what I said in our previous lesson when I said that working with a symmetrical character is going to help us to reduce our working time in half. You're going to see that? No, we don't have to do the same over here because we did all the job on this hand and it Woz replicated automatically. On the other hand, so you can see that all of these bones are okay Now for these hand Also for these other hand or the arms, the spine, the legs, the neck and the head. Okay, so our character is complete. We have completed adjusting our character. I'm just going to select the character. I'm going to go back to just just for a second. And this is the way you adjust the bones so they can feed your character. Mesh. So know only have to do is to adjust the eyes. So I'm going to go to the front view and I'm going to get closer to the face. And these are the bones that were going to adjust for the eyes. So I'm going to select them. Or in fact, I'm just going to select this one. I'm going to move it over here to the center of the eye Now, to be able to see the center better. I'm just going to change the display mode for this one, and I'm going to unlock the character layer so I can turn off the subdivision surveys on this way I'm going to be able to see better were the center of the IEA's. So it is going to be right here. Perfect. Now I'm going to go to the side view. I'm going to get closer to the head and you can see that I have to modify the position of the I now to make it easier to see I'm going to turn off the visibility or this character like so, Andi, I'm just going to turn on the visibility for one of the eyes. So I'm going to turn off the visibility for this one. And I'm going to change the display mode again for these window and you can see that the center of these I ease right here. So I'm going to move these one right here. I'm just going to get closer to make sure that this is at the very center. Like so. All right, let's go back to their front view just to make sure that the seas okay, in these view as well, I'm going to turn on the view for this one, and you can see that these these said appropriately now. So I'm just going to turn back on the visibility for the rest of the character. I'm going to turn back on also the subdivision service, and now I'm just going to go back to the perspective. You. And since we did a lot of work, you can do another C 40 backup if you went, And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 12. Binding the character: hello, class. And welcome back in this lesson. We're going to bind the character, object or skeleton with the character mesh. So let's start. Okay, so this is where we left in our previous lesson. Now, as you can see, the character skeleton is complete. No, we have all of the bones that we need for these character, and all of those bones are in the place where they need to be at. So these characters color tone is complete. Now I'm going to select the character object, and I'm going to go to the animate tab because I want to show you something. Now I'm going to use the selection tool, and I'm going to change the radios back to 10. And now I'm going to get closer to the leg here, and I'm going to make sure that I am in the object mode so I can select this object here, which is the controller for these leg. And now I'm going to move these controller, and you can see that this controller is going to help me to move the leg off thes character . So this is really good, because we can see that this color tone is working now. The only problem is that even though I'm moving the leg of the skeleton, you can see that the leg off the character is not moving with it. And the reason is because we still need to bind the characters Culliton with the character measure. So after we do that and we move this leg off the skeleton, the leg off, the character is going to move with this skeletal. So let's bind the character object and the countermeasures on. Before doing that, I'm going to select the character object, and I'm going to reset the post off this leg. So I'm going to click on Reset Post, and now I'm going to go to the binding tap, and this is where we're going to bind the character, object or skeleton with the character mesh. Now, here we have the different elements of the character mess, and I'm going to organize one of these elements better. So I'm going to select all of these elements, and I'm going to take him outside of these group because I don't want to have too many groups inside off other groups. So I'm going to select this no object on Since I don't need it anymore, I'm going to deliver it now. I'm going to collapse these two different objects here, and I'm going to move them together like so. And I'm going to select these other objects and I'm going to move him like so. So now you can see that here we have all of our objects and these other additional objects down here. Perfect. So now let's go back to the binding window. So I'm going to select the character object and remember, you have to be on the binding tab now to bind the skeletal on the character meshed together . All we have to do is to drag the elements off the character mess inside of thes window here . Now that's what I'm going to do. But I want you to pay attention to what happens when I do that, because they are going to be some changes around here. So just pay attention. I'm going to start with the sunglasses, so I'm going to click and drag him over here. I'm going to drop him here and you can see that two things happened. So the 1st 1 is that we have a new object here it is a skin object on the skin. Object is the one that is going to help us to bind the skeleton with the mesh. So this one is very important. So make sure that you don't modify it or deleted by accident because, like I said, this one is very important. Now, the other thing that happened is that for these sunglasses object that we just dropped our here a new tag waas created, which is the stack here, which is a weight tag. Now, this way tag is going to help us to tell cinema for day, how much we want each of these different bones to affect our mesh. And we're going to do that by assigning different weights to each off the bones. Now I'm going to explain more about this tag and what weights are in a future lesson because the seas were important. But for now, just keep in mind that whenever we drop a new item here, a new way tack is going to be created for that item. Now, we're not going to get a new skin tag because we only need one skin tack for our character . So I'm going to do that. I'm going to click and drag these monocle object into the binding window and you will see that a new weight tag is going to be added to these object. And like I said, we only need one skin tag. So we have only one. Now I'm going to the same with the rest of the objects that create this character. So I'm going to do the same with ease. Other object here. I'm going to drag it over here and you can see again that now we have a new way Tack. Now, since we have different elements, different objects here, we can just select them all at once and drop them here. But now let me show you what happens if I tried to do that. So I'm going to click here to select this object. And you can see that now our binding window disappeared because the attributes window is going to show us the attributes off the elements that we have selected. So when I select a new element, the attributes off that element are going to appear here. Now let me go back to the character object here. Now if I don't want this window to disappear. I can just click and drag on. You're gonna see that the window doesn't disappear. It only disappears if I select the object. You can see that now. I am looking at the attributes for this object. But there is an easy way to keep this window if I want it over here. And it is by lucking these one into place by clicking on these luck, Aiken. So if I select this object so I can see this window here, the binding window and I click here, this window is going to be locked in place. And now it doesn't matter if I select any other off this object or any other object you in light or any object. This window is going to stay here, so that's the way we can do it. Now. I can select different objects at once, so I'm going to click here for a shift and click over here. Now you can see that I have all of these different objects elected. I'm going to expand this to different object. And I'm going to press the command or control key on my keyboard and click here and also here. So now I have all of these objects elected. I'm going to click and drag him over here, and you can see that now all of the's different elements have a way tag assigned to them, including these ones over here. Now, these objects here are Children off what we called a clothes object. So I'm going to show you with a clothes object ease later on, because this is also important. But for now, all you have to know is that when you have a close object or in this case, a subdivision surface object and you have another object inside. When you're going to bind these objects to your skeleton, you don't need to add these objects in these binding window. All they have to add our diminishes. So this one is a modifier, and this one is a mess. So you don't want to add any money fires in here, only the measures. So that's why I didn't drop these over here. Just the measures that's also important. Okay, so let's go back over here. You can see that now all of the's different objects that create the mess off my character, all of them have a way tag, including these two objects that our Children off a clothes object. Okay, so now let's go back to the animate tab. And now I'm going to get closer to the leg area here again, I'm going to use this election to again make sure that you are on the object mode. And again, I'm going to select these controller and now see what happens when we move this leg. You can see that now the bones are moving, but also the leg off. The character is moving, and that is exactly what we went Now. The only problem is that even though I'm moving the leg, you're going to see that the boots are not moving and I'm going to explain why. But before that, I'm going to select these other controller here, which is a controller for the spine or the torso. And I'm going to move. These went up and down so you can see that I am moving these up and down and you can see that the head is moving also the hair, the hands are also moving. And basically all of the different elements that create the character are moving, except for the boots and the jacket. You're going to see that the jacket. He's not moving either all of the elements and moving, except for the jacket and the boots. And there is a reason for that. And you can see that the objects that are not moving are the boot on the jacket. And if we look here, you can see that the books and the jacket are the objects that are Children off a close object. So when you have a modifier like this one, you have to do an additional step for these to work. Now I'm going to go to the character object, and I'm going to reset the post before doing anything. Perfect. Now I'm going to select the skin object here, but you can see that we cannot see the attributes of this king object because this binding window is still locked. So I have to unlock it by clicking on this look I can. And now I'm going to be able to see the attributes off any of the objects that I select. So I'm going to select the skin object, and now I can see the attributes off the skin Object now, with Diskin object selected. I'm going to go to the include tag. And here I'm going to turn on these option here, the forest ob gyn. So I'm going to click here, and these is going to forest. All of the objects that have a way tag and that are a sign to this skin object to be modified by this color tone. So I'm going to go back to the character object. I'm going to go back to object, and I'm going to make sure that I am in the animate tab. And now I'm going to go back over here to the leg area. I'm going to make sure that I am on the object mode and I'm going to select these object. And now I'm going to move this controller, and you can see that now the boot is moving with the leg, and now they should work for these other leg as well. You can see that now. The boot is moving with the leg. I'm going to select these other controller. And now if I move, this happened down. You can see that now. The jacket east also moving. So that's where you have to do if when with your objects is not responding to the bones. So again, I'm going to sell like this object here, the character object that I'm going to reset the post Perfect. So again, when you have a close object like this one here and it is not allowing for some of your objects to be mortified by this color tongue, All they have to do is to go to the skin object, go to include and turn on the first option. Perfect. So now the binding process is complete. And that's all for this lesson. Thanks a lot for watching and I will see you in the following lesson. 13. Working with the cloth surface object: hello, class. And welcome back in this lesson. We're going to talk about the clothes surface object in cinema 40. So let's start. Okay, So this is where we left in our previous lesson and before we continue reading this character, I want to talk about something that is really important because you may want to use it in other Reagan Project. And I'm talking about the clothes surface object, which you can see that we have one here and another one here. Now, in a previous lesson with this cast how this is going to affect the binding process off our character and the character object. So we covered that in a previous lesson. But now I want to go in depth about thes object on the reason why I used it for this character and the reason why you may want to use it for other characters in the future. So to start, I'm going to show you what these object us So you can see that we have applied one of these objects to the boot of the character and the other one to the jacket off these character. So I'm going to get closer here to the jacket and I'm going to come to these area here because we can see these effect better over here. Now you can see that this jacket has some thickness here. But the object that creates this jacket doesn't have any thickness. And the thickness is coming from the clothes surface object. So if we go over here, we can select these jacket object. And if I turn off this object by clicking on these green arrow here, you can see that now. The's polygons do not have any thickness at all. They are regular polygons. So that is all that these objects is doing. It is giving thickness to these objects. So if I turn on these clothes object again, you can see that the thickness he's back. Okay, so that's what this clothes object is doing. And the same is happening with the boot. If we come down here to the boot, you can see that these boots have thickness. But if I turn off the close object, you can see that the object doesn't have anything this So the thickness is coming from these objects. So I'm going to turn this on again like so and to explain these better. I'm going to create a new document. So I'm going to go to file and here I'm going to select a new project. Okay, so here we have a new product and I'm going to create a sphere like so I'm going to duplicate it. I'm going to make a copy of these one, and I'm going to move it to the side. Okay, so here we have a sphere, or in this case, two spheres. I'm going to select them both, and I'm going to make them eligible by clicking here. Perfect. Now I'm going to go to the polygon mode, and I'm going to select this fear here. I'm going to select some of these polygons, and I'm going to delete them like so. So now you can see that the difference between these two spheres is that this one is an open sphere and we can see the inside off this fear as well as the outside of this fear. And in this case, this other sphere is a closed sphere because we can only see the outside. There is no way that we can see the inside of this fear. So that's the main difference between these two spheres. Now, when we have an up an object like thes, and if this object doesn't have any thickness, this object is not going to look realistic. Andi, even if we're working with a cartoon character, it doesn't look realistic on it. Doesn't look appealing. So we need to add some thickness to these kind of objects that have holes or that are open . And let's go back to our main file and you can see that the sees the case for these jacket . You can see that it is an up and object so we can see the inside and also over here we can see these other part. Andi, If we don't have that thickness, let me turn this off again. You can see that these doesn't look appealing, and it looks like a very cheap model. So if we add the thickness, this suddenly looks much more appealing and much more realistic. The same is going to happen with the boot. Can we have the boot? And you can see that even if this is not an up and object, we have this part here that he's coming out, and if we turn off these clothes object. We can see that these polygons that create these objects are very thin, so if it doesn't have thickness, it is not going to look appealing. So it is always good to add some thickness because in real life nothing is like thes. That is really thin. So if we add some thickness, these looks much, much better now. The reason why I didn't add the same effect or modifier to the other elements is because we don't need the same effect to those elements. So, for example, here in the hand, we cannot see the inside off the hand, so we don't need to add anything this because there's no way that we can tell if this has thickness or not. In this object, we can tell if they have thickness are not the same with the boots, but for these other objects, we don't really need that the same with the eyes. We have only a sphere, and we cannot tell if this has thickness or not, because we can't see the interior of this fear. I hope this makes sense. So that is the reason why I used the clothes surface object on the jacket on on the boot of this character. Now let's go back to our other file so I can explain how these clothes surface object works . So I'm going to go to the menu, simulate I'm going to go to clothes. And here I'm going to select the object. The clothes surface object. Perfect. Now, to apply these effect to these objects or to one of these objects, all they have to do is take the object on making a child off these clothes. Surface object. So right now, I'm going to hide the visibility for this one because I don't want you to get confused. Now I'm going to take these sphere and I'm going to move it back to the center. So I'm going to reset the value for X. I'm going to input zero here. Like so on this one. I'm going to move it to the left. Like that. Okay, now I'm going to hide it again. And now I'm going to take these sphere. Remember, this is an open sphere, and I'm going to make it a child off these clothes, surface object like that. Now you can see that right now the only thing that this close office object is doing is too smooth the's object. So if I turn this off, you can see that we can see the different polygons here. If I turn it back on, this is going to look smoother. Now, if I select this close surface object, I'm going to be able to see the attributes here. So if I want to add more subdivisions to these object here, I can increase the number of subdivisions here and now this is going to look even smoother or more rounded. So this is one of the things that we can do with the clothes surface Object. Now, this is going to act similar to what we can do with the subdivision surface. Abject. So I'm going to create one here and now I'm going to take this outside off these clothes surface object, and I'm going to place it inside or make your child off the subdivisions office object. Now you can see that the effect is basically the same. We can see the different attributes, and here we can also see the subdivision levels that we are going to give to the object that is a child off the subdivision surface object. So this is going to act similarly. So I'm going to delete these one because we don't need it. I'm going to take these inside and make your child off these clothes. Surface object again. Andi, I'm going to select it so we can see the attributes here. So, like I said, we can add subdivisions like with a subdivision surface object. But that is not what I want to do with these one. So I'm going to set thes subdivision levels to zero. So now this is not going to add any subdivisions. I'm going to turn it off. You can see that nothing changes now if I turn it on enough because now this is adding no subdivisions to our object. But what I want to do with this object is to add thickness to these other object. So I'm going to come over here and you can see that here we have a thickness option on right now. It is said to zero. So if I increase these, you can see that now. These has some thickness here on I can increase it as much as I went. And this is going to get thicker and thicker. Now, if I add so divisions there is going to get thickness and subdivisions. So I'm going to reset these back to Ciro and I'm going to reduce the thickness because right now it is to think so. You can see that this is a great way to add thickness to our object. Now, the advantage of doing it this way instead off using the extra tool on making an extrusion of polygons is that with these clothes surface object, we can turn on enough these effect. So if we wanted to have the thickness, we can live it on, and if we don't want the thickness anymore, we can turn it off. Now, another advantage of using these instead of getting the thickness using an extrusion is that we can manipulate these points much more easily than if we have an object with an extrusion off polygons. So I'm going to show you the difference really quickly. So I'm going to make a copy of thesis fear and I'm going to move it to the right like so Okay, and now I'm going to select all of the polygons that create this fear So I'm going to go command A or control A to select all of these polygons. And I'm going to press day on my keyboard to bring the extra tool. And now I'm going to click and drag. But before doing that, I'm going to turn on the Create caps option. I'm going to click here and I'm going to click and drag. No, you can see that we are getting a similar effect now. We have some thickness here. And if I turn on these close surface object, we also have some thickness here. So this is going to give us a similar effect now. The difference is that if I d select this polygons and I keep working on my file, and then if I want to come back to this object and I want to change the thickness off thes object here, it is going to be much harder for me to do it than if I do it with the club's surface object. Because here all they have to do is select the object on modify the thickness so I can make it thinker, or I can make you thinner just by decreasing or increasing the thickness value here on with the polygons here it is going to be a little bit harder to do it, especially if we are working with an object that is much more complex than a simple sphere . So right now, this is a very simple object. But when we're working with characters, our objects are going to be much more complex, and that's going to make it much harder to modify the thickness off these objects. Now the other disadvantage of using a regular extrusion like we're using on this fear here , use that. If I want to modify the shape of thes object, it is going to be much easier to do that if I have Onley one layer of polygons so you can see that here I have only one layer off polygons. We don't have any thickness on with this other object. You can see that I have two layers off polygons, this ones that are selected that are in yellow color and this one's that are in the inside , the ones that are in great color. So if I want to modify this fear, let's say I want to take some of the points like this ones here on. I want to move him like this. You can see that with these cloves object the clothes surface object. It is going to be much easier to modify these polygons. Andi, I only have to modify the outside polygons because we have only one layer of polygons And these close surface object is going to maintain the same thickness all around in the hall object. So I'm going to add a subdivision service object so we can see these with a subdivision. I'm going to place a new object inside and I'm going to add both of these two objects as Children of these. No object. So now we can see these with a subdivision. So let me go back to these object. And as you can see, I can select the different points. I'm going to turn off the close surface object so we can see their point. I can select some of these points if I want to, and I can move him. And the thickness is going to move accordingly to what we moved in our original polygons. Now the same is going to happen if I want to add more polygons. So I'm going to. So like these two polygons here, I'm going to turn this on on. I'm going to use the extra tool again. I'm going to bring it by pressing that Dickie on my keyboard. And this time I don't want to have caps. So I'm going to turn off these create caps. Option. So if I make an extrusion here, you can see that these object is going to have the same thickness in these area that we extruded. Because again, if I turn this off, all we have here is a layer of polygons and these clothes object is going to give the thickness. So it doesn't matter what we modify in our original model, the clothes surface object is going to do the rest of the work. Now, if I want to add some polygons in this other object, I'm going to select this one here and I'm going to do something similar. So I'm going to select this Parliament's here. I'm going to use the extra tool again. Make sure that the create caps option is off. I'm going to drag so you can see that. Now we have something similar that we have over here But if we look in the inside, we don't have the same effect because this layer of polygons are independent from these other polygons here. So those are some of the reasons why I used a closed surface object instead of giving the jacket and the boots thickness by using the extra tool. Now, when it comes to reading, there is an even bigger disadvantage off using these kind of object instead of using an object with only one layer polygons. But I'm going to explain that in another lesson, because it is going to be much easier to see when we're doing the actual waiting process. So no, I'm just going to go back to my main file on. I'm going to select the selection tool again. And now you know the reason why I used the's closer of his object on both off these two different objects the boots and the jacket. And I know that this lesson was a little bit long and also maybe a little bit off topic. But I consider this to be really, really important information for you to know, because it is very likely that you will need to be using the's in your future Reagan project. So thanks a lot for watching, and I will see you in the next lesson. 14. Weighting the character - Part 1: Hello, glass. And welcome back in this lesson. We're going to start the waiting process, so let's start. Okay, so this is were we left in our previous lesson. And as you can see, the skeleton for this character is complete. So now we have all of the bones that we need for the skeleton, and all of those bones are in the place where they need to be. And we also bound the skeleton with the measures that create the character. So in theory, this character should be ready to animate. However, there is still something that we need to do in order to animate our character. And it is to make sure that the weights that are assigned to our character are set properly . So I'm going to show you what I mean. And for that, I'm going to select the character object. I'm going to make sure that we are in the animate tab so we can animate the character. And now I'm going to go to the back of the character and I'm going to select these controller, which is the controller for the spine. Now, if you don't see this controller right now, maybe it is inside of the character on. You cannot see it here. You can come to the objects manager and you can find this controller over here. So all you have to do is select the spine object and that's going to select the controller . All right, so now with the controller selected, well, I'm going to do is move it up and down and our character is going to move. So as you can see, the spine of the character is connected toe basically every single bone in the skeleton, so you can see that the spine is connected to the legs. It is also connected to the arms, and it is also connected to the neck which is connected to the head. So if we moved the spine, the whole character shouldn't move. So let's do that. I'm just going to move it up and down now, As you can see, this is working perfectly. You can see that the whole character is moving now. There is a really big problem that we have. As you can see, the face and head of the character are deforming in a really bad way. But don't worry about that. We're going to fix that by adjusting the weights that are being assigned to the measures in relation to the bones of the skeleton. So for now, don't worry about that now. Before doing anything else, I'm going to select the character. I'm going to reset the post. And now, to adjust the weight, we have to change the layer, because in this layout we don't have some of the tools that we need to work with our character. So I'm going to go to lay out and here I'm going to select these layout here, the rigging layout. So I'm going to click here. As you can see, this is a different layout, and here we have some tools that are going to help us to work with our character, including the wait till, which is the one that we're going to use to adjust the weight and fix the problems that we have with our character. Now this layout here is perfect when we're really in characters. Now, the question is, why didn't I use this laid out from the beginning? And it is because this layout, as you can see, takes a lot of space, and it is good to have all of these different windows and tools here. But in the previous steps, we didn't really need all of these different windows, and they just take a lot of space. So that's the reason why I didn't use this laid out from the beginning. But for these steps that we're going to be doing now, this layout is necessary. So weights are basically the amount off influence that each bone is going toe have over a specific mess. I'm going to show you how it works. So I'm going to collapse these group here. So we have more space here and now to make it easier to see we're going to do it one object at a time. So I'm going to start with the genes. So I'm going to come over here and I'm going to select these jeans and to make it easier, I'm going to turn off the visibility for all of these different objects. So I'm going to do publicly here until these that's turned red and now to be able to see the genes, I'm going to click here once until there's that turned green. So now you can see that the only visible elements are the jeans, and that's what we need. Now I'm going to get closer here and again. I'm going to make sure that this chains are selected. And now I'm going to select the weight tool, which is this one here. Now, when we use the wayto, we're going to be able to see different colors in our object on those colors represent the weight off the bones over the object. But we cannot see those colors right now. And the reason is because this object is being influenced by a subdivision surface object, which is this one here. So we have to turn this off in order to see the different colors. So I'm going to turn this off, and now you can see that this jeans have different colors assigned to them. Now, each of the colors, like I said, represents a bone. So as you can see the bones of the spine I read and here we have some red colors. And that means that this part of the genes is being affected by some of the bones off the spine because they share the same color. Now, over here, we can see that some of these other bones. In this case, we have some green bones here, which are the bones of the leg Onda. We can see that this part of the genes is green, and over here we have some orange or yellow colors which represent these bones off the leg here. So in this way, just by looking at the different colors of the mission, we can tell which bones are affecting the different parts off that mesh. Now, when we do the binding process, cinema for the assign, some weight to our meshes automatically. And that's why we can see some of these colors assigned to these measure, because cinema for the assigned them automatically and cinema for the usually does a great job at assigning weights automatically. But sometimes it doesn't assign them properly, and when that happens, we're going to have some problems on. The mess is not going to the firm the way that it is supposed to, and that's what happened with the face and the hair off our character. But don't worry. We can fix those problems by reassigning the weights on our measures, and that's what we're going to do now. So I'm going to turn off the view for the genes because we're not going to start with jeans and I'm going to select the glasses, his sunglasses, and I'm going to turn on the view for these ones. I'm going to come to the top because the sunglasses are at the top. Okay, so as you're going to see, the sunglasses are not being influenced by the head bone because you can see that the head bone is a different color from the sunglasses, and you can see that the sang glasses are being influenced by these two bones here, which are the bones that are assigned to the eyes. So this is not going to work properly. So just to show you, I'm going to select the life selection tool and I'm going to select the head controller, and now I'm going to use the rotator, and I'm going to rotate the head and you can see that this is not working properly on when we rotate the head. The sunglasses are no rotating with the head. They are following the movement off the ice, and that is not what we went. So I'm going to select the cracker object and I'm going to reset the post and now I'm going to select the single assist object again. And here you can see that we have a window with different tabs on. This is where we're going to be able to assign the weights to our missions. So right now we're looking at the command stap on also at the option stop. But we're going to be able to see the bones that create this skeleton if we go to the joints tap. So I'm going to click here and here we see a least off all of the bones that create our skeleton, and we're going to be able to see the same list off bones if we select another of the objects that are assigned to this same skeleton. So I'm going to select the sunglasses again. And now if I come to these window and I select each of these different bones, it is going to tell me if they have any weight assigned to them, for example, I can select the spine, and as you can see, the sunglasses turn black. And that means that none of these bones have any weight assigned to the sunglasses in other words, The movement of the spine bones is not going to affect the movement off the sunglasses, and I can do the same for the rest of the bones. So if I select this other set of bones, you can see that these sunglasses are still black. And that means that none of these bones is affecting the movement off the sunglasses. And I can do the same for the rest of the bones. And you can see that none of these bones are affecting the movement of the sun glasses because the sunglasses are still black. So when we see some color popping up, that means that those bones are the ones that are affecting the movement off the sunglasses so we can see that none of these bones are affecting the movement. Now I'm going to have to scroll these window down so we can see the rest of the bones. And now here we have the bones for the I, and you can see that when I select this one here, this one is going to turn green. And that means that these bone here is affecting the movement off this side off the sunglasses. Now If I select this other one here, you can see that this is going to affect the movement off this other side off the sunglasses. Now I'm going to make thes window a little bit smaller, so it feeds in the space that we have available. Now, if I want to modify the weights, I can do it in different ways. So one is by using the weight tool, which is these one here, and the other one ease by using the command staff, which is thes one here. And you can see that here we have different commands that we can use to assign the weight to our measures. So I want to see both of these tabs at the same time because I want to use the command. But I also want to see the different bones off the skeleton. So to see these two taps at the same time, all I have to do is select one of the Paps press and hold shift, and then click here on these other top. And you can see that now we have both of these stabs at the same time. So as you can see here we have a list of different command. We have apply all zero normalize copy mirror plus two minus replace on sleep. See now, the most important thing about these commands is that these commands will apply only to the bone or bones that we have currently selected. So I'm going to scroll down. I'm going to shrink this window so we can see both off the windows at the same time. And now I'm going to scroll down and you can see that I have thes bone selected. Now, if I apply one of thes different commands, this command will apply only to thes bone. So, for example, if I apply the zero command, this is going to get rid off all of the influence that this bone is having on the sunglasses. So I'm going to do that. I'm going to click on zero. And as you can see now, this bone has no influence on the sunglasses. Now, if I go to the other bone, this one here, you can see that this bone still has influence on the sunglasses specifically on this part of the sunglasses. But this one doesn't have it anymore. So, like I said before, these commands are going to be applied on Lee to the bone or bones that we have currently selected. Now, if I went to the same with this one, I have to select it. And I have to apply this zero command so I can do it by clicking here. And as you can see now, these bone here doesn't have any influence on the sunglasses. Object, Andi, since these were the bones that had all the influence on the sunglasses object. Now, none of these different bones have any influence on the sunglasses, so I can select these weight tag here. As you can see, they are still black. And that means that none of the bones have any influence on these sunglasses. Now, just to prove it, I'm going to select the life selection tool, and I'm going to select the spine controller and I'm going to move the spine. So now you can see that I'm moving the whole skeleton. But the sunglasses are not moving at all, because now none of the bones have any influence on the sunglasses. I'm going to select the character object. I'm going to reset the post, and I'm going to select the sunglasses object again so I can see that the friend bones again. So the bone that should be controlling the movement of the sun glasses is the head bone, which is this one here. So I'm going to select it. And this time I'm going to apply another command, which is this one here, the apply all command. So if I click here, you can see that this is going to apply the influence off this bone to the hall object. And if I select the selection tool again and I select again the spine controller and I move the spine, you can see that now the spine is going to move the head and the head is going to move the sunglasses. And now, just to show you that the head is the one moving the sunglasses on none of the other bones , I'm going to select the head controller. And now I'm going to use the rotator to rotate these head. And you can see that now the sunglasses are following the movement off the head, and now we don't have all of those really bad informations that we were having previously. So as you can see now, the head bone is the one controlling the movement off the sunglasses. And that is exactly what we went. So I'm going to select the character object again. I'm going to reset the post like so. And now I'm going to select the sunglasses again. Andi, since now the weights are set appropriately, and I don't want them to be modified by accident, What I'm going to do is to lock all of these bones. So I'm just going to click on these luck. I can, and I'm going to the same for the rest of these bones. And to make it easier, I'm just going to click on track. And you can see that this luck Aiken is going to turn on for all of these different bones. I'm going to the same for the rest of the bones, including these ones at the very bottom. Perfect. So now the wait for the sunglasses is properly set, and that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 15. Weighting the character - Part 2: Hello, glass. And welcome back in this lesson. We're going to continue with the waiting process, so let's start. Okay, So this is where we left in our previous lesson and since we have made some progress in our project, you can do another say for the backup at this point if you want to and I'm just going to continue. But if you want to, you can go ahead and make your C for the backup. So usually when I work with a character that has different objects like this one, I tried to keep things organized. And one way to do that is by selecting the skin object on dragging it to the very bottom off the hierarchy. So I'm going to place it here. And then when I finish adjusting the weights for one of the objects, I take this object and I move it below this king object. So at this point, I know that the elements that are above the skin object are the elements that I still need to work on. On the elements that are below the skin object are the elements that are set and ready to go. And like I said, this is just to keep things organized, but you can skip this if you want to. Now let's continue adjusting the weight of the other object so the sunglasses are done. So I'm going to turn out the visibility for the sunglasses. And now I'm going to continue with these other object demonic all. So I'm going to turn on the disability for these one. Remember, they to that have to be green so we can see them here and now You can see that we have the same problem that we had in the previous object. You can see that the weights are assigned to these bone here, which is the bone for the I. But we went to assign the weight to the bone off the head. So I'm going to select these object, and I'm going to select the weight tack. When I select the way tack, all of the different bones are going to be selected. You're going to see if I select another bone Onley. These bone is selected, but if I select the way tack, all of these bones are selected. So this is an easy way to select out off the bones of the skeleton. So once I have the way tax elected, I'm going to click on zero. And now I'm going to lack all of these different bones. Remember, you can do it by clicking and dragging like peace. And now I'm going to go back to the top and I'm going to select the head bone. I'm going to unlock it because if I have it lacked, I will not be able to modify anything. So I have to unlock it first, and then I'm going to click on, apply all. And now you can see that the head bone is going to control the movement off this monocle. So once that this he said a properly, I'm going to lack thes one again. So now I know that all of the's different bones are lacked on that these weights are going to stay the way that I said them. So now this one is also finished on Just to make sure that this is set up properly, I'm going to use this election toe. I'm going to make sure that I am on the object mode and I'm going to select the hand controller and I'm going to use the rotator and I'm going to rotate this object and you can see that now these monocle is going to follow the movement off the head. Okay, I'm just going to let the character and I'm going to reset the post just to make sure. And now these monocle object is complete, so I'm going to drag it to the bottom below the skin object. And now I know that these two objects are complete. So I'm going to turn off the view for these monocle object and I'm going to the same with the next object, which is the hair simple object. This one here. So I'm going to turn on the view for these one and I'm going to select it now. You can see that this object has a lot of different colors. So that means that this object is being affected by different bones. Here we can see that we have some blue colors which belong to this arm. Over here we have some green colors here which belong to these other arm. We also have some porridge colors which belong to the head bone. And we also have some green colors which belong to the eyes. So as you can imagine, this is not set up properly. And if we try to move the head, this is going to get the firm in a really bad way. So let's do that just to see how it looks. I'm going to select the selection tool and I'm going to select the head controller. I'm going to use the rotator. I'm going to rotate this head on. You can see that this is behaving in a really crazy way. So this is not what we went. But we can fix it really, really easily. So I'm going to select the object. And again, I'm going to make sure that the way tack is selected so all of these bones are selected, and now I'm going to click on Ciro. So now none of the bones are affecting this hair, and now I'm going to lack all of the's different bones. Remember, all we have to do is click and drag so we can lock all of these different bones at the same time. Like so and now I'm just going to select the head bone again. I'm going to unlock it, and I'm going to click on apply all. I'm going to lock it again. And now I'm going to test it again. So I'm going to use this election tool. I'm going to select the head controller and I'm going to use the rotator. I'm going to rotate the head bone, and as you can see now, this is working properly. This is the way that we want this object to behave so we can rotate the head. And as you can see now, we don't have all of those bad informations that we were having before We can do it also this way. Are rotated in any direction that we want. Okay, so I'm just going to select the character. I'm going to reset the post. I'm going to select these hair object. I'm going to make sure that one of the bombs are lacked and I'm going to select the object and drag it to the bottom because now it is ready. I'm going to drag it all the way to the bottom. I'm going to turn off the view like so Now we're going to do the same for these other objects because all of these objects are going to be affected by the head bone. So I'm going to turn on the view for this one. Here. You can see that they seized the other hair on here. We have another version of the hair, but these also has to be affected only by the head bone. The same with the piercings and the I roast as well. And also the two eyes, while the eyes are going to be affected by the I bones. Because remember, we have some bones for the eyes. So these ones, I'm going to move him down here like so I'm going to turn off the view for these ones. Okay? Now the tongue also has to be affected by the head bone. Also the elites. So I'm going to turn on the view for all of the islets and also the head. And we have the teeth at the bottom, the ones at the top. Andi, these are all of the objects that we have to assign to the head bone. So when we have different objects like this one that have to be assigned to the same bone, we can select them all at once like this. And I'm just going to collapse all of these different objects so we can see them all at once like so. And I can select all of the objects at once. I'm going to click here for a shift on click here and now we're all of these objects elected. I can click on zero. So as you can see, we did the same for all of the objects at once. So I'm going to open all of these again because we have to luck the d friend Bones. So now here we have the whole list of bones off all of these objects, so I'm going to love them all. Remember, all we have to do is click and drag again, click and drag. And I'm going to these for all of these different bones. Now, remember, the reason we're lacking these different bones is so we don't modify the weight later on by accident because that may happen. Sometimes if your bones are set appropriately and then you work on some animation, sometimes these weights are going to be modified by accident. So this is just a way to prevent that from happening. And I tell you that because it has happened to me on I'm just going to make sure that I look all of those different bones. So now that we have locked all of the's different bones, we can continue with the other part of the process. So I'm going to select these hand bone here. I'm going to unlock it, and I'm going to click on, apply all. And now you can see that the face is now being affected by the head boom. So I'm going to lack these one. And now to make some room, I'm going to collapse these object by clicking here and now we can see the next object. So I'm going to select the head bone. I'm going to unlock it, and I'm going to click on up light all I'm going to lack it again, and I'm going to collapse. Thes object. I'm going to the same with the rest of the objects. So So let the head bone unlucky click on a play all Luckett again and collapse it same with these one. So, like the head boom unlucky it click on a plate all like it again and collapse these object . Okay, so we're going to continue doing the same for the rest off the objects, so I'm going to select it, make sure it's unlocked, click on, apply all like it and collapsed. These group the same here selected. Unlock it, click on a play all Luckett again and collapse the group. So I'm going to continue doing the same with the rest of the objects. And I know that this part off the process could be a little boring that he was going to help us to save some time because we are making all of these different objects at the same time. So it is actually going to help us to save some time. I'm just going to continue with these ones and with the rest of these objects. So select the head bone on black, it clicking up like all Luckett again and collapsing. Same here. Unlike it, apply O Luckett and collapsed. Okay, so now we have all of these different objects ready. And now I'm just going to make sure that they work properly. So I'm going to select the selection tool, and I'm going to select the head controller. I'm going to rotate this head using the rotate tool, and you can see now all of these objects are working the way they should, so we can see the earrings there. The piercings, we can see the teeth, the tongue, the islets, the eyebrows on the hair. You can see that all of these objects are now following the movement off the head. So that's perfect. That's what we needed. Okay, I'm going to select the correct er abject. And I'm going to reset the post. And now I'm going to select all of these objects that are now ready, and I'm going to move him over here. So I'm going to grab him on, move him to the bottom off the list because now they are ready. It was a little boring, but we finished adjusting the weights off a lot of different objects very quickly. So now I'm just going to make sure that all of these objects are off, like so Now I did all of these different objects at once, but if you prefer, you can do them one by one. So now I'm going to select the head object. I'm going to turn back on the view for this abject on. And even though this one is working properly because remember, if we select the head controller and we rotated, this is following the movement of the head. But we still have to modify these one because we can see that we have to adjust the neck. So right now, when we moved ahead, the neck is moving. Ah, lot on. It shouldn't be moving that way because the neck area should be assigned to the neck bone. And right now, the neck area is a sign to the head bone. So this is not going to work properly. So I'm going to select these head object and I'm going to move it back to the top because we're going to have to modify it a little bit more so this can work properly. But we're going to that in the next lesson. Because to do that, we're going to have to use the way tool on. I'm going to have to explain it in detail now. In this lesson, I did things a little bit faster than in the previous lesson. So if you want to get a more detail explanation on how to do this process, please go back to the previous lesson. Because in that lesson, I showed you how to do this process step by step. And I explained a lot of things that I didn't explain in this lesson. So if you felt like this lesson waas kind of fast, please go back to the previous lesson. And there you will see how to do this process step by. Step on. After you watch that lesson, you're gonna be able to understand what we just did in thes lesson. All right, so that's all for this lesson. I hope that you learn a lot and I will see you in the following lesson. 16. The weight tool explained: Hello, class. And welcome back in this lesson. I'm going to teach you how to use the weight tool. So let's start. All right, So in the previous lesson, we learn how to probably a sign wait to our measures using commands. Now, we used on Lee to command the zero command and the apply all command. Now, these commands are great when we went to apply or remove the weight from a hall object. So I'm going to show you quickly how it works. So I'm going to select the head object. I'm going to click here to expand and see all of the bones, and I'm going toe. Unlike the head bone, I'm going to make sure that the head boom is selected. So if we used the zero command, the weight off the bone is going to be removed from the whole object. And if we use the apply all command, the weight is going to be applied to the whole object. Now, what happens if I want to apply the weight off a bone toe on Lee? A specific part off an object? Well, for that, we can use the weight too. Which is these one over here. So I'm going to click here to select the wait'll and now I'm going to click on the serial command. So now none of the bones off the skeleton are having an influence on these head object. Now I'm going to assume out a little so we can see the whole object and I'm going to rotate it on. You can see that these head is rotated, so I'm going to select the character object. I'm going to click on Reset Post. Now I'm going to go back and select the head object so we can see all of the bones again on again. I'm going to select the head bone and again make sure that the head bone is unlocked. Now I'm going to select the wait'll again so I can see the different properties off this still here and here You can see that we have different options, so I'm going to live him the way they are. I'm just going to make sure that the mode is set to absolute and that the visible only option is on on for the rest of the options were going to live in the way they are. So I'm going to get closer here. And with this so selected, I can click and drag over this mesh or this object. So I'm going to do that. I'm going to click and drag. And as you can see, this way, I can paint the areas what I want these particular bone that I have selected to have influence over these mesh. Now that part is actually important. This tool is going toe work similarly to the commands, and this stool is going to apply the influence or the weight off the bone or bones that we have currently selected. So make sure that you have the correct bomb selected so you can start painting the weight or influence that this bone is going to have over these mesh. Now. Another very important thing is that when we work with weights, the weights that were going to be painting are going to repaint it based on the points that create that mesh. So right now you can see that I have the object most elected. But if I go to the points mode here, we can see the different points that create these mess. Now I'm going to get closer here on you can see that the's tool is going to be working based on the point. So if I try to click here on these polygon here in the middle of the polygon, the tool is not going to work because weights are based on points. So I have to click on one of the points like this one. You can see that now it is going to apply the weight to this point, but at the same time it is going to reach some off these other areas. So if I click on this other point, you can see that now it is going to apply the weight to this point which is going to also read to these other areas. So that is something important as well. On when we use the wait'll, we can have the object mode selected if we want to. The only problem is that we're not going to be able to see the different points that create these mesh. We can also work in the point mode, and this way we can see the different polygons on the different point that create the mess . We can also work in the edge mode on, we're going to be able to see the different edges. But the WAIT'LL is going to steal working using the different points or the intersections between the edges. Like these intersection here where a point ease. I can click here and that's going to paint these area. You can see that I cannot apply the weight by using these way tool if I click on the polygon and I cannot apply it if I click on any of these different edges that create these mesh on Lee, if I click on the point or intersections off edges like this one here and I can also work with the wait'll if I have the pallium most elected so in the Taliban mouth again I can see the different polygons. But I can only work if I click on the intersections where the points are like this and so on. Now you can see that here I have some orange areas here. You can see that that is going to represent the influence that the head bone is going to have on this measure and also here. But you can see that in between these two orange areas, we have a black area right around here. And that's because these areas here are being painted by using this point here and also these one here. And this area here is created by painting these point here and these other point here. So we have these black area in between, which means that the bone is not going to have an influence over demands in this area because these points here are not painted. So if I paint this point here for this one here or this other one here, this black area is going to start disappearing so I can click here on these one. You can see that we don't have that black area anymore. Now, if we go to the wait'll properties and remember, if you don't see the properties here, all they have to do is select the wait'll again. And here in the properties of these tools, we can change the radios off the tool. So I'm going to assume out and to make it easier, I'm going to click on this zero command like so, and I'm going to go back to the object moat so we don't get distracted by the different edges that create these object. Okay, so you can see that now. The radius of distal is kind of small, but if I want to make it beer, I can come over here. But before that, I'm just going to click here so you can see the influence that this tool is having right now. And now I'm going to go to the properties of the tool and I'm going to increase the radius . I'm going to use 100 and now you can see that this tool is going to have a much bigger radius. And because of that, it is going to affect more points at the same time so I can click here. And as you can see now, we painted different points at once. Now let's go to the points mode and you can see that here with the smaller radios we painted on Lee one point and with the bigger radius, we painted different points at once. So this is very simple to use. All you have to do is increase or decrease the radius of the tool. And you're going to have more influence over these different points or less influence, depending on the size of the tool. Okay, let me click on zero again. Let's go back to the object mode on another thing that we can change is the strength off the tool. So right now the strength is said to 100%. So let's come over here on. Let's just click on track. And now to be able to explain what strength us I'm going to come over here on, I'm going to reduce the strength to Onley. Let's say 25% like so and I'm going to click and drag. Now you can see that there is no difference between these two ones, even though this one has a smaller strength. But there isn't that these they don't change is because when we want to use a different strength besides reducing the strength of the tool, we also have to make sure that the auto normalized option is turned off. Now, I'm going to explain a little bit more about these out of normalized option in a future lesson. But for now, all you have to know is that when you reduce the strength off the tool, you have to turn off the outer normalized option for these to work. So Now I'm going to and do these. I'm going to undo it. And now, with the out of normalized turn off and the strength reduced to 25% I'm going to click and drag. And now we can see a big difference between thes one here and these one over here. So when we use the strength at 100% the influence of this bone over this part of the mesh is going to be 100%. So when we move this bone, this part of the mesh is going to move at a 100% influence on over here. The influence that this bone is going to have on this part of the measure is going to be on Lee 25%. So when we moved these bone, this part of the maze is going to be affected at only 25%. So it is going to move with the bone. But it is not going to move as much as these other area because this other area is being affected at 100% while these other area is being affected at only 25% and we can change the strength to any percentage that we went on. In this way, we can have more control over the influence or wait that each bone is going to have over our mesh. Okay, I'm going to click on zero. I'm going to increase the strength again to 100%. And I'm also going to turn back on the outer normalized option. Now let's come over here and I'm going to increase the radius a little bit and I'm going to paint like this. Now you're gonna see that when I pain like that, we're going to be able to paint on Lee the polygons that we can see here. If we come to the other side, you can see that nothing got painted here, even though those polygons are right behind the polygons that we just paint it. So I'm going to click on Syria again. That's what these option does, the reasonable only option. So since this is on, whenever I paint, it is going to paint on Lee the polygons that I can see. I'm going to come to the other side again and you can see that none of these polygons were painted. So if I turn this option off. I'm going to click on Sarah again. And if I turned these visible only option off and now I paint again like these, and I can't come to the other side. You can see that now. I painted also these other polygons or these other points because they were right behind these points that I painted. So if we have these visible only option off, we're going to be able to paint not only the polygon so we can see, but also the polygons that are behind the polygons that we can see on. Usually we're going to have these options on the visible on the option. So I'm going to turn it back on and I'm going to click on zero now. Like I said, usually we're going to have this on, but in some situations we're going to turn it off. So this is what this still does. Now the selected only option is going to do something similar, but it's going to work with the selection that we have. So if I go to the polygon mode here, you can see that some of these polygons are selected, the ones that look yellow and the other ones. The ones that look blue are not selected. So if I turn on the selected on the option, I'm going to be able to paint on Lee the points within the selected area so you can see that here I can paint these different points. But if I come over here where these polygons are not selected, you can see that I cannot paint any off these different points. So I'm going to trace a line. So you're going to see these much more easily. I'm going to trace a line and you can see that the line stops where the selection stops like these, so you can see that I'm going over to the other side. But this election is not going to happen over here, Onley in this other side where the polygons are selected. Okay, so that's what these action thus the selected only option. And usually we're going to have these options off. But sometimes, just like with the visible only option, sometimes we're going to turn it on, depending on the situation. Okay, I'm going to assume out, and I'm going to click on zero, and I'm going to go back to the object mode like so and now there is another very important option that we can use. And for that option, I'm going to have to switch to the symmetry tap. So I'm going to click here on symmetry, and now I'm going to click on enable, and now you can see that this is going to enable the symmetry and it is going to work only with objects that have a perfect symmetry. Remember, in a previous lesson, we discussed the importance off symmetry in character production, including rigging. So this is an option that is going to help us to mirror what we paint on one side onto the other side. You can see here I'm painting on the right side on what I paint. It's going to be reflected on the other side, and I can do the same if I paint on the left side. I can paint here and you can see that what I paint here is going to be reflected on these other side. So these symmetry option is also a very important option, and we're going to use it a lot when we use the way tool. So I'm just going to do it again here. You can see that this is going to work perfectly because our character has perfect symmetry . Okay, so I'm going to click on Ciro again on for now. I'm just going to leave the symmetry on and I'm going to go back to the first step. The option stop. Okay, now I'm going to come back to the front. Andi, you can see that now. If I click and drag, I'm going to be painting or adding weight to these object. But I can also use this tool to remove. Wait. So I'm going to come over here and here on mode. You can see that we have it said to absolute, but I can click here, and I can select substructure. Now, if I select abstract, you can see that nothing is going to happen on. The reason for this is because again, I'm going to explain it in detail in a future lesson. But for this to work, we have to turn off the outer normalized option. So I'm going to turn it off. And now you can see that we can use the wait till to remove the weight that we added before like this. And as you can see, it is working with our symmetry. And it is also going to work with the other options that we covered before. So again, if I want to add some weight, I have to select the absolute option. And I can add some weight. And if I want to subscribe act, I can come here and click Ants obstruct and I can erase arse obstruct the weight that we painted before. Now there is another option. And before that, I'm going to feel like the absolute option. I'm going to paint some weight like this. Maybe a little bit more like this. Now I'm going to come over here to remote options. I'm going to click, and I'm going to select this muth option. I'm going to select this one and I'm going to increase the radius so you can see the effect better. I'm going to get closer and I want you to pay attention to what happens to this area. So I'm going to click and drag and you can see that this is going to help us to its muth the transition between the different weight. So where we have black, we have a weight off 0% on where we have these orange color. We have a weight of 100% so we can add a transition between these two different percentages off. Wait by using this more tool so you can see that this is going to make the transition smoother like peace. And also for this to work, you have to make sure that the outer normalized option is turned off. Okay, so I'm just going to click on Ciro again. Andi, I'm going to change these settings for the wait'll to what we had at the beginning. So I'm going to change the mode. I'm going to change it back to absolute, and I'm going to turn back on the outer normalized option. So those are the most important elements off the way tool. So I encourage you to practice using this tool because we're going to use it in the future lessons to complete waiting the rest of the measures that create our character. So that's all for this lesson. I hope that you learn a lot and I will see you in the following lesson 17. Normalization basics: Hello, glass And welcome back in this lesson. We're going to cover the basics of normalization. So let's start. So in previous lessons, we discussed the importance off weight when it comes to reading. So wait is going to define how the skeleton is going to affect the measures that create our character. So in this case, we have the head object selected. So it is this one here and here we have the head bone's selected, which is this bone here at the top. So now anything we do you sing these commands or using the wait'll is going to affect only this had object and the way that we add it's going to give influence to this head bone to move the head object. So again, I have the head object selected, and I have these head bones selected and the head bone is unlocked. Now, in the previous lesson with this cast the way, too. So I'm going to select it so we can see the different attributes of the stool. And remember that here we can change the different parameters off these two, and those parameters are going to define how this stool is going to behave so one of these parameters that we can change is the strength. Now, at this moment, it is said to 100%. So if I paint over these object the head object, you can see that I'm going to be able to paint at 100%. Now, these means that these bone off the head, this one over here is going to affect this part of the mesh at 100%. And that means that if we move the head bone, this part of the mesh here is going to move at the same ratio. So if we rotate these head bone 90 degrees clockwise, this part of the mesh is going to rotate 90 degrees clockwise because the weight is set to 100%. Now, if I go back to the wait'll settings and I read used these to, let's say 50% and I turned off the outer normalized option So these one has to be up and I click and drag. I'm going to do that here like So now these bone, the head bone is going to affect this part of the mess at only 50%. So if we rotate the head bone at 90 degrees clockwise. This part of the head is not going to move at the same ratio. It is going to move less because this part of the mesh is being affected by the head bone at only 50%. So in this way we can have different bones affecting the same area, because one bone could affect this area at let's say, 50% and another bone can affect the same area at another 50%. And when we add those two bones, they're going to affect the area at 100% 50% from one bone and 50% from the other bone. Now that is actually really important when we weight our different objects or mesh is the final weight off. The whole object has to be 100% for each of the different points that create that object. If we have less than 100% or more than 100% when we moved the skeleton, the areas that have more or less than 100% weight are not going to deform properly, and I'm going to show you that. So right now I'm going to paint over the whole head. Remember the WAIT'LL he said at a strength of 50%. And I'm going to make sure that I paint all of these different areas of the head like these . And now this area is being affected at 100%. These other area is being affected at only 50%. And I'm going to change the strength. I'm going to use 70%. I'm going to paint the rest of the mesh like so perfect. I know you can see that we even have some other areas off these measure inside. So you can see here we have other areas that we didn't paint and I'm going to leave him like that on purpose. So the black areas have 0%. This area here is going to have 70% because that's what I said here. These darker area is going to have only 50% and these area is going to have 100% influence . So that influence is going to belong to these bone. So you can see that now this bone is affecting this mesh. But it's affecting it at different strength in different parts of the mess, including some parts where it is not affecting it at all, Which are the parts that are black. Okay, now I'm going to select the selection tool, and I'm going to select the head controller, This one here and now I'm going to use your a potato, and I'm going to rotate these head, and you can already see that there is a big, big problem. And the problem is that some areas are moving properly, like this part of the head. Remember, this part of the head is the one that has a 100% influence. So if we go back to the head object and we select again the head bone, you can see that this part has a 100% influence. I mean, this bone here has a 100% influence on this area, so this area is going to move properly. So I'm going to go back to this election toe. I'm going to select again the head controller, and I'm going to rotate it again so you can see that this part here is moving properly. It is following the movement off the head monk at a 1 to 1 ratio. So if I rotate these 90 degrees like this, you can see that these part is going to move 90 degrees as well for doing these bone. But some of the areas where they have less influence are not going to move properly. So you can see that here we have some of the areas of the interior of the mouth where the influence is set to zero. Remember, those are the areas that are black. So if I select the head again and I select the head bone again, you can see that these areas are black. So these areas are black and then are not being influenced by the movement or rotation off this bone, so they are going to stay in place. The areas that have a 100% influence are going to move according to the movement of the head at a 1 to 1 ratio, and the areas that have less than 100% like this areas here which have a 50% influence, are going to move less, and those areas here that have a 70% influence are going to move a little bit more than the areas that have 50%. But I'm not going to move enough so they follow the bone to a 1 to 1 race you. So what this means is that whenever we're waiting our different objects, we have to make sure that the final wait for every single one of the points that create the measure is set to 100%. Now it could be said to 100% to only one bone, so one bone can have a 100% influence over the whole mess. Or it could have some influence over the mesh, and another bone can have also influence. But the important thing is that at the end of the day, the weight off, all of the points off the measure have to have an influence at 100%. And again, this could be by only one bone or by a combination off bones. And when I say it points, I'm talking about these different points. I'm going to go to the point mode. Remember, our missions are made by polygons, edges and point, and remember that when we are going to wait our characters, we're going to be using the different points that create this measure to add the proper weight to the bones. So again, these area here, all of these different points have and influence of 100% and the rest have less. So now let's elect again the head bone that I'm going to click on apply all bad. Before doing that, I'm going to go to the object mode and now I'm going to click on apply all. And as we can see now, all of the different points that create this measure have a weight of 100% on. We can tell that by the color off the mesh. So now everything is orange and you can see that we don't have a different tones off orange anymore. The whole mess bees a bright orange. So that means that all of these points are said to 100% influence. Now, if I select the selection tool again on I rotate these head again, you can see that now the whole head is moving at a 1 to 1 ratio when we rotate the's head bone. Now I'm going to undo this because I want to show you something else. I'm going to and do it until we get these mesh here that is completely reformed. Andi. Now, if I have these mesh like this and I try to fix it using the wait'll So I'm going to use the wait'll and I'm going to set it to 100% like so now with the wait'll at 100%. If I click on any of the areas that are at less than 100% this is going to start to get fixed. So I'm going to start painting here. You can see that now, V. C said to 100%. And when I released, this area is going to go all the way over here following the head bone to a 1 to 1 ratio on If I continue painting these different weights toe 100% it is going to start fixing little by little. So I campaigned all of these areas like so And I'm going to get this fixed eventually like this. And when I have only one bone, we can do it this way. But it is going to take a lot of time. So it is not the recommended way to do it. And like I said, it's going to take a lot of time and it's going to be really hard to do it. So this process that I'm doing here is normalizing the weight. So I am making sure that all of the different points that create this measure have a total influence off 100% and I'm doing it manually now. The problem is going to come when we have different bones that are affecting one mission, and each of the bones has a weight assigned to them. So we have that. It's going to be really hard to fix this kind of problems. So I'm going to select this character object. I'm going to reset the post, so I'm going to go to the object tap and I'm going to click on recent pose. So those are the basics of normalization. Now I know that this is a lot of information to process, so if you want to, you can go back to the beginning off this lesson and re watch it in case that you didn't get the whole thing so you can go back, re watch it, and once you have understood it, you can go to the next lesson because in the next lesson I'm going to teach you how to use the outer normalized option. And if you don't understand normalization, it is going to be harder to understand the outer normalized option. And that's all for these lesson. I hope that you learned something useful and I will see you in the next lesson. 18. Auto Normalization: hello, class. And welcome back in this lesson. We're going to talk about the outer normalized option in cinema four D. So let's start. All right, so in this lesson, we're going to cover a really important topic which is using the outer normalized option. Now, this topic may be a little bit complex at the beginning, but I really recommend you to watch this lesson over on the Reagan until you understand it . Because this is a very important topic when it comes to reading in cinema, for day on, not only in cinema four D, but in three D in general. Okay, so let's begin. I'm going to select the head object. I'm going to select the head bone and I'm going to click on Apply all. And now I'm going to show you what the outer normalized absent us. So I'm going to select the way to again so I can see the attributes. And now I'm going to change the mode from absolute to sub strapped. So I'm going to click unsubs tracked. I'm going to go to the back off the character, and I'm going to say abstract some of the weight from the hit like that. And here I'm going to add a smooth transition from the orange areas to the black areas. So I'm going to change the mode to smooth, and I'm going to smooth these transition here. You can see that now. The transition is worrisome with here, and the transition over here is very sharp. Okay, Now I'm going to lack these head bone. I'm going to select the neck bone. You can see that this bone is affecting nothing on this mess. So I'm going to unlock it. And now I'm going to select the wait till and I'm going to change the mode to absolute okay ? And now I'm going to start painting and just know that the outer normalized option is turned off. So if I pay now, you can see that I can paint wherever I went. Even in some areas where they are being affected already by the head bone so we can select the head bomb. We can see that this areas are already being affected by this bone at a strength off 100%. If I select the neck bone, you can see that we have overlapping. Wait. And if we add the amount off wait. In these areas, we're going to have a strength off more than 100%. And that is going to cast some bad informations when we animate this character. So we want to prevent that from happening. Remember, the weights have to be 100%. So I'm going to select the neck bone again and I'm going to click on zero. And now I'm going to the same. But this time I'm going to turn on the outer normalized options. I'm going to click here, and I'm going to start painting again. And you can see already that even if I try to paint the neck area, it is not going to let me because these neck area is being affected already by the head bone You can see here. So if I select this bone and I tried to paint that area, the outer normalized option is not going to let me do it Now. If I paint over here, you can see that in these areas we have a smooth transition between the Orange area and the black area, even though we haven't changed the strength off the stool. And this is all being done by the outer normalized option. So this option is going to ensure that the weights at up to a maximum off 100% and that what this is doing here. So the neck area is already being influenced by the head bone at 100% and that's why it is not allowing me to paint this area. And these areas here have a smooth transition in the head boom, and that's what it is, creating a smooth transition in the neck bone. So the smooth transition, plus the other small transition off the head bone, are going to add up to 100%. So if I select both of these bones at the same time, the weights off these two bones are going to add up to 100% strength. So that's basically what the outer normalized option does. And when it comes to reading these, these very important. So I'm going to click on zero. I'm going to make sure that the neck bone is selected and I'm going to click on zero, and I just want to show you that the outer normalized option is going to work also with our commands So here we can see that we have our commands here and by default the outer normalized option Eastern on. But I'm going to turn it off just to see what happens if we use the apply all command. So I'm going to click on, apply all and you can see that now the weight was applied to the whole object. If I select the head bone, you can see that the weight is still there. And now we have overlapping weight. And this is going to cause but informations when we animate our character. So I'm going to click on Cyril again. And now I'm going to turn on the outer normalized option, and I'm going to click on the apply all comment again. And as you can see now, it applied the weight to the health object but Onley in the areas that were available, including the areas where we have his mouth transition and again it will select the two bones that are affecting the head object. You can see that now. This object has a weight that is normalized, and that's what we need. So that's what the outer normalized option does. Now I'm going to select the neck bone. I'm going to click on zero and I'm going to like it and I'm going to select the head bone. I'm going to unlock it and I'm going to click on a plate all I'm going to get closer and I'm going to go to the polygon mode because I want to see the polygons. And now I'm going to change the mode to substrate Act because this head bone has to be affecting the whole head except for gimmick area. So I'm going to substrate act the influence of the head boom on the neck. But to be able to do that, I have to turn off the outer normalized option because right now it's not going to let me. So I have to turn it off, and now you can see that I can say abstract the weight like, So I'm going to reduce the radius so it's easier and I'm going to continue jewelries around the whole head. So I'm doing here is obstructing the influence or do wait off the head bone from the neck area and now you can see that here we have some black area, so I'm going to change the mode back to absolute. I'm going to paint this area like so and now I'm going to lack behead bone and I'm going to unlike the neck bone. And here I'm going to click on apply all making sure that the outer normalized option is on . So it is applied on Lee to the available areas, which in this case is the neck area. And now you can see that if we select both objects now, this is going to work perfectly. Now I'm going to select the object mode and I'm going to select the head controller. So I'm going to use the selection tool. I'm going to select this head controller. I'm going to start irritating this head and you can see that now. The neck is not moving all over the place like it was moving before. But you can see that here we have some problems because the transition between the head bone and the neck bone is really sharp. So if I select the head object and I select this bone, you can see that the transition. He's very sharp also here. So to solve that, I'm going to select the character object I'm going to reset the post and I'm going to select the head object again. And now I'm going to select both of these bones. I'm going to make sure that they are unlike and now I'm going to use the wait'll and I'm going to change the motors. Muth, I'm going to make sure that the outer normalized option is on. This is very important and I'm going to increase the radius. So I'm going to smooth these transition here. I'm going to smooth it just by clicking on dragging like that and I'm going to continue with the rest of the neck like this. And now, if I select only one of the bones, you can see that now. The transition a smooth and the same, he's going to apply to the other bone. So now I'm going to look in both. I'm going to select again the head controller. So I'm going to use this election toe. Make sure you are on the object mode. Select. We had controller. I know I can rotate it again and you can see that now This neck is deforming properly because now the transition between the weight of the head bone and the neck bone is smooth . Okay, I'm just going to some out because now this object is complete. I'm going to select this character object. I'm going to reset the post and I'm going to select the head object, and I'm going to make sure that all of the bones are locked and now these head object is complete. So I'm going to move it below this king object like so I'm going to turn off the view. So that's how we use the waiting commands in combination with the wait'll and using the outer normalized option to properly weight the measures off our character on. Like I said at the beginning off this lesson, this lesson on the previous one are a little bit complex. So if you want to go back and watch them again, please go ahead and do it because the information that we covered in those lessons is really important and you're going to use it in all of your future Regan project. So you're going to be using the different waiting commands, the wait'll on the different options and we used, including the outer normalized option in all of your future project so make sure that you really understand all of the concept that we covered in thes lessons. All right, so that's all for these lessons. Thanks a lot for watching, and I will see you in the following lesson. 19. Weighting the character - Part 3: Hello, class. And welcome back in this lesson. We're going to continue adjusting the weight to our different measures that create our character. So let's start. Okay, so this is were we left in our previous lesson? Now remember, in our objects manager here we have a list off the different elements or meshes that create our character. And remember that we have divided these elements into different sections. The objects that are below the skin object which are these ones Here are the objects for which we have completed adjusting the weight. So these objects here are set and ready to animate. Now the objects that are above the skin object are the objects that we still have to work on. So these objects that I have selected here are the objects that we still need to adjust the weights too. Now some of these objects are going to be a sign toe on Lee. One bone like the left eye, for example, the left I object is going to be assigned to only the left eye bone and nothing else. The same happens to the right. I object. It is going to be assigned to the right. I bone and nothing else. Now the same is going to happen to the ring object. The ring object is going to be assigned toe only one bone and nothing else. Now, on the other hand, we have objects that are going to be assigned to multiple bones, like the jacket, the boot, the genes and the hands. Now the objects that are going to be assigned to only one bone are going to be much easier to wait because, like we saw in the previous objects that we have already waited, all we have to do is to make sure that the weight is set to zero for every single bone, except for the bone that has to be assigned to modify that object. In the majority of these objects, the head bone is the only one that is going to control the deformation or movement off these objects. And when I have a character that is made of different measures, what I tried to do is to get the easiest ones first so I can have only I feel left, which are going to be the ones that are going to take me the most time. But I can see that I made a lot of progress, and that's what I did here. You can see that I started with the different measures that had to be assigned to only one bone, and that's what we're going to continue doing. So I'm going to continue with the two eyes, so I'm going to move him up, and then I'm going to continue with the ring and also the belt buckle and the buttons. So now I'm going to continue with the right eye. So I'm going to turn on the view for this object. I'm going to click here to select all of the bones. I'm going to click on zero. I'm going to lack all of these different bones like so. And now, since this is the right, I I have to assign it to the right I bone, which is and this one here. So I'm going to unlock it. And now I'm going to click on, apply all, and I'm going to select the selection tool. I'm going to select the character object. I'm going to expand it, and I'm going to select the right. I object here and now you're going to see that if I move the object, the eye is going to follow the movement off the controller like this. So this way we can control where our character is looking pretty cool, right? Okay, I'm going to select the character object. I'm going to reset the post now I'm going to the same for the other I. So I'm going to collapse. But these one here for a second, I'm going to turn on the view for the left eye. And again, I'm going to make sure that these I object be selected. I'm going to select all of the different bones, and I'm going to click on zero, and I'm going to lack all of these bones so we don't modify them by accident later on. And now that I have all of these bones luck, I'm going to unlike the bone for the left eye, which is this one here. I'm going to select this bone and I'm going to click on apply all I'm going to like it. I think I forgot to lock the one for this one here, so I'm going to select it again. I'm going to make sure that these bone he's locked, so I'm going to click here. Okay, I'm going to select this object again, and I'm going to go to my character object. And now I'm going to select the left eye controller by clicking here and now I'm going to move these controller, and you can see that now I can control the movement off the I with these controller, and I'm going to select the character object. I'm going to reset the post. I'm going to select both of these controllers at the same time. I'm going to move him at the same time. So you can see that this way we can make our character look in any direction that we went. And that's what we went. And this is going to give us a lot of flexibility. Went animating our character. Okay, so I'm going to select this character object. I'm going to reset the post, and now I'm going to collapse this one. And since these are complete, I'm just going to make sure that all of the bones are luck. This one is okay. I'm going to select this other one. It is Answer. Okay, so I'm going to select those two objects. I'm going to move him down below the skin Object at the very bottom off the hierarchy, like so. And I'm just going to turn off the view for these objects. And you can see that now we have less objects here, So this least off objects that we have to work on is getting smaller and smaller. And that's what we went. So now I'm going to do the same with the ring object. I'm going to select this object. I'm going to turn on the view for this object and I'm going to get closer here. You can see that this ring is already being affected by this bone. So I'm going to identify which bone is these one. So remember, we can do that by selecting the different sets of bones. Andi, when these changes color, that's where we have the bone that is affecting the movement off this object. So you can see that I'm selecting the different sets of bones. I'm going to continue doing that until now. You can see that when I selected this group, these changes color. So this is where we have the bone that is affecting these object. So I'm going to collapse the rest off the different groups. Except for this one. I'm going to continue collapsing the rest of the groups like so And I'm going to select all of these different groups and I'm going to click on zero like so you can see that we were having a problem because some of these other bones were also affecting the movement off this ring and that would cause some problems. So let me undo that. And you can see that here we have some pink color. So that means that one of thes fingers, this finger here is affecting also this object. So you can see that this is the finger. And if I select some of these bones like this one, this is affecting the movement off this object, and that is not what we went. Because if we leave it like these, when we move this finger, this ring is going to be the firm, and that is not what we want. So that's why I have to select all of these different sets of bones. I have to click on zero like so and now I can luck all of these bones. So I'm going to do that I'm going to expand this again. I'm going to start looking all of these bones like this. Perfect. And now I'm going to collapse this again. I'm going to select also these other sets off bones. I'm going to click on Cyril again. So now none of these bones are going to affect the movement off these ring. I'm going to expand these groups. I'm going to make sure that all of the's different bones are locked like so, except for these ones, because these are the ones that are going to have to modify the movement off the ring. So I'm going to collapse. These ones that are said on now all they have to do is to identify which one is these bone here? Because this is the bone that has to modify these ring So you can see that these bone that I have selected here is this one here because you can see that when I selected it changes colors. If I click here, you can see that this is the bone that we have to apply the way too. Now, if I select this other one, you can see that it is this one and these one. These things went over here. So this is the bone that we need to apply the way to. I'm going to select all of these different bones. I'm going to click on zero. I'm going to like him, and I'm going to have the same for these one. I'm going to click on zero. I'm going to lock it. And now I can select these one. I'm going to click on up, like all I'm going to lock it so that these bone alone is going to modify these object when we rotate it or move it. And now I'm going to collapse. These on these ring object is now ready, so I'm going to move it down in the hierarchy. Andi, I'm going to turn off the view like So Now let's continue with the birth buckle. So I'm going to some out and I'm going to turn the view for these one on like this. And this has to be modified Onley by this area, which is the pelvis area. So if we select is here the spine group, you can see that the seas where we have the bone that is going to modify these Brokeback. Oh, so none of the other bones have to be able to modify it. So I'm going to select all of these bones all the way to the bottom. I'm going to click on zero that I'm going to lock all of these different bones like so I'm going to make sure that I know which is the bone that is modifying the spell back object. You can see that if I select the head, of course it is not going to modify it because the head is all the way up here and the bell tobacco is down here. So this has to be said to Ciro. I'm going to lock it. Also, this other head bone, the neck, the chest, these bones of the spine, these other one here and also these one. So none of these bones have to affect the belt back. Oh, so I'm going to select them all. I'm going to click on zero just to make sure that they are not affecting it in any way. And I'm going to like him now. If I select the pelvis bone, which is deep Elvis and bone, you can see that it is not affecting it either. So I'm going to click on zero. I'm going to lock it. I know if I select the pelvis face, which is this one here, you can see that it is not affecting it either. So I'm going to click on zero on. I'm going to like it on. If I select these one, which is the base of the spine. This area here, you can see that this is the one that is going to affect it. So I'm going to make sure that I select these bone. I'm going to click on, apply all I'm going to lock it. And now I'm going to test it. I'm going to select the spine controller and now I'm going to move the spine. You can see that the belt buckle is moving with the spine like so. If I rotate this bind, you can see that it is going to rotate with the pelvis like death. And also if I retain it. So now this object is probably said on I'm going to select these character object. I'm going to reset the post like so and now the spell backo object is complete. So I'm going to select it. And I'm going to move it to the very bottom off the hierarchy, and I'm going to turn off its visibility. So as you can see now, we have completed four different objects in very little time. Okay, so that's all for this lesson. I hope that you learned something useful and I will see you in the following lesson. 20. Weighting the character - Part 4: Hello, class. And welcome back in this lesson. We're going to continue with the waiting process, so let's start. Okay, So this is where we left in our previous lesson. Now, as you can see now we have Onley six different objects that we still have to work on. So I'm going to select the genes and I'm going to move him up in the hierarchy. I'm going to turn on the view for these jeans, and I'm going to get closer to the jeans here. And as you can see, this jeans already have some weights assigned to them. So just to see how these are working right now, I'm going to select the selection toe. I'm going to make sure that I have the object most elected here. And I'm going to select these leg controller. I'm going to start moving it. And as you can see now, the leg is moving like so now to see these better, I'm going to turn on the subdivision surface object, which is this one. I'm going to click here to turn it on so we can see these with a subdivision on. Now I'm going to continue moving these leg controller and all I'm trying to do here is to see if the weights that are already assigned to these object are probably set. So all I'm trying to do here is looking at the areas where this mention spending, especially these area here and the back over the knee also and also different of the knee. So what I'm trying to do here is just to see these areas that are bending and make sure that they are bending properly. So I'm going to continue moving these leg controller, and I think that these are moving properly. But just to make sure I'm going to bend or move these controller from a different angle just to see that this is working properly from all angles. And as you can see, this is working really well, I'm going to go to the back that I'm going to move these as well. Like I said, I'm just making sure that these objects is deforming properly and it looks like it is so I'm going to do the same with these other controller. I'm going to move. It happened down on. Like I said before, I'm paying close attention to the areas where the object is spending like this area here. You can see that this is bending properly and we have to look at this from different angles just to make sure that this is working properly. I'm also paying attention to the back of the knee. So this area here is also very important because this is where these leg is going to bend. I'm just going to continue just making sure that this is working properly. And like I said, I have to do this from different angles. And as you can see, I am moving also this leg from side to side just to make sure that this is going to work properly when we animate it on, it looks like it is going to work really nicely. I'm going to select this again, and I'm going to move these from side to side, and you can see that this is working really well. Okay, Now I'm going to select this object, the character object, and I'm going to reset the post. And now I'm going to select the spine controller, which is this one here. So remember, if you cannot see it here, you can select it by coming to the character object, expand it and selected from here using the spine controller here. And now we can more of the spine up and down like this just to make sure that the weights are probably a sign on again. We have to do these from different angles like this. And this is working really, really well. I'm going to move it from side to side as well just to make sure that this is bending properly and I'm going to do it also from the front, going to move it from side to side. Looking at this one from the front, I'm just looking at the areas that these objects is going to bend and this looks like it is working properly. So I'm going to rotate it using the rotate all as you can see these. He's working perfectly. I'm going to go from this other angle and I'm going to rotate it as well like this, and it looks like it is working perfectly. So I'm going to select the character object again, and I'm going to reset the post like so. Now I'm going to select these other controller here that we have here inside, So I'm going to get closer here. I'm going to look at these from from below, so I can select this without selecting anything else. And now I'm going to the same. This time I'm going to rotate it. And as you can see, if we use thes one, only the hips are going to be effective. So you can see that now. The legs are not moving because we are selecting a different controller. And that's the way that this controller is going to work. So this is going to work properly. You can see that this is the forming. Only the hips like this on the legs are not moving. So this is going to work really well. I'm going to select the correct er object again and I'm going to reset the post again. Now I'm going to make another test, and it is going to be by selecting this other controller here, and these other controllers should modify the students, so I'm going to rotate it. And as you can see, it is not modifying anything on this year's. So this means that this is properly said and the same is going to happen if I rotate these other controller, so I'm going to select the character object again. I'm going to reset the post again. And as you're going to see, this is working. Really, really well, I'm just going to make another test. Just I'm going to select the late controller again, and I'm going to move it this way, and I'm just going to test these other controllers. So I'm going to select this one. I'm going to move it from side to side. You can see that this is also working properly, especially on these areas. Here. You can see that this is going to work properly. So we have to do all these tests so we can make sure that this character is going to behave properly when we animate it. So I'm going to the same test here, and you can see that this is working the way it should. So I'm going to select these character object again, and I'm going to reset the post. So as you can see cinema for the sometimes that's a great job at out awaiting our elements . In this case, it did a great job at our waiting These genes now If for some reason when you do this to your own characters, this doesn't work properly, then all you have to do is fix the weight. And I'm going to show you how to do that in the next lesson. But for now, I'm just going to live this one the way it is. So all they have to do is select the genes. And since all of the weights are probably said, Well, I'm going to do is luck these different bones so we don't modify them by accident later on . So I'm just going to luck all of the's different bones like, so I'm going to collapse of these. I'm going just like the character again on I'm going to reset the post and now I'm going to select these genes object, and I'm going to move it down in the hierarchy because now these are finished. I'm going to turn off the view for these jeans now. Like I said, if your genes are not working properly, don't worry, because in the next lesson I'm going to show you how to adjust the weight toe objects that are being affected by multiple bones. So in this lesson, I just wanted to show you that sometimes cinema for the does a really good job at out, awaiting our characters. And when that happens, we don't have to do anything else on Lee locking the bones and that what we did in thes lesson. All right, so now the genes are properly wait. And since we have done alert progress, they say is a great time to do another safe for the backup. So if you went to please go ahead and do it and that's all for these lessons, thanks a lot for watching, and I will see you in the following lesson. 21. Weighting the character - Part 5: Hello, class. And welcome back in this lesson. We're going to continue with the waiting process, so let's start. Okay, So this is where we left in our previous lesson. And as you can see now, we only have five different elements that we have to adjust the ways to. So you can see that this list is getting smaller and smaller, so we are almost finished. Now I'm going to continue with the T shirt object, so I'm going to move it up. I'm going to turn on the view for this object on my canvas. And this is the object that we're going to at just the weights too. So to be able to see the weight that are applied to these objects, I have to turn off the subdivision surface object. So I'm going to do that. I'm going to click here so I can see now the weight. Now you can see that this object is being affected by different bones on. We can tell that because of the different colors. So you can see that here we have some green colors which belong to these arm which is also in green color. Here we have some blue collar which belongs to these arm. So these areas are going to be affected by this arm. We have also some red colors here which belong to the spine bones. And we even have some orange color here which belongs to the head bone. So, as you can see, this object is going to be affected by multiple bones. So now I'm just going to make sure that this weights are set properly. So to do that, I'm going to use the selection tool. I'm going to make sure that I have the object most elected, and I'm going to select the arm controller, which is these one here. So I'm going to select this controller and I'm going to move it up. And you can see that there is some deformation going on here. And this shouldn't be happening because when we moved the arm, it's your in the firm, these area off the T shirt. So that means that some of the weights that are assigned to this arm are not assigned properly. So to see the weights that are assigned to this arm, I'm going to select the T shirt object again, and I'm going to scroll down to find these arm in this list. So this is the left arm, Onda. We have it here. So if I said like this left arm here, you're going to see that now we only see the different areas that are affected by the bones within this group. And so if these areas are these ones here and to fix this problem, we have to erase these areas. So when we move the arm, these areas are not modified. So if I select this bone, you can see that this is affecting this area here. But it is not affecting these area, so this bone could be okay. And if I select this other one, you can see that here we have a problem because this bone here is affecting these area. So this is going to make some problems. Let's like this other one and you can see that this is also affecting this area, which it shouldn't. So they say he's also going to cause some problems. And if we said like this other bone, which is this one, you can see that this one is not affecting anything. So these one is okay also these one and these other ones. So below the arm, we have the bones for the hand. You can see these bones are here. And these, of course, shouldn't affect anything from the T shirt. And we have also the bones for the different fingers. And at the bottom we have the bones for the ice, which shouldn't affect the T shirt either. So I'm going to select the bones off the hand, all the way down to the bones of the eyes. So I have selected the hand and the different fingers for these arm and the eyes so these bones shouldn't have any influence on the STI shirt. So I'm going to click on this Syria Command and then I'm going to luck out of these bones because they shouldn't affect these object. And now they are not affecting the object. So these bones are set and ready, so I'm going to collapse these ones. So now the only bones that I have to work on are the bones that are not collapsed, the different groups that are not collapse, which are all of the's. I'm going to do the same with the other arm so you can see that here we have the arm, which is this part here. So this one is going to have to have some influence on this T shirt, so I'm going to live it the way it is for now. I'm going to select the hand group, which is this one here. And you can see that here we have also their fingers. So this finger, this is another finger and these other fingers here. So I'm going to select all of these different sets of bones and they don't have to have any influence on this T shirt. So I'm going to the same that we did before. I'm going to click on zero just to make sure that they don't have any influence on this T shirt. I'm going to lack these groups of bones and I'm going to collapse these groups. So now the only bones that I have to work on our the bones within the groups that are not collapsed and now we can see that here we have the bones off the leg and this bone shouldn't have any influence on the T shirt either, So I can select them. Click the Serial Command and love them. I'm going to collapse these group. I'm going to the same with these other leg because these leg shouldn't have any influence on the station either. So I'm going to select all of those bones. I'm going to click on zero, and I'm going to lock him on. I'm going to collapse these group. So now I'm going to start fixing this problem that we have here. I'm going to get closer, and I'm going to select these bones that create the arm. So I'm going to scroll down, and here you can see that here we have the arm, so I'm going to select it. And here we can see the different weight that our sign to these bones. So you can see that if I select these bones at the bottom, they don't have any weight assigned to these mesh. So I'm going to start with these ones. I'm going to select these ones. I'm going to click on Ciro, and I'm going to lock him like So Now I'm going to select this other one, which is this bone here, and you can see that this is the bone that is causing the problems because you can see that this is part of the arm. And when we move the arm, this is going to move this part of the T shirt and it shouldn't be that way. So I'm going to select this bone and I'm going to click on zero. And as you can see, this is going to fix our problem. Now we don't have that problem anymore, So I'm going to lock these bone and I'm going to select these other bones and you can see that these bones have some influence. But these are not affecting these area because these bones are the ones that are right here . So when we move the arm, these bombs will not move. So you can see that if I move the arm, this bone here stays in place, so it doesn't matter if I move the arm. This bone is not going to move, and therefore it's not going to affect the T shirt. So these two bones here they are, actually OK, so for now I'm just going to select them both, and I'm going to lock him like so, and I'm going to the same on these other arm, so I'm going to select these bones, and I'm going to start with the ones at the bottom. So I'm going to select these ones. I'm going to click on Ciro and I'm going to look him and I'm going to select these one, which, remember, is the one that is going to cause the problems. So if I select this controller and I move it, you can see that we still have those problems on these color side off the body. So I'm going to select the T shirt object again, and I'm going to select this bone which is causing the problems. And I'm going to click on zero. And as you can see now, we don't have that problem anymore. So I'm going to like this down. I'm going to select these other ones. And like I explained before, these are not going to move when we move the arm. So even though these bones this one's here, have some weight assigned to them on this part of the mesh, they are not going to modify anything because they will not move. Even if we move the arm, you can see that I'm moving the arm. But this bone is staying in place. So I'm going to select the T shirt object again and I'm going to just lack these two bones as well. Like so Okay, now I'm going to collapse the two arms so we can concentrate only on this other bones. And now I'm going to select the T shirt object here so you can see that now the weights have been modified. But now we have a small problem on the problem that we have here is that now we have some dark areas here. And remember, when we have dark areas, that means that those areas do not have any weight assigned to them or that they have some weight assigned to them. But the weight has a strength off less than 100%. So we're gonna have areas like these because that's going to cause some informations when we modify or move thes controllers. So I'm going to select the spine controller and I'm going to move it just to show you You can see that when I move it scenes. These areas here do not have a weight assigned to them toe 100%. They are going to stay behind on. They are not going to move with the rest of the T shirt, so we have to fix that. So I'm going to leave these object like this so we can see the deformation better, and we can fix it more easily. I'm going to select the T shirt object again. I'm going to select the spine group, and I'm just going to see which one of these bones has to be affecting these areas. It cannot be these one because this one is for the head. Also, this one is for the head. This one is for the neck, so it cannot be this one either. And this one is for the test. And you can see that I'm just looking to see which one of these different bones has to affect it. And I think that it has to be either this one or this one or a combination of both. So I'm going to select this one's here because, like I said, these ones are not the ones that have to affect this area. So these ones are OK. I'm just going to lock him like that and I'm going to select these other ones on I think that the problem is not within these bones, but the problem may be within the bones of the arm. So I'm going to select this arm, which is the left arm. So I'm going to expand it here. And as you're going to see these, these were the problem it. So I'm going to assign the weight that we're missing to one of these bones, and I think that it has to be assigned to this one. So I'm going to lack all of these other bones so we don't modify them. When we modified this one and now I'm going to unlike these one on. Now that this is unlocked, I'm going to click on a play. Oh, and as you can see now, these got fixed. Now we have a problem here because these also got applied to at least other side. So what I have to do is to use the wait'll I'm going to change the mouth to abstract. I'm going to subtract these weight now. Before doing that, I have to turn off the symmetry option because if I don't do it when I say abstract this weight from this side, it is also going to be substrate id from these other side. So I'm going to have to do that. I'm going to come to the wait'll options. I'm going to go to a symmetry and I'm going to turn off the enable option. So now the symmetry is off and I'm going to start substrate ing. Now you can see that I cannot substrate anything. And the reason for that is because I have to go back to the options tab off the wayto and I have to turn off the outer normalized option. And now you can see that I can substrate that weight like so. And now that this is complete, I'm going to lack thes bone, and I'm going to have to do the same with the other arm. So I'm going to expand this other arm and I'm going to select these bone. You can see that these these where we have to add the weight. So I'm going to unlock it. I'm going to click the apply all command like so and now, as you can see, we don't have that problem that we had before because now this area has beanfield with these other bone So now I'm going to like it again. I'm going to make a quick test just to see if this is going to work in the way we went. So I'm going to use this election toe. I'm going to select the object mode and I'm going to select these Controller, this one here on, I'm going to rotate it. So as you can see now, this is working much better. And we don't have these information that we were having before when we moved these from side to side. So I'm going to select this controller again because I'm going to show you something. So if I rotate this controller, you can see that this is working nicely. Bad. If I rotated too much, you can see here that we're going to start having some problems now. At this point, I cannot see these problems very easily because this object has a material applied to it. On the material is a dark color material. So I have to turn off the material for this object so I can see these deformation better now. An easy way to do it is by using a shortcut. So I have to press the end key on my keyboard and then the Q key on my keyboard so you can see that by pressing N. Q. I can turn on enough the textures off my objects, so I'm going to turn off the textures again. I can do it by pressing in Q. And now we can see these without any textures. And this way it's going to be much easier to see the problems that we have with this mash. Now I'm going to select the tissue object again so I can see the different weights on. The problem is that the transition between the different weights is too sharp, so we have to smooth this out, and I'm going to do that. But we've herding that. I'm going to at a key frame, so I'm going to select this controller here. This one here, I'm going to rotate it to an extreme like thes Andi. I'm going to come to my timeline here at the bottom. I'm going to go to the 10th frame. I'm going to add a key frame here. Then I'm going to go back to the Ciro frame, and I'm going to reset the rotation value for these controller, so you can see that when I rotated, you can see that these number here is moving. You can see that if I rotated, this number is moving, so this value has to be zero. So this control, you can go back to its original position and now I'm going to create another key frame. So what I did is to have one key frame with this rotation value and another key frame without any rotation value. And this way we can move from key frames to key frame so we can start fixing this problem. And this technique is used a lot when rigging characters. So I'm going to go to something in between to a key from in between, maybe even less like this. And then I'm going to select the station object again, and I'm going to select the way tag so I can see all of the weight. And here we can see the transition between the green color and the red color. So I'm going to go to and Notre que frame like this one, and I'm going to use the wait'll and I'm going to start smoothing these transition and to do that I'm going to unlock all of these bones. You can see that these are the bones that are affecting this object also, these ones and these ones. So I'm going to select all of these different bones like so And now, with the way till selected, I'm going to change the mode to smooth. And now I'm going to start smoothing these transitions. You can see that this is looking smoother. I'm going to the same here in the back. Now, let's see what happens if we change to another key frame. Now you can see that now the transition is much cleaner, so I'm going to turn back on. The subdivisions are a face so we can see these, like so on. I'm going to continue smoothing this area just a little bit like so and also here a little bit next. So and now I'm going to scroll from one key frame to the other so I can see how this is going to the firm. I'm going to see this from the other angle on. Remember, this is a very extreme position, so we will usually not have a position like thes when we animate our current ER, but we could have something like this. Maybe now you can see that in this position. These deformation is looking really nice. So these looks really good. I'm just going to make sure that this is looking nice. Andi, I think that this is going to do it. Okay, I'm just going to go to another key frame and I'm going to smooth these area. Just tell it will be more. I'm going to see how this looks now, Okay. I like these better now. You can see that we have a problem here. So I'm going to smooth this area here. And remember, this is a very extreme position. We will usually not have a position like thes when we animate our character. But this is going to look nice. Okay, so I'm going to select the object again, and I'm going to turn off the subdivision surface object so we can see the weights. Now you can see that there is a huge difference between the transitions from this green color to these red color and the transition from these blue collar and thes red color. You can see that the transition here is really smooth and also here in the back. Okay, so now what we have to do once that this is fixed is to apply the changes that we made here , apply them to the other side. And we're going to do that by using the mirror command. Now, there are a few things that I have to do before using these mirror command. So the first thing that I have to do is to reset the post off. This can atone because, as you can see, right now, the Post is not the Oriental Post. We have modified the post, and this way the mirror Command is not going to work properly. So I'm going to select the character object, and I'm going to reset the post. And now the mirror Command is going to work properly. So I'm going to select the T shirt object again, and I'm going to start by mirroring the different bones of the spine group. So I'm going to select the spine group. I'm going to select the mirror plus two minus option. You're gonna see that here. We have other options, but the one that I'm going to use is the mirror plus two minus now, before clicking here, make sure that the outer normalized option is to run on on. I'm going to select all of the's different bones, and I'm going to click on these command. Now, just pay attention to what's going to happen to these weights because you can see here that we have a smooth transition over here on a very sharp transition here. And when I apply these command, this smooth transition is going to appear here as well. So I'm going to do that. I'm going to click on this command. And as you can see now, we have this same smooth transition. You can see that and the same is going to happen here in the back. I'm going to undo this so you can see how it was before. And you can see that the transition here is really sharp on here is really smooth. So when we apply the mirror plaster minus command, I'm going to go forward. You can see that this transition God really smooth and the same happened here in the front . Okay, so now all of these bones are fixed, so I'm going to like him all. Like so and now you can see that this is the arm that we fixed. So you can see the transition here is really smooth compared to these one here. You can see that there is a really big difference between this transition and these other transition. So what we have to do is to copy the weights off these different bones into these other bones. So I'm going to select both of these groups like so, And I'm going to use the same command mirror class to minus and again make sure that the outer normalized option is turned on. So I'm going to click here and pay attention to what happens over here. So I'm going to click. And as you can see now, we have a smooth transition here as well. And if we go to the back, we can see that the transition is also smoothed over here. I'm going to undo it so you can see how it was before. So I'm going to undo it. You're gonna see the difference, and I'm going to redo it. You can see that now. This is really smooth. Okay, so now if I select the's T shirt object, you can see that now the transition between the different weights is really, really smooth. And now all they have to do is to luck all of this bones like so. And I'm going to use the selection tool to select this controller here. And I'm going to delete these two key frames because we don't need them anymore. So I'm going to delete that one and also these one here, like so. And I'm just going to some out to see the station object. I'm going to select it. And as you can see these, he's complete. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 22. Adjusting the controllers - Part 1: Hello, class. And welcome back in this lesson. I'm going to show you how to modify the character controllers. So let's start. Okay, so they say's where we left in our previous lesson. Andi, the stitchers object is complete, so I'm going to move it down and I'm going to turn off the view like so. And now you can see that here we have our skeleton and the skeleton has different controllers. So I'm going to select the selection tool and I'm going to make sure that the object mode is selected. And now you can see that if I select these Cube here, I'm going to be selecting the controller for this arm so I can move this controller and the arm is going to move. So this is a controller down here. We have another controller. These triangle here and this is the controller for the spine. So if I select it, I can move this controller and the spine of the character is going to move. I can also rotate this controller and the character is going to move as well. And we have other controllers like these one. I can also select it and rotated and also these other one on Dhere. We have the controller for the head and we also have different controllers for the fingers of his hand. So you can see that here we have different controllers. Each of these circles is a controller. So if I select this cynical at the top, I can select it. And if I rotate this controller these fingers going to bend so I can rotate it and you can see that the finger is bending and I can do this with any finger so I can select this one and I can rotate it to bend these finger like so Now you can see that fingers have different controllers, so they have this controller which is going to affect all of these different bones at the same time. But we also have individual controllers. So if I only want to rotate this bone, I can select this controller and I'm going to rotate thesis bone. Now you can see that this other bone is also rotating because it is connected to these other bones. But I am only rotating these one like so. And if I want to rotate only this bone, I can do it by selecting this controller and rotating these bone. And I could do the same with any of these different controllers, including these went over here. Okay, but they want that we're going to use the most. He's these one here, so I'm going to select it on. Remember, these controller is going to rotate all of these different bones at the same time, so the whole finger is going to bend. Okay, so the reason I'm showing you the different controllers that we have is because when we want to animate our character, we're going to do it by animating these controllers. So these controllers are the ones that are going to give us the ability to move our character and animated. Now I'm going to reset the post, so I'm going to select the character abject, and I'm going to click on recent Post. And now I'm going to turn back on the view for this character. I'm going to click here, and I'm going to turn back under view for the genes as well. We have him down here and also the T shirt on also the head. So the other objects I'm going to live in off because I just want to show you something. And it is that at this point you can see that the whole character is visible now. But now, if I want to select the controller for the fingers, you can see that I'm not able to select this controller because the controller is inside off the finger. So if I get closer and I go inside off these finger, you can see that the controllers for this finger are actually inside off the mesh. So I'm going to some out. And that means that if I want to manipulate that controller, I will not be able to do it because I cannot see these controller. And the same is going to happen if I tried to manipulate the controllers off the spine so you can see that here in the back we have these triangle controller, which is the one for the spine, so I can select it and I can manipulate it if I want to. But I cannot see the other controllers off the spine. So if I want to see the other controllers, I'm going to need to go inside of the character. I'm going to get inside. Now you can see that here we have those controllers, but they are inside. So this is going to prevent me from being able to manipulate my character and animate it. Now there is a way in which we can actually modify the shape off the controller So we can either move it or skillet or just modified in general. And that is not going to affect our rigging or our character object or our mesh. So just to show you very quickly what I mean, I'm going to turn off the view for all of these measures. So I'm going to double click here and no, before doing anything, I'm going to make sure that depots for this character is reset. So I'm going to select it and I'm going to reset the post like so. That's very important. And now I'm going to use the selection tool, and I'm going to select this controller. And if you remember, we cannot say this controller. If the character is visible, it is inside of the character. So I'm going to turn this off again, and now I'm going to select these controller, and now we're going to go to the point mode. As you can see now we can select the different points that create these shape or this plane because this is a explain. So now that I have all of these points elected, I can't select the manually. If I want to like this or I can select when and then go command A to select them all. But now that I haven't also elected, I'm going to scale them out. So I'm going to use the skeletal. And now I'm going to scale these out and you can see that I'm scaling on Lee the controller . I am not affecting the bones, so that's what we need. So if I now turn on the visibility for these measures and I continues killing these controller now we can see these controller even when the character is visible. And now I can come back again to the object mode, and now I can be selected and I'm going to use the selection tool and now I can select it again. So now this is going to be much easier for me because now this controller is visible, and now I can select it. Whenever I went and as you can see, if I selected, I can rotate it like this and this is going to help me, because now the controller is going to be visible at all times. So that's what we have to do for all of the different controllers that are inside off the measures. Now I'm going to undo everything I did until this point before I modified it. I'm going to make sure that the character object is reset. So I'm going to select the character object and I'm going to click on Reset Post, and now I'm going to modify all of these other controllers. But I'm going to do it in a different way, because the way I showed you is one way to do it. But there is a better way to do it, so to do it, I'm going to select the character object, and then I'm going to go back to the ad, just happen, This one here and here we can at just the different bones off our character. But there's something else that we can adjust, and you can see that here India just tap. We have these option so you can see that right Now it is showing us the different components off the character object. So it is showing us basically the position off the bones. But if I click here, you can see that I have another option, which is the controllers option. So if I click here this time is going to show me the different controllers. And since I have the ad just up selected, this means that we can adjust these controllers. So I'm going to start adjusting these controllers. So let's adjust the same controller that we adjusted before. But this time I'm going to select this point here. Is that like so? And I'm going to scale it out. I'm going to use this cultural and I'm going to scale it out. You can see that I can scale it out, too. 300% like so. And if I turned back on the visibility for our character, you can see that this is going to be basically the same that we did. But this time we're doing it the right way. Now I'm going to undo this like so because I had to skillet out to 400% not 300%. So I'm going to do it again. I'm just going to scale it out to 400% like So Now I'm going to turn on the visibility off the character again and you can see that the seas basically the same that we did before. But now we're doing it the right way. So now I'm going to go back, and so, like the character object. And I'm going to go back to the animate tap because if we have the had just have selected, we're not going to be able to move these character. So I'm going to go back to the animate tab and I'm going to select the selection toe, make sure that the object mode is selected and I'm going to select these controller. And as you can see these, he's still working the way it should. So this is the right way to do it. Now we can adjust the size and position off the controllers before were just the weights. So if you went to in your future projects, you can adjust these controllers before you had just the weight and it's going to be basically the same. It's just the way you like it. Okay, so I'm going to select the character object again. I'm going to go back to the ad. Just stop. I'm going to turn off the visibility for these measures. I'm going to at just these other controllers. So I'm going to select this one, and I'm going to scale it out to 400% like so. And also these other one. I'm going to skillet as well to 400% like so And I'm going toe scale. Also, video went out. But this is not the one that I want. So I'm going to undo this. And for this bank on shoulder, we can do it by using the selection tool selecting the spine controller. Bad for that, we have to go back to the animate top so we can select this controller. You can select the points, make sure that all of these three points are selected. And we can use this scale too. Like these. I'm going to make this even bigger because this controller is one of the most important ones. So I want to be able to select it very easily whenever I want to. And that's how we can adjust the scale and position off the controllers off this Caledon. And that's all for this lesson. Thanks a lot for watching and I will see you in the next one. 23. Adjusting the controllers - Part 2: Hello, glass. And welcome back in this lesson. We're going to continue adjusting the skeleton controllers, so let's start. Okay, So this is where we left in our previous lesson, and in these lessons, I'm going to continue adjusting the controllers. So I'm going to start by selecting the character object, and I'm going to switch back to the ad. Just tap. Now, This time I'm going to adjust all of these different controllers for the hand, and you can see that here we have a lot of different controls is so I'm going to show you how they work. So I'm going to go to the character object. I'm going to go back to the animate tap. I'm going to show you really quickly how this works. I'm going to use this selection tool. I'm going to make sure that the object mode is selected. And as you can see here we have different controllers for each finger. We have this one here. We have these other one here and more control is here. So one of the most important ones is this one here. You can see that all of the's controllers these are facing in one direction and this one is facing in another direction. So these one that is facing to a different direction is one of the most important ones. I'm going to select it and I'm going to use the rotator to rotate it. And as you can see with this controller, we can bend the finger so you can see that we are affecting all of these bombs at once just by using these controller. So in this way we can close the finger, we can bend it very easily. But if you want to control each of the bones individually, you can do it as well. So to control each of the bones individually, you can select one of these controllers, so this controller is going to control this bone. This other controller is going to control this other bone, and these other controller is going to control thes other bone. So if I want to Onley bend this part of the finger, I can do it very easily by selecting this controller and rotating it like so Or if I want to band this bone here, I can select this one and I can rotate it and you can see that this one is going to move also these other bone because these bones are connected. But as you can see, the only one that is rotating is this one. So you can see that these went is rotating and this one is just following these bones. On the other hand, if we use this other controller, you can see that every single one of these bones is going to rotate a little bit. You can see that all of them are rotating at the same time me rotated back. And if we use these other controller, we're going to rotate on Lee one bone and the others are just going to follow the rotation off that bone. But they are not going to rotate. Okay, so that's why we have different controllers on each of the fingers. But like I said, the one that is facing to the other direction is the most important one. Okay, so now I'm going to select the character object, and I'm going to reset the post, and now I'm going to go back to the ad, just tap, and I'm going to select all of these different controllers now. You're gonna see that if I still like this one. I can move it and it's going to move on. Lee, these controller, I'm going to undo that. And if I select this other controller, this is going to move the whole group. So that's what we have to do. And what I'm going to do is select one of thes different controllers. The main ones, including the one for the thumb, which is this one here. This is the main one, and I'm going to select all of those controllers on the other hand as well. So let me get to these other hand. I'm going to select all of these controllers. Remember, we're selecting only the main controllers, and when we move these main controllers, the rest of the controllers are going to move. So now I'm just going to test to make sure that all of these are selected, I'm going to move him all the way up and you can see that they are moving. Okay, so I'm going to go to the front view, and I'm just going to make sure that I move him and I'm going to get closer here, and I'm going to move all of the's controllers. I'm going to turn on the visibility for our character so I can see how much I have to move these ones. So I'm going to undo these just so you can see the before and the after. So this is where we started. I'm going to turn back on the visibility for the character and these controllers are in sight of the hand. We cannot see them. 25 move this app. Now they are going to come out like so Okay, so that's going to be good. I'm going to go back to the perspective. You I'm just going to make sure that one of thes are where they have to be. And now I'm going to select Onley these controllers, the ones that are facing in a different direction. And since these ones are the most important ones, I'm going to scale this out. So I'm going to use this capital. I'm going to scale them out. Maybe two, 250%. Something like that. It's going to work. I'm going to the same with these. Another one. I'm going to select it and I'm going to scale it to 250%. I'm going to the same with this one. I'm going to select it and I'm going to scale it out to 250% on the same with this one. Selected and scaly. Now 250%. Like so. And I'm going to the same with these other one. The one for did some. I'm going to select it skillet out 250%. Like so. So you guys have no We can select this very easily if we want to. And if we want to manipulate only one of the bones off these fingers, we can use these other controllers. No, I'm going to go to the other hand. And as you can see, these ones are already modified. And that happened because if you remember, we had this symmetry option to run on for the skeleton. So anything we do on this side is going to be reflected on the other side. So as you can see now, these controllers are also bigger than these other controllers. Okay, So before continuing, I'm just going to make sure that one of the controllers are still working properly. I'm going to select the character object. I'm going to go back to the animate tab and I'm going to use this election to make sure that the object mode is selected. And I'm going to come closer here to the hand. I'm going to select these controller kind of going to use the rotator, and I'm going to rotate this finger. And as you can see these, he's working very well. I'm going to the same with these one. I'm just going to retain it also with these one, and this is working properly. So I'm just going to try with the thumb interpretative perfect. And we can do the same with these other controllers so I can select the triangle one, which is the one for the spine. I can move it around like this, and I can also rotate it if I want to. Also, they went for the head like these, and that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 24. Adjusting the controllers - Part 3: Hello, class. And welcome back in this lesson. We're going to continue adjusting the character controllers, so let's start. Okay, So this is where we left in our previous lesson. Now, to continue adjusting the controllers, I'm going to first reset the post. I'm going to select the character, and I'm going to click on recent posts. I think so. And I'm going to turn out the visibility off the missions so I can see which of the different controllers I still have to modify. And you can see right now that we have to make these controller bigger. They want for the arm. So I'm going to turn back on the disability, off the character mesh. And as you can see, these controller is not visible now. So I'm going to turn off the different missions again. And now I'm going to increase the size for these controller. So I'm going to use the selection tool ongoing just like the character object. And I'm going to make sure that the at just up he selected so we can see the different controllers on. Remember that here in the adjust up, we have to have the controllers option selected here remember, we can click here and we have two options. But in order to adjust it controllers, we have to have the controllers option selected. And now I'm going to select this controller and I'm going to scale it out like so I'm going to turn back on the visibility off the character mess. And I think that I have to make it even bigger, like so. And I'm going to check on the other side just to make sure that this also got bigger. Perfect. So now this is almost away that I wanted to be, but I'm going to modify it even more, so I'm going to shrink it down on this other access like so. But before doing that, I'm going to explain something else. I'm going to undo this on As you can see, the axis off, this object is pointing in the same direction as these objects is pointing. So you're gonna see that this axis is pointing in this direction and the cube is pointing in these directions as well. And these are access here is pointing in this direction on the cube is also pointing in this direction. Now, if right now you are seeing something similar to this where the axis is pointing up. But your cube is pointing in a different direction. That is because you have to change these option. So you have to click on this icon so you can switch between coordinate modes. So you're going to see that this one is said to object. So the Axis orientation is going to be based on the object orientation. And if we click again, the axis is going to be based on the world orientation. In this case, the world orientation. Is this one that we have down here? You can see that now. This axis is pointing in the same direction as these axes over here and also these X axis. You can see that it is pointing in the same direction that this axis here. So if you're access looks like this, all you have to do is click here. So your access is oriented in the correct direction. I'm going to show you why this is important. So I'm going to switch to the other coordinate mode and I'm going to scale these down in this direction and you can see that the Cube is going to be deformed and we will not have a cube anymore. So you can see that this is a completely different shape. I'm going to undo that, and I'm going to switch back to the other coordinate mode like so. And as you can see now, this axis is pointing in the correct direction and I can shrink it down like so. And as you can see now, these is continue to having a rectangular shape on. This is the way we have to do it. So I'm going to undo this because I want to see how much I have to shrink it down. So I'm going to shrink it down to maybe 25% like so I'm going to go to the other side. As you can see, these one also got modified because, remember, we have the symmetry action on, so I'm going to select the character object again. I'm going to go back to the animate tab, and I'm going to use this selection tool on the object mode, and now you can see that it's going to be really easy to select these controller like this , and it is not going to get in the way off these other controllers like it was before. So now this is going to look much better. And it's going to work better when we animate our character. Okay, so I have to modify also these other controller. So I'm going to turn off the view off the character and you can see that here we have the leg controller, so I'm going to select it as well. But first I have to change to the just tap. So I'm going to make sure that the character object is selected and I'm going to select the adjust tap. And now I'm going to select this controller and I'm going to use this cultural to scale this out like so I'm going to turn on the view off the character so we can see this controller. I'm going to adjust it even more. I'm going to make it thicker, and I'm going to make it larger as well. Like so. So now it's going to be much easier for me to select this controller. And for these controllers, you can have him in the size that you want them. I just think that it's much easier if these controllers are a little bigger, and that's why I make him bigger. But you can't have him in the size that you want. Okay, so now I'm going to had the different measures again just to see which of these controllers we still have to modify. And we have these Controller, this is a one for the color, so I'm going to select it, and I'm going to turn back on the view for our character. And as you can see right now, this controller is hidden inside off the head that I'm going to move it. I'm going to use the move toe. I'm going to move it like so. But as you can see, it is going to move the whole thing. And that's not what I went. So I'm going to undo this, and for this one, I'm going to move it. You know, the front away. So I'm going to select the character object. I'm going to go back to the animate tab. I'm going to reset the post. First, I'm going to turn off the view off thes character mesh, and I'm going to select this controller, and I'm going to select all of these points So now I'm going to move these one to the right about 80 centimeters, and I'm going to turn these on so we can see what it is that shouldn't work. I'm going to have the same with the other one, so I'm going to turn this off. I'm going to select this controller. I'm going to go to the point mode so I can select the points. I'm going to move it to the left. This case also 80 centimeters and I'm going to turn back on the view for the character mess . And as you can see now, all of our controllers are visible, which is what we want. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 25. Inverse Kinematics and Forward Kinematics explained: hello, class. And welcome back in this lesson. We're going to learn the difference between the inverse cinematics option and the forward cinematics option. So let's start. All right, So this is where we left in our previous lesson. Now I'm going to turn off the view of these measures so we can see the skeleton and the different controllers better. And as you can see, we have modified almost every single controller off the skeleton. We modified the legs controllers. We also modified the arms controllers, and we also modified the different spine controllers and also all of the different controllers off the fingers. So we have modified almost every single controller on these Carter. However, there are some controllers that we haven't modified yet. And the reason we haven't modified them is because we cannot see them, and we cannot see them because they are hidden. So if you remember in a previous lesson, I told you that we can manipulate our character into different ways using the four working the medics option and also the inverse schematics option. So right now we're looking at the inverse skin and my ex option, and that means that if I select this controller and I move it. The whole arm is going to move. So I'm going to show you that really quickly. I'm just going to select the character object and I'm going to make sure that the animate top is selected. And I'm going to select the object mode so I can select this controller and I can move it. So if I move this controller, you can see that just by moving one controller, I am moving to bones. So I'm moving thes bone and also these bones. So to manipulate or move this whole arm, all I have to do is move only one controller. Of course, I can also rotate this controller if I want to rotate the hand like this and I can move it again if I want to move the arm. But the key here is that we have to move on, Lee. One controller to be able to manipulate the whole arm. So this is how the inverse cinematics option works. We have to modify only one controller to be able to manipulate the whole arm. Now let me select the character object again, and I'm going to reset the post and I'm going to show you the other option for work in the mix option. So to show you that option, I have to expand this character object and I have to select these arm. Now, I'm going to go to the different settings of these character object. I'm going to change to the controls. Tap this one right here. So I'm going to click here and you can see that here we have different options. But the absent that we're going to work with right now is this one over here? The option to change from the i k option to the F K option. Remember, I k stands for inverse cinematics and f k stands for for working thematics. Now you can see that right now it is said to inverse cinematics, But if I take these all the way to the right now, it is said to for work in a Matics. Now, if we look over here, you can see that something changed. I'm going to turn this back to zero. You can see that here we have when controller, which is going to control the whole arm. If I change this back to four working thematics. Now we don't have that single controller, but we have three different controllers. So now we're working with for working thematics, And just to show you how this works, I'm going to select this controller and I'm going to rotate it. And as you can see now, I can manipulate these different bombs individually so I can move. These went into the position that I needed to be. I can rotate it as well this way, And I can also select this other controller, which is going to help me to manipulate these other part of the arm. So I'm going to do that. I'm going to rotate it like so. And now I'm going to select this other controller, which is going to help me to manipulate the wrist and also the hand so I can rotate this one here like so on. This is basically the difference between for working the medics and inverse cinematics. So on one hand. But here we have the inverse cinematics option. And if I moved on the one controller, I'm going to be able to manipulate the whole arm like so. But I have less control over where these bombs are. going to be facing so I can moving this way. And if I want to decide where the elbow is facing, I have to select these other controller here. Now I can move it. So this is going to help me to define where the elbow is going to face. But I can move the whole arm by just moving one controller. And here I have to move three different controllers. But I have more control over the movement off these arm. So that's the main difference between inverse cinematics and for working a Matics. Now I'm going to reset the post. I'm going to select the character object. I'm going to go back to the object tab on. I'm going to click on recent Post and you can see that here we have the controller for the leg. And this one is the in forest cinematics controller. Because with only one controller, we're controlling the whole leg. But I can select this leg object here, and I can go to the control stab. And here you can see that we have the same option i k to f k. So if I turned these 1 to 100 now I have these controller here and also this controller and also these other controller. So with these controllers, I'm going to be able to modify on manipulate this leg like this. And if I want to move this part of the leg, I have to select this other controller, move it and for these other parts, I can select this other controller and I can also move it. So it's basically the same. If we use the four working medics option, we have more control and also more controllers on. If we use the inverse schematics option, this is going to be much easier to manipulate it. But we're going to have less control. In this case, we can also select these other controller so we can decide where the knee is going to point . Okay, so that is basically what inverse cinematics and for working in medics means and in cinema for the when we create our character object, we can create a character object that has both of these options, and we can switch between four working a Matics and in first cinematics whenever we need to . And now the question is which one of these options is the best. So is it better to work with for working the Matics? Or is it better to work with inverse cinematics? And the answer is that it is going to depend on the situation on the work that you're going to do so sometimes you will have to use inverse cinematics, or maybe you don't have to use it. But it's going to be easier to use it and easier to animate what you have to animate if you use the inverse cinematics option. And sometimes it is going to be easier or better to use the four working the medics option . So it's all going to depend on the situation. And that's all for these lessons. Thanks a lot for watching, and I will see you in the next lesson. 26. Adjusting the controllers - Part 4: Hello, class. And welcome back in this lesson. We're going to continue adjusting the character controllers, so let's start. Okay, So this is where we left in our previous lesson, and I'm going to continue adjusting the character controllers to be more specific the f K controllers. So I'm going to select my character object. I'm going to go back to the object tap because I want to reset the post for this character . So I'm just going to click on Reset post. And now I'm going to go back to the control stab. I'm going to select these arm. So it is this arm here and now I'm going to change from, like, a to F k. So I'm going to take these all the way up to 100. And as you can see now we can select on manipulate these different controllers for the arm , but you can see that we don't have those controllers on this other arm. So I'm going to the same. I'm going to select this controller and I'm going to change from Ike A to F k. Like so. And now I'm going to go back to the object tap because I have to change to the address tap . So I'm going to click on the add just stop. And now we can adjust these different controllers. Now, remember, if you don't see these controllers, all you have to do here in the adjust up is to click here. And if you're seeing the components off the character, you have to change this option two controllers on. Now you can see that we have here in the controllers. So I'm going to select these controllers and I'm going to scale them out. I'm going to start with this one here. I'm going to select it. I'm going to scale it out. But I'm going to turn on the visibility off the character measures so I can see how big I have to make this controller. So I'm going to scale this out. And as you can see for these one 400 is going to work like so on. I'm going to turn off the visibility for the measures again so I can select these other one , and I can turn on the visually again so I can scale this out now for this one. I think I'm going to use only 300%. Like so. And I'm going to select the other controller. These one here, I'm going to select it. I'm going to scale it out as well. Maybe 300 is going to work for this one as well. On as you can see, what we did on this side also was applied on these other side. So now we have complete adjusting these controllers. I'm going to turn off the view for these character meshes. I'm going to select these other controller here, The one at the bottom. This one here, I'm going to move it down because this is going to be the controller for these legs. I'm going to show you in a moment how this works. I'm just going to move it down here like so on. May be I'm going to make it bigger. Just a little bit. I'm going to move it down a little bit more like so perfect. So now I'm going to do the same that we need with the arms, but this time with the legs. So I'm going to collapsed thes one so they don't use too much space. And I'm going to select this leg. I'm going to go back to the animate tap and then I'm going to go back to the control stab, and here I'm going to switch to the F K mode. So I'm going to bring these all the way up to 100. And now, if I had these different measures now we can see the different controllers for these leg. Remember, these are D F K controllers, and in this case, down here we have the like a controller. So I went to see the f K controllers for this other leg as well. So I'm going to have the same. I'm going to select this other leg. I'm going to increase this value to 100 so we can see these controllers here. Now, I'm going to have to go back to the object mode and here I'm going to switch back to adjust so we can adjust these controllers. I'm going to so like this controller, I'm going to turn on the view for the character measures I'm going to scale out 250% is going to work on may be a little bit more. Okay, that's going to work better because you're gonna see, this one is already big, but I think I have to make it just a little bit bigger. So I'm going to turn off the view for Diminishes. I'm going to select this controller and I'm going to scale this out just a little bit like so. And now it's going to be much easier for us to select this controller. I'm going to the same with these other controller, so I'm going to select it. I'm going to bring back the visibility for the character measures. I'm going to scale this out until we see it like so that's going to work on. I'm just going to make sure that this controller here is not going to collapse with these other controller. I'm going to make it a little bit smaller so they don't collapse. And that way we can select this one very easily, and we can also select this one very easily because now they are not too close together. And since we have the signature action on what we did here, WAAS reflected on this other leg. I'm going to assume out, and I'm going to turn off the view for this character measures and As you can see now, all of these controllers are bigger, and that means that we're going to be able to select them more easily when we animate our character. So I'm going to show you how they work or easily. So I'm going to go to the character object settings, and I'm going to make sure that the object tab is selected and I'm going to switch from the A just up to the animate tap, and I'm going to turn on the view for the character measures. And now you can see that if I select the selection tool and I have the object most elected , I can select these different controllers and manipulate him like this. And this way I can animate my current er like So I'm going to get closer here, just like the other one, and I'm going to rotate it so you can see that this way we can select all of these controllers much more easily so we can animate our character much more easily as well. And the same is going to happen with the leg controllers. So I'm going to select these leg controller and I'm going to rotate it next. So and I'm going to select this other one, and I'm also going to rotate it. And I can rotate also the other one if I need to like. So now I'm going to select the character object again, and I'm going to reset the post. And now I'm going to show you what these other comptroller does because we haven't used these controller yet. And this is going to help us to move the legs at the same time like this are like this. Okay, so that's why it is important to have these weeks it will also perfect. Now, while I'm going to do is to reset the post for this character again. So I'm going to select the character object. I'm going to click on recent posts. Okay, so that's all for this lesson. I hope that you learn something useful and I will see you in the following lesson. 27. Weighting the character - Part 6: hello, class. And welcome back in this lesson. We're going to continue adjusting the weight to a different elements that create our character. So let's start. All right, So this is where we left in our previous lesson, and in this lesson, I'm going to continue adjusting the weight to the remaining objects. In this case, we only have for objects that we still need to apply they proper ways to which are these objects here. Now I'm going to collapse these character object so it doesn't take too much space. And I'm going to start by adjusting the weights to the hands object. So I'm going to select the hands object, and I'm going to move it to the top of the hierarchy on to make things easier. I'm going to turn off the visibility for all of these objects, so I'm going to turn it off like that. And now I'm going to turn on the visibility for the hands object like so I'm going to get closer here to the hand. And as you can see, this hand object already has some weights assigned to it. And if you remember this, weights were assigned automatically. When we did the binding process. So all they have to do now is to make sure that this weights are working properly. And if some of the weights are not working properly, we have to adjust them. So the first thing that I'm going to do is to make sure that none of the different bones that shouldn't affect this object are affecting this object. So you can see that this object is being affected by multiple bones. And we can tell that because we have different colors. And if you don't see the colors, remember, you can make sure that the subdivisions are faced object these off and that you have to select these object, so you're going to see the weights. So as you can see, these is being affected by multiple bones, and all of the bones that are affecting this object are the bombs that are in this area. So we have the respond. We have all of the bones for the fingers for all of these fingers, and also this bone here is going to have some effect on this part off the mesh. So the rest of the bones, including the ones that create the spine. The legs, the torso on the head shouldn't have any influence on these mesh. So I'm going to start by making sure that none of these bones have any influence on this measure. So to do that, I'm going to select the spine group so you can see that there's going to select all of these bones and none of these bones should have any effect on these object. So I'm going to select all of these bones. I'm going to click on Ciro just to make sure that they are not affecting these object in any way. And now I'm going to lock him, and I'm going to collapse these group now, the legs shouldn't have any influence on these objects either. So I'm going to the same. I'm going to select them all of these bones. I'm going to click on zero, and I'm going to lock him like so I'm going to collapse these groups now. The arms, they are going to have some influence. You can see here that it changes colors. If I go to the other arm. This one here and I selected, you can see that this is going to have some influence as well. Now I'm going to get closer here because there's only one bone that should have some influence on this measure. And it is going to be these bone here. I'm going to select this bone here. Which over here is this one here, the one at the bottom. And this one is the one that is going to have some influence on this mesh. And the rest shouldn't have any influence because they are too far away. Someone just like them. All of these ones, except for the one of the very bottom. I'm going to click on Ciro just to make sure that they have no influence on this mess. And I'm going to lock him like so, And I'm going to have the same on the other side. So I'm going to scroll up. I'm going to find this group, and I'm going to select all of these bones. Except for the one at the bottom. I'm going to click on zero, and I'm going to lock him like so. And we also have the bones for the eyes, which also shouldn't have any effect on these mesh. So I'm going to scroll down. I'm going to select these two bones. I'm going to click on Ciro just to make sure. And I'm going to look him and I'm going to collapse these groups. Okay? So you can see now all of the bones that we have here and the ones that should affect these mesh. So if I get closer here, you can see that this is going to be for the thumb. This one is going to be for these Finger and these other groups are for the rest of the fingers. And this one is for the hand. And these one is for the forearm. These one here and here. We have the other ones for the other hand, for this one. Okay, so all of these different bones have some weight assigned to them on. We can see that if I select the hand object, you can see that we can see different colors. Which means that all of these have different weights assigned to this mesh. But in order to know if I have to modify the weights are not. I have to make some tests. So what I'm going to do is really simple. I'm just going to select this controller which is going to control this finger. I'm going to rotate it on. When I rotated, this finger is going to bend and that way I can see if the weights are set properly because I can see how do the formacion of this finger is going to happen? So I'm going to do that. But before doing it, I'm going to select the character object. I'm going to make sure that the animate tab is selected. Then I'm going to reset the post and then I can use the selection tool on the object mode and I can select these controller, which is a controller for this finger. And now I can rotate this controller. But before doing that, I'm going to go to a timeline. I'm going to go to frame zero, and I'm going to add a new key frame and then I'm going to scroll to another frame. Let's say frame 20. And here I'm going to rotate this controller to bend the finger. Someone's rotated like so And here I'm going to add another key frame. So, no, If I scroll here on my timeline, this is going to bend the finger. Okay, now I did that. Like I said, just to see how this finger is going to the firm when eat Benz. And now I'm going to turn on the subdivision surface so we can see this better. I'm going to look at these and I'm going to scroll. And as you can see, this finger is rotating Really, really nicely. We consider is from a different angle, and you can see that this is going to work really well, okay, So this finger, he said properly and we don't really have any problems, So I'm just going to show you how it looks. So I'm going to like the hand object that I'm going to turn off the subdivision surface and to see only the weight of this finger I'm going to scroll down. I'm going to select thes finger and you can see here the weights that are assigned to these bones. Now we can scroll again. Now, here we can see the movement. Now, if I select the individual bones, you can see the weight that these bones are having on this object in particular. So you're going to see that this one is affecting nothing on this object. So we can like these one. This other one is going to affect only the tip on. You can see that this is said properly, so I'm also going to lock it. This other one is control. Affect the middle part off the finger and you can see that the weights are set properly. So this is OK. I'm going to lock it. And this one is for the base and you can see that the weights are also said Probably. So I'm going to lock it and this one is going to be for the pump on. You're going to see that the weights are also said Probably so I can like these one and I'm going to collapse this group because this is ready. Now I'm going to go to the next finger, which is this one. I'm going to select it. I'm going to the same. So I'm going to do the same that we did with this finger. So I'm going to set some key frames so we can animate the movement of the finger. But before doing that, I'm going to use the selection tool and I'm going to select again this controller because if you remember. We added some key frames and I don't want those key frames anymore, So I'm going to select the controller. Now, you can see the key frames here, these quite squares. So I'm going to select these one, and I'm going to delete it using the delete key on my keyboard. And I'm going to select these other key frame, and I'm going to delete it as well. Like so. And now if we scroll again, you can see that the animation is not going to happen anymore because we don't have dick your friends anymore. And now I'm going to go back to frame zero, and I'm going to continue with this other finger. So I'm going to use this election to again. I'm going to select it. I'm going to add another key frame. Make sure that we are in frame zero. I'm going to click here to add another key frame. I'm going to scroll to frame 20 and I'm going to rotate this controller like so, and I'm going to add another key frame like so. So now if we scroll, we can see the animation off the finger bending. So we're going to have the same that we need with the previous finger. I'm going to turn on the subdivision surface and I'm going to scroll. Now you can see that this is working properly as well. But we have a small problem. And the problem is that this area here is moving way too much. It shouldn't move as much as it is. So you can see that this area is moving a lot when we move this finger. You can see that from here as well. On. I'm going to show you how to fix this, just in case you have the same problem in these finger or any other of the fingers. So I'm going to select the hand object again, and I'm going to turn off the subdivision surveys so we can see the weights. I'm going to select the bones for this finger, which are this one's. Okay. Now I'm going to start by selecting this bone, you can see that this bone isn't affecting anything. So this one is okay. I'm just going to like it. This one is going to affect only the tip. You can see that it is affecting only a tip. So I'm not going to modify it, so I'm going to lock it. This one here is going to affect the middle part off the finger on this one is going to affect the base off the finger. Now you can see that this one is the one that is causing the problem because it is supposed to affect only the base off the finger. And it is affecting also the pawn. So that's what is causing this area to the firm. When we move the finger, you can see that here. This is affecting this area as well when we move this part off the finger, So that's what is causing the problem. But don't worry. There is an easy fix for that. I'm just going to select these bone and I'm going to use the wait'll. I'm going to make sure that it is said to substrate. So I'm going to come over here. I'm going to set it to substrate, and I'm going to decrease the strength a little bit, maybe to 50% something around 50%. And the radius is okay, so I'm going to start. It's obstructing the weights like so, and I'm going to do it again. I'm just going to scroll and you can see that we have fixed the problem. I'm going to turn back on the subdivision service object so we can see these better. And I'm going to scroll. You can see that now. We don't have that problem over here. Now, we have some creases here, but we're not going to be able to see those creases when we animate this finger, so it shouldn't be any problem. You can see that if I'm looking at this character from almost any angle, I'm not going to be able to see those creases. They're you're going to see that. But I'm going to decrease the strength of this crease. And to do that, I'm going to turn out the subdivision surface so I can see the weight. And you can see that this creases happening because there is a really sharp transition here . You can see that this weight is restaurant here, and it goes to very like over here. So I'm going to scroll to another frame so we can see the whole finger. And now I'm going to add a smooth transition between these two areas. So I'm going to use the wait till and I'm going to change the mode to smooth. And now I'm going to smooth these area next. So perfect. Maybe a little bit more. And now let's turn back on the subdivision surface so we can see this better. Let's try it again and you can see that these Chris over here now he's less pronounced so we can work with that. That's going to fix the problem. And like I said, we're not going to be able to see this part off the character because we will usually look at the hands from a different angle. And when we animate this, you can see that it doesn't look bad. It actually looks OK, so now that is fixed, and I'm just going to select this whole group off bones. I'm going to turn off the subdivisions or face so we can see the whole group, and I'm going to add another smooth transition here. With all of this bomb selected, I'm going to smooth this area here just a little bit more like so, and I'm going to turn back on the subdivision surface that I'm going to bend this again and you can see that Now these looks even better. Perfect. So now this is fixed. I'm just going to lack all of these different bones. I'm going to continue with these other finger. So I'm going to turn off the subdivision surface so we can see the weights. I'm going to the same that we did before. First, I'm going to collapse thes so it doesn't get in the way. I'm going to select this bone. You can see that it is not affecting anything, so I'm going to lock it. This one is going to affect only the tip. So it is OK, I'm going to like it as well. This one is going to affect the middle part of the finger and you can see that it's okay to and this one is going to affect the base on it looks like it is okay to, but we have a similar problem here. You can see that this is supposed to effect on the base and it is affecting also these palm area. So this is going to be a problem on. I'm going to turn on the subdivision surface and we're going to do the same animation with these other controller that we did on these other fingers. So I'm going to use the selection tool and before doing anything, I'm going to select this other controller, the previous one. And if you remember, we added two different key frames. So I'm going to select this controller so we can see the key frames. I'm going to select this key frames and I'm going to the leader. You're saying that the lid key on my keyboard and also these one, I'm going to select it and deliver it. So now these animation is not going to happen anymore. And I'm going to select these other controller because I want to have an animation for these. I'm going to go to frame zero. I'm going to add a key frame here. I'm going to go to frame 20 and I'm going to rotate this controller like so maybe less like so. And I'm going to add another key frame. And now I can do the same that we did before. I'm just going to scroll and as you can see, like I told you before, we were going to have some problems here because remember, if we select this object. And if we select these bones, you can see that the base off the finger is affecting more area stand It should be affecting. So these areas in particular shouldn't be affected by these bone. And that's what is causing the problem. So I'm going to scroll to frame zero so we can see this better. And I'm going to use the wait'll again because I want to erase these weights here. So I'm going to set these two sub strapped I'm going to go to mode and I'm going to set it to substrate act. And now I'm going to substrate these weights, make sure that the Elton Normalized option is off. Let's abstract them. And now I'm going to add a smoother transition here. I'm going to change these to smooth. I'm going to start smoothing this transition like so now I can turn back on the subdivision surface and I can scroll again, and you can see that this is going to fix our problem Now. We still have a small deformation here. That that's OK. That's not a problem. It's actually good to have that information. As you can see, we don't have really sharp. Chris is here, so that is also good. So now this is fixed. All right, so this finger is fixed. I'm just going to select these different bones. And I'm going to look him because I don't want to modify them anymore on. I'm going to go back and turn off. The solutions are face like so And I have to delete the key friends that we added to these controllers. So I'm going to use the selection tool, and I'm going to select these controller. Remember, we added some key frames to be able to animate this finger. So once we have selected these controller, I can see the key friends here, and I can select them and I can delete them. Okay, So now if I scroll again now, this finger is not going to move perfect. So I'm going to the same with these other finger, the pinky one. So I'm going to select these hands object again. I'm going to come over here. You can see that this when he said so I'm going to collapse it so it doesn't get in the way . I'm going to select this Father one. Now you're gonna see that these may have some problems because this is affecting some areas that it shouldn't be affecting. But let's make sure and to make sure again, I have to select this controller. I'm going to go to frame zero. I'm going to add a key frame here. I'm going to go to frame 20 or any frame that you went and I'm going to rotate these controller so the finger bends and here I'm going to add another key frame. So when I scroll here, this is going to animate like so And I'm going to on the subdivision surface so we can see how this is going to behave. I'm going to de select this one, and I'm going to scroll Now you can see that this is actually pretty good. I don't see any really big problems with these one. You can see that this is actually behaving very, very good. So I don't see any reason to modify the weights on this finger because they are actually working properly. So that's good. I'm just going to select again this controller. I'm going to delete these key friends because we don't need them anymore. So I'm going to select it the limit and this other one selected and let it. I think so. Okay, Perfect. So I'm going to select the hence object again so we can see the bones. And since the weight off these bombs are properly said, I'm just going to lack all of these bones because they are working properly. And now I'm going to collapse these one and I have to work on the thumb. So I'm going to select the thumb. I'm going to turn off the subdivision surface so we can see the weights. And I'm going to use the selection tool to select this controller. I'm going to go to frame zero. I'm going to add a key frame here. I'm going to go to frame 20. I'm going to rotate this controller so the finger bends like so And then I'm going to add another key frame. And now we can see the small animation. I'm going to turn on the subdivision surface so we can see how this behaves. And you can see that with this one. We have a problem on this area, so we're going to fix it. It's nothing that we cannot fix. We're going to the same that we did before. I'm going to take this back to frame zero. I'm going to turn off the subdivision surface so I can see the wait. I'm going to select the object so I can see the bones, and I'm going to select the bones for the thumb. Now, this bone here, the bottom is not going to affect anything, just like the other ones here on these other fingers. So this one is okay, I'm going to like it, and then I'm going to move to this one. This is supposed to affect only the tip of the finger, and you can see that it's actually said properly, so I don't have to modify these one either. So I'm going to lock it. And this one is for the base. And you can see that the seas where we have the problem, you can see that this is affecting more areas than it should. So what I'm going to do is to select it, and then I'm going to use the way tool. I'm going to set it to substrate act so we can't obstruct the weights on the areas that shouldn't be affected by this bone during this one here like so and now I'm going to a smooth the transition between these areas and the dark areas. So I'm going to said these wait'll to smooth. I'm going to smooth this out just a little bit. And now I'm going to turn back on these subdivisions surface. I'm going to try again, so I'm going to scroll. As you can see now, this is going to behave much better. You can see that we don't have that really weird information that we had here before. This is going to look much, much natural. Okay, so this one is complete as well. Just going to lack these other two bones and I'm going to collapse. Sees one, and I'm going to select the object. I'm going to turn off the subdivision surface so I can see the different weights on. You can see that we have a problem now, and it is that we have some really dark areas and these areas were created when we say abstracted. So if the weights from some of these bones remember every single off these different points that create this measure have to have a weight with an influence off 100% and it could be influenced by only one bone or by a combination of bones. And when he doesn't have that influence it to 100% it is going to look dark. And that's what we have here. So we have to compensate the weight that we substrate it from some of these bones and we're going to do that very easily. So I'm going to show you how now the way I'm going to do it is by adding some weights to these areas, and I'm going to add him to the wrist bone, which we have over here. We can see that this is going to have a lot of weight and we cannot Those weights that were missing on these bones Now, to do that, I'm going to use the apply all command, so I'm going to like all of these different bones because I don't want to effect these ones like so on, and also these one. I have to Luckett, and I'm going to lack this one as well. You can see that now I have these Onley unlocked. Now I'm going to click on the apply all command. As you can see, this field all of those gaps I'm going to undo that. You can see here the changes. If I click on a plate, all this is going to feel these areas. I'm going to go and do it again so you can see these on the other side. I'm going to click on up like all, and this is going to feel all of these different areas. So now if I select this object again, you can see that we don't have any of those dining areas anymore. Okay, Now I'm going to select this bone again because I have to make sure that when we used the apply all command, it didn't affect anything on these other hand, and it looks like it didn't. So it is OK now. And I'm going to lack thes bone. I'm going to collapses. Different groups. I'm just going to make sure that all of these are locked before going any further. As you can see, I love these bones are locked like so Now what I have to do is to apply the same weights that we have on this hand onto these are hand. But before doing that. I'm just going to make a last test because I don't want to apply these weights over here if these weights have some errors, so I'm going to do a last test. I'm going to turn on the subdivision surface object so we can see these better. I'm going to use the selection tool. Make sure the object mode is selected and we're going to move these different controllers. I'm going to start by moving this controller for the wrist. You can see that this is going to work properly. I don't see any problems on. I'm going to start by using this order controller. I'm going to select it. I'm going to rotate it. As you can see, we don't have any problems. This is going to work. Fine. I'm going to select these other controller for this other finger here. I'm going to get closer. I'm going to select it. I'm going to rotate it. You can see that this is working nicely. It is going to the form only if we go beyond, like so. So we shouldn't do that because it is going to penetrate the hand and we shouldn't do that . So you can see that this is working nicely. Okay, I'm going to reset these one here. I'm going to set these back to zero. I'm going to select this other controller here. I'm going to the same. I'm going to retain it just to make sure that it doesn't have any problems. I'm going to look at this from another angle and you can see that this is going to work properly. I'm going to reset the value to zero again. I'm going to taste these other one going to select this controller. I'm going to rotate it and you can see that this is going to work properly. And I'm just going to reset this value to Ciro. I'm going to select these last controller. I'm going to rotate it as well just to make sure that we don't have any errors. As you can see, this is going to work properly. I'm going to reset the value. I'm going to save it to zero. And now that I confirmed that all of the weights are set up properly, I can just mirror these weights onto these other side. And I'm going to do that in the next lesson. So that's all for this lesson. Thanks a lot for watching and I will see you in the following lesson. 28. Weighting the character - Part 7: hello, class. And welcome back in this lesson, we're going to continue adjusting the weight to a different elements that create our character. So let's start. So now we can apply the weight off this hand onto these other hand, and that's what I'm going to do now. I'm going to start by turning off the subdivision surface object and selecting these hands object so I can see the weights that we have applied to this hand. Now, as you can see, the bones that belong to this other hand our lacked for now because we like them before. So I'm going to start by unlocking all of these different bones. So I'm going to click and drag like so and also I'm going to unlike these bones for the hand and also these bone here, I'm going to get closer here. You can see that this bone also has some influence on this mess because this is the bone for the forearm. So I'm going to unlock these one as well. And these other bones here I don't have to unlike him because these bones shouldn't be affecting these hand object. So I'm going to leave these other ones lacked. So no, they have all of these different bombs unlocked. I'm going to select them all, including the different bombs off the different fingers, the bombs off the hand, on the bones of the forearm. Now that I have all of these selected, I'm going to click on this zero command like so now the reason I did this is so I can tell more easily when I apply the mirror command. So as you can see right now, none of these bombs have any influence on this hand object. So you can see that the hand object is completely black. And I did that on purpose. So when I mirror the weights off these other bones onto these other hand, we can start seeing some colors. And when we see those colors, that means that the miracle man has been applied. Okay, so now I'm going to collapse all of these groups, and I'm going to select all of these different groups which are the groups of the bones off these hand. And I'm going to select also these other bone which is the 1 44 arm, and with all of these different groups and this bone selected. I'm going to apply the mirror plus two minus command. So I'm going to click here. And now if I select these other bones, you can see that the weights have being mirrored because now we can see some colors. Now you can see that we have a small problem here, and it is that the tips of the fingers didn't get mirrored, But don't worry about that. We're going to fix that very easily. So the important thing is that the rest of the weights were mirrored successfully, and that's going to save us a lot of time. Okay, so I'm going to select this bone here, and you can see that these is okay because all of the weights were mirrored properly, So this one is complete. I'm going to lock all of these bones and I'm going to collapse these group and I'm going to collapse these other groups as well. And I'm going to select These are their group of bones. You can see that in this group we have a problem because we're missing the waits for the tip off the finger. So I'm going to select this bone here, which is the one that is assigned to the prom. You can see here and you can see that the weights are assigned to these bone already. So these one is okay. I'm going to like it. This also is okay, because it already has the weights assigned to it. So I'm going to like it as well. And these also is okay because it has the weights assigned to it. I'm going to like it. And this one is the one where we have the problem. You can see that this is the one that should have the weight assigned to the tip off the finger. So this is the one that we have to fix. And this last one shouldn't have any weights assigned to these mesh. So this one is okay, because these doesn't have any weights assigned to it. So I'm going to like this one as well. I'm going to select these other went, which is the one where we have to apply these weights too. And to apply those weights, I'm going to do it manually. So I'm going to use the wayto and I'm going to go to the properties off the stool. I'm going to make sure that this strength is set to 100 and I'm going to make sure that the mode, he said to absolute and another important thing is to make sure that the outer normalized option he's turn on because remember, this is going to prevent us to paint some weight where there are some weights assigned to other bones already. So make sure that the outer normalized option is to run on. And now again, make sure that this bone is selected and we're going to start painting the weight on the tip off this finger. Now you can see that seems the out of normalized option East on. I can easily paint the weight on these areas, but these other areas that already have some weight assigned to them even if I tried to pay them, I cannot do it. And that's why it is important to have these out of normalized option on for this process. Now, I'm going to continue painting here, and you can see that if I go beyond, I cannot paint anymore again because of the outer normalized option. Okay, I'm just going to make sure that I get all of these areas and Now you can see that these East fixed. So I'm going to select the whole group and you can see that now. These east. Ok, so I'm going to lack these bone. I'm going to collapse thes group like so. And I'm going to continue with these other group. You can see that we have the same problem here. So I'm going to start with this bone. This one is okay. I'm going to lock it. This one is also okay because it has some weights assigned to it already. So I'm going to like it as well. This one is okay. I'm going to like it. And these one ease where we should have the weights assigned to it. So I'm going to select it. And with the same settings of thes wait'll I'm going to start adding the weight on the tip of the finger. Make sure that you get all of the different areas around the whole finger. I'm going to get closer here. I'm going to make sure that I get all of these different areas. Okay, that should work. And now I'm going to select the whole group and you can see that now this is fixed. So I'm going to lack these bones next. So and I'm going to collapse this group, and now I'm going to continue with this other bones, so I'm going to select them. I'm going to select these one here, and you can see that this one is okay because the weights are assigned already. So I'm going to like it. Also, these one. I'm going to like it. These one as well. I'm going to like it. And this is the one where we have to add the weights off the tip of the finger. So I'm going to select it on. I'm going to apply those weights using the same settings on the wait'll. I'm just going to a play All of these weights to the tip off the finger. Make sure that you get everything that you need to get. I'm going to select the whole group, and now you can see that this is fixed. So I'm going to lack these bones. I'm going to the same for these one. Now, I don't really know that the bone that I have to fix is this one. And for this one, I also have to fix these other bone. You can see that these two bones don't have any influence or wait assigned to them. So I'm going to start by looking these two. I'm going to like them both, but I'm going to lock him, and this one shouldn't have an influence on it. So I'm going to like it as well. I'm going to select this, too. And you can see that these other ones where I have to apply the weights too. So I'm going to select these one, which is the one for the tip of the finger. I'm going to start adding some weights around the finger, like so perfect. And now I'm going to the same for these other one. I'm going to just add those weights. But I'm going to do this before doing that. I'm going to like this one on. Now that this is set, I'm going to I'm going to lock it for a second. So I don't modify these. I'm going to select this one, and now you can see that this is going to prevent us from painting on this area. So I'm going to continue painting. Make sure you get everything, including these areas? I think so. All right. No, just north. The transition. I'm going to select them both. I'm going to unlock this one. I'm going to change the mold to smooth like so I'm going to smooth this transition. I'm going to go all around this finger. I'm going to smooth the transition on. I'm going to select only one. You can see that the transition is smoother now and also here, like so I'm going to let them again. And I'm going to smooth this area a little bit more. Now you can see that this is going to work Well, like so. So I'm going to select this group, and you can see that now these is complete. I'm going to lack these two bones. I'm going to collapse them, and these are also complete. So I'm going to collapse thes ones. And now all they have to do. I used to work on this other one. I think it's OK, so I'm going to select these ones, and I'm going to like him, and I'm also going to like these one. And now I'm going to select the whole object. And as you can see now, this weights are assigned properly. You can see that and I want to finish. I'm going to make sure that all of these different bones are locked. You can see that all of these are locked. I'm going to expand all of these groups so I can make sure that all of these bones are locked and they are. So all they have to do now is to make a quick test. So to do that, I'm going to use this election tool. I'm going to start selecting these different controllers and I'm going to rotate him. And I'm going to do it on the subdivision surface so I can see this better. I'm going to make a quick test and you can see that this is working properly. I'm going to the same with this one. This is also going to work properly. Let's try with this one. You can see that this is also going to work properly. I'm going to just move this back. Let's try with this one. Let's rotate it right on. Let's try with this other one so you can see now this is properly set. So all they have to do is test the wrist. So I'm gonna just like this one. I'm going to move it, and you can see that this is going to work properly as well. All right, so now all they have to do is select the character object. I'm going to reset the post, like so on this hands object is complete, so I'm going to select it. I'm going to move it to the very bottom off the hierarchy, like so. And I'm going to turn off the view for these. Abject. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 29. Weighting the character - Part 8: hello, class and welcome back in this lesson. We're going to continue adjusting the weight to a different elements that create our character. So let's start. All right, so in this lesson, we're going to adjust the waits for the boots object. So I'm going to select this object and I'm going to move it to the top off the hierarchy. And I'm going to click here to expand these object so I can see that boots object. Okay, I'm going to make these boots object reasonable, and I can do it in two ways. I can either turn the visibility on the boots, object directly, or I can bring this back the weight west, and I can turn on the visibility on the clothes surface object that has the boots object inside of it. Either way, it's going to work. Now I'm going to some in so I can see these boots better. I'm going to get closer like so and now I'm going to turn off the subdivision surface object because I went to see the weight that are assigned to these object. So I'm going to turn it off and you can see that I have the boots object selected and I have the subdivision surface object turn off. But you can see that we are not able to see the weight. And the reason for that is because we have a clothes surface object that is affecting our object. So the close service object is going to work in a similar way than this subdivision surface object. So we have to turn it off if we went to see the weights that are assigned to the object. So I'm going to do that. I'm going to turn it off, and now we can see the weight. If I turn it back on, we're not going to be able to see the weight. Okay, so I'm going to turn it off like so. And as you can see, this object has already some weights assigned to it. Andi, remember this? Weights were assigned when we did the binding process. But I'm going to show you how to do the outer waiting process manually. So to do it first, I'm going to race all of these different weights that are assigned to the object so we can start with an empty object. So I'm going to select all of these bones like so And I'm going to click on this zero command. As you can see now, we don't have any weights assigned to these object. So if I move the skeleton, I'm going to use the selection tool. I'm going to select the character. I'm going to expand it, and I'm going to select the leg. Both of the licks I'm going to switch from, like a to f k. I'm going to do it one more you want, So I'm going to select the leg. And here on the control stab, you can see that I have this said to f k. So I'm going to reduce this value to zero so we can see the like a controller, like so. And I'm going to have the same with these other leg. I'm going to select it here on the control stab. I'm going to reduce this to zero so we can see the like a controller. Now there is an idea. This is just to show you that if I select this controller, which is supposed to move the boot and I tried to move it or I move this controller, you can see that now, the boot is not going to move and the same is going to happen with these other controller. If I move it, this other boot here is not going to move. I'm going to reset the post, so I'm going to select the correct object. I'm going to go to the abject tab and I'm going to reset the post, and now we can see these other controllers again. So I'm going to select these F K controllers. I'm going to rotate this controller and you can see that this should move the boot. But it is not moving it. And the reason for these ease off course because there are no weights assigned to this object. So I did this just to show you that at the moment we have no way. It's a sign to these object. And now it doesn't matter which part of the character I move. I can move the spine. You can see that the boots are not going to be affected by any off the bones off the character object. Okay, so I'm going to click here on the character object, and I'm going to reset the post, and I'm going to see him back in. All right, I'm going to collapse thes and I'm going to select the boots object again. And now I'm going to switch to the outer weight tap. Now, in this tab, you can see that we have different options. Now, most of these options we don't really need to change them. So I'm just going to live the way they are, and I'm going to click on calculate. And as you can see now, we have some weights assigned to the object on this. Weights were assigned automatically. All we needed to do was to use the calculate command. So I'm going to test how these work. So I'm going to use this selection tool. I'm going to select this controller and I'm going to rotate it. And as you can see now, these boot is moving. And if I select this other controller and I rotated, you can see that this is also going to work. The same is going to happen with these other boots. Of course, because now the weights have been assigned. I'm going to reset the character, so I'm going to select it. I'm going to click on Reset post and I'm going to select the left leg. I'm going to go to controls. I'm going to switch it to I K controller. And now I'm going to select this controller and I'm going to move it. And as you can see, this is going to work on. You can see some deformations on this object. Now we can see here, it's bending. And this means that the weights are assigned properly. You can see that the spending is looking really natural, and this is going to work really nicely. Okay, I'm going to recite the post, so I'm going to like the character. I'm going to go back to the object tap, and I'm going to click on Reset post because I want to show you something else. I'm going to get closer here, and I'm going to select this leg object this one right here, and I'm going to go to the controls tab Now, So far, we have used on Lee these control, which again it is going to help us to switch between I, K and F K. Now I'm going to make these window a little bit larger so you can see these controls better and you can see that here we have other controls. So I'm just going to make sure that the ways that were assigned automatically using the out away tool we're assange properly. The best way to do it, besides using the controllers and modify them the way we did before, is by using these other controls. So remember, if you want to see this controls, you have to select the leg object here within the current object, and then you have to go to the controls Tab, you can see here. Now the controllers. Now I'm going to start with these control, the need twist. You can see that I am moving it. But nothing is happening. And the reason nothing is happening, even though you can see that the bone is moving, you can see that this bone is moving. There isn't. Nothing is happening with this object is because I am moving the I k bones. And at this moment we are working with FDA because this is set to 100. So in order to have these controls working, I have to bring this back to zero so we can work with the I K controllers for these leg. And now you can see if I manipulate this control. Now, this is going to work properly. No, to look at these better. I'm going to turn on the subdivision surface object like that so you can see how this is going to look when we animate this character. Now you can see that this is going to work properly. I'm going to bring this back to zero. I'm going to continue with These are control the one for the food role. You can see. I'm going to look at this from the side so you can see these better. And as you can see, this is working really well. And just by controlling this lighter, we can get really nice and clean animations like this, I'm going to bring this back to zero. I'm going to try with the wiggle. So all I'm doing here is sliding the control. You can see that this is going to move. All right, I'm going to reset these one. I'm going to type zero again. Now I'm going to try with these other action. I can see that this is going to give us a different effect and I can see these weren't from the front, so we can see these better like that on. All I'm doing here is just making sure that when I animate or I manipulate these controls, the movement or the deformation off the boot is working properly. So I don't want to have any but informations on this object, and that's all I'm doing here. I'm just making sure that this is going to work nicely, as you can see eat. Thus So I'm going to reset these and I'm going to try with the ball twist option. You can see this is also working very well, So I can also try with this at the bottom. But they are very similar. But if you want to try with these are ones, you can do it as well like this. I'm going to reset this one. Try with this other option, I'm going to reset it, and I can trade with these other ones like so I'm going to reset this value to zero. And as you can see, the weights were assigned properly because we didn't see any bad information happening. So that means that the weights were assigned properly. Now you can use the outer way tool with any object. All you have to do is making sure that the object and the bones are set properly so you can see that these bones are set properly and they are in the correct place. So as long as the bones are on the correct place on the mesh or object that you want to out , a weight is in the correct place. The outer wait'll is going toe work properly, and you won't have to modify any of these options here. So, like I said, usually with a different options, this is going to work really nicely and again. You can do this with any object, not only with the boots or shoes. You can do it with the arms with head and basically any part of your counter. And that's how we use the out away command to add weight automatically to our object. And since we have done a lot of progress, this is a great time to do a C for the backup. Remember, you can make a copy off your original file and have it asked a backup. And that's all for these lessons. Thanks a lot for watching, and I will see you in the following lesson 30. Using the update command: Hello, glass. And welcome back in this lesson. We're going to talk about the update command, so let's start. All right, So now I'm going to select the character object. I'm going to go back to the object tap and here I'm going to reset the post. Now you can see that when I reset the post. The I K control is not there anymore. I'm going to show you that great quickly, because this is also important. You can see that if I select this leg and I go to controls the control stab here, remember, I can switch from I Kea. If I slide these all the way to the left on, I can switch to F K. If I slide these all the way to the right, you can see the controllers are going to change here. We talked about this before. So they have to do is like these from left to right and from right to left. And we're going to have a different kind of controller now. You can see that right now I have this said to I K and I can see the I K controller here on this leg. This is said to F K So he fights like this other leg. You can see that this is said to F K. The controller is all the way to the right. And here the controller is all the way to the left. Now pay attention to what is going to happen if I select the character, I go to the object tab and I reset the post. At this moment, you can see that this is said to the like a controller and this is said to the F K controllers. But if I select the character and I reset the post, this is going to go back to the F K controllers. And if I want to bring the ICANN controller, I have to do it all over again. So the reason for that is because when we reset the post for our character, all off the values that are assigned to these different character on the controllers off the character object are going to be re set to their default position, and that is going to include it was like the leg and go to controls. That's going to include thes slider. So if I bring this back toe I k and I reset the post like so when I selected again and I go to controls this is going to be reset to F K now to prevent that. If you want to use on Lee, let's say I k I can select the leg object and I can go all the way to Ciro so we can see the like a controller, and I'm going to the same for the other leg. I'm going to select the leg here, and I'm going to reset these 20 You can see that. Now we have on Lee the like a controllers. And now I have to go to the object tab. And now, instead of using the reset post option, I can use the AB date option on what that option is going to do is to take the position and the different settings off this character that I have at the moment, and it's going to set it as the default post. So I'm going to do it. I'm going to click on update. And now if I move these controller splits, move these one. I'm going to get closer. I'm going to move it like peace And now if I reset the post, if I go select character and I click on recent Post, you can see that now. These controllers were not changed to the F K controllers this time we kept the I K controllers, so that's the way you can do it. Depending on the control is that you're going to use on. You can do the same with the arms. You can see that now if I click on recent Post. If I select, let's say these controller on I rotate it. You can see that we have the F K controllers because we have different controllers for one arm. And if I select the character object and I click on recent Post, you can see that we are still having these f K controllers on. You can tell that because we have three different controllers for one arm. So if I want to have only the like a controller, you can select the arm object here within the character object. I'm going to go to controls. I have to switch it in this case, two i k. So I'm going to slide these 120 now just make sure that use light These option here and not this option, because this is a different option. So make sure that use like the A k to f k option. I'm going just lady to lift. You can see that Now here we have the ICA controller. I'm going to select the other arm. These one. I'm going to the same. I'm going to slide this one all the way back to zero and then we have the i k controller because now we, instead of having three controllers, we only have one controller here. Okay, So I'm going to select the character object again. I'm going to go back to the object mode and I'm going to click on update like so And now if I move this character, that's a move. Some of these controllers like that. And if I click on the character object and I reset the post, you can see that now these controllers are going to stay there. And before when we used the reset post option, we got back to the F K controllers where we have three controllers for one arm and that's what this update option pass. Now I just want you to be very careful when you use thes update option, because these can cause some problems if you don't do it the right way. So I'm going to show you that I'm going to select the selection tool and I'm going to select this controller. I'm going to move it to the left like that. And let's say that what we want to do is to have these said as F K controllers by default. So I have to go to the arms. I'm going just like the left arm. I'm going to go to controls. I'm going to change these two f k. So now we can see these three controllers. I'm going to the same with the right arm. I'm going to switch these back to 100 so we can see these F K controllers. And now, if I select the character object and I go back to the object tab and I click on update and let's say I modify the spine controller again, I can move it and rotate it, and I can move any of the controllers if I want to like the head. And now, if I select the character object and I click on recent post. You can see that the Post is going to be reset, but it's going to be reset with this controller Move to the left because that's the way that it waas when we used the ab date option. So when you use the Abdic option, this is going to make the current position or movement off the different controllers. It's going to set it as the default position. So whenever you use the recent post again, it is going to bring you back to that exact post. So just be very careful when you use the Abdic command. Make sure that the Post, he said to the default post before you use the optic option. So I'm going to undo this because I want my character to have the correct post. I think so. I think now it is. Okay, I'm going to select this one just to make sure I'm going to go to the coordinates, and I'm just going to make sure that the rotation values are all set to zero and also the position Okay, so now our character is back to normal, and now I can click again on update and no if I move my character like this and I reset the post. It's going to bring me back to the default post. Okay, so that's how we use the AB date option. And that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 31. Weighting the character - Part 9: Hello, glass. And welcome back in this lesson, we're going to continue at just in the weights to the different elements off our character . So let's start. Okay, So I'm going to start by collapsing these character object. So we have more space here. I'm going to resize these window like so now, in the previous lesson, we finished at just in the weight to the boots object. And the only thing that we didn't do waas to lack the joints are bones. So I'm going to do that. I'm going to select these boots object. I'm going to select the joint staff. And as you can see in none of these, bones or Jones are locked, so I'm going to do that. And remember, we can look him by just clicking and dragging like so. And I'm going to continue lacking all of these different bones all the way to the bottom like so. So now all of these bones are locked on and we can collapse these object, and we can move it to the very bottom off the hierarchy because this one is complete, and I'm going to click here on this. That's so we don't see these in our canvas anymore because now we're going to work with their remaining objects. Now you can see that we have only two other objects that we have to adjust the weights too . One is the jacket object and the other is the one for D buttons for the jacket. So I'm going to start with the jacket object. I'm going to drag it to the top and I'm going to expand it and I'm going to select the object. Now. I want this object to be reasonable here in the canvas. So I'm going to turn on the visibility for the object and I'm going to get closer here and now I want to see the weights that are a sign to these object. So I'm going to turn off the subdivisions off his object and also the clothes surface object. And now we can see the weights. Now, as you can see, this object is being affected by multiple bones. So we have to work on this object to make sure that all of the bones have the weights properly assigned. Now, first, I'm going to do a few tests just to see if we have problems within this mesh. So I'm going to use the selection tool making sure that the object mode is selected on. I'm going to make sure that if I select the character object and I go to the object tap, I have to make sure that the animate top is selected on when it is selected. I can select this controller and I can manipulate it. And you can see that we have a problem here. And the problem is that if I move this arm up, you can see that the arm is moving up. I say it should be, but this other area of the jacket is also moving and it shouldn't move these way. You can see that this doesn't look good at all. The same is going to happen if we move these the other way. This area here is going to be modified. Andi, that's not what we need. So we have to fix this. I'm going to select the character object. I'm going to reset the post and I'm going to move other controllers. In this case, I'm going to select this one, and I'm going to rotate it just to see if we have any additional problems. Now, here we have another problem. You can see here the transition between the weights on this part of the jacket and the weights on this other part of the jacket. It really sharp. So you can see that this is not going to behave properly. You got to see that. So we have to fix in these problem as well. If I select this object, you can see that In fact, we have a very sharp transition here. We're going to really the transition because the colors are very similar. We have an orange color and a red color, but the transition is sharp, the same as thes other transition that we have here. You can see that this transition is very sharp and that's going to cause some problems. So we have to fix that as well. I'm going to select the character object and I'm going to reset the post because I want to try with a different controller. So I'm going to select this color controller and I'm going to move it and you can see that this one doesn't have any problems. Really? So this one is okay. I'm going to select the character object and I'm going to reset the post and I'm going to try with other controllers that shouldn't affect these jacket. For instance, the head shouldn't affect the movement of the jacket. So I'm going to select the head controller and I'm going to rotate it and you can see that the jacket is not moving. And that means that this head controller is said properly, the same is going to happen with the legs. If I select the legs and I move him, these legs shouldn't affect the movement off the jacket. So I'm going to move this leg and you can see that the jacket is not moving, and that's the way it should be. So if this jacket was moving, we would have another problem there. But you can see that this is okay. So this is not going to be a problem? No. Once that we have identified where we have the problems, which is our here. So remember, when we move this arm, this is going to the firm and it shouldn't. The other problem that we have is the transition we're here and also the transition over here. So those are the main problems that we have to fix. Now I'm going to select the character object and I'm going to reset the post on I'm going to select the controller again and I'm going to go to the timeline and I'm going to go to friend zero and I'm going to add a key frame. Then I'm going to jump to from 20. I'm going to move this controller like, so I'm going to rotate it as well, like so. And I'm going to add another key frame. And now we can slide between these two key friends and we will have this animation. So this way we can see when this problem is fixed, I'm going to go back to frame zero. Then I'm going to select the jacket object again. And as you can see, here is where we have the problem. You can see that these green collar belongs to these different bones, but we have some green color here, so the C's where we have the problem. Now I'm going to select this arm, which is the left arm, so I'm going to collapse all of the's different groups, and I'm just going to unfold the left arm which ease these one. So this is going to be much easier to work with now. You can see that if I select this bone, this is going to show me what influenced these bone has on this object. And also these one. You can see that this one is okay. At least if we're talking about the influence that we're having here, you can see that this is not having any influence here. These one is also okay because it doesn't have an evil ends on these. Part of the jacket on these one is where we have the problem. You can see that these one that I have selected here is these bone here. And it should effect on Lee these part off the arm and not this part off the jacket. So we have to substrate act this additional weight. I'm going to select this other bone and you can see that this is OK. This is not going to cause any problems. And these one is not going to cause any problems either. So I'm going to select this one again, which is the one that has a problem. And I'm going to use the wait till So I'm going to select it. And I'm going to change the mode to substrate act like so. And now I'm going to make sure that the outer normalized option is off. So I can't abstract this weight, and I'm going to just substrate act these Wait, that we don't need going to get closer like so. And though I'm going to turn back on the subdivision surface and I'm going to go to the timeline, I'm going to scroll to frame to any You can see that now we don't have that problem anymore . Now the only thing that I want is to have it smoother transition here because you can see that the transition right now is really sharp. So I'm going to select the jacket object again. I'm going to use the way to again. But this time I'm going to select it, and I'm going to change the mode to smooth like so. And I'm going to start smoothing these area just a little bit like so. And I'm going to go to the timeline again, and I'm going to scroll and you can see now this is going to work much better. Okay, I'm going to select this controller. I'm going to move it freely just to see how this is going to work. And as you can see now, these is fixed on. It was really easy to do. Okay, so I'm going to select this controller, and I'm going to go to a timeline, and I'm going to select the ski frame that we added, and I'm going to deliver it using the delete key on my keyboard. And I'm going to select these other key frame that we had on a frame zero. And I'm going to deliver it as well because we don't need it anymore. Okay? And again, I'm going to select this controller. I'm going to move it just to make sure that this is going to work properly. And you can see that these looks much better than before. I can do this from this other side. And as you can see, this works very well. All right, I'm going to select the character object, and I'm going to reset the post like so. And now I'm going to select the jacket object again, and I'm going to turn off the subdivision surface object because I want to see the weight. And as you can see now we have a problem because we have some really dark areas here which we shouldn't have. But we're going to fix that also. And I'm going to fix thes one as well because you can see that here we have some blue areas which belonged to this finger, and we shouldn't have those areas here. So I'm going to select this. And if you're going to see if I selected we have some dark areas here. I'm going to select this other bone on. This is where we're missing the weight. Now I have to find where these weight has been assigned to, and I think that it has been assigned to this hand So you can see that if I select this hand, we have some of these weights here assigned to these one, but we don't have these. Wait here. So it has to be one of the fingers, most likely the thumb. So I'm going to select the thumb as you're going to see. This thumb is affecting this part off the jacket, and it really shouldn't. So I'm going to select the thumb. I'm going to go to commands, but I want to see both of these windows at the same time. Some which click on command. I'm going to press on whole shift, and I'm going to click on joints so I can see both of these windows at the same time. So not with these thumb group selected. I can just click on zero. And now these bones are not going to have any influence on these jacket, which is what we need. So this one is fixed. I'm just going to luck all of these different bones and I'm going to collapse it. And the rest of the fingers shouldn't have any influence on these jacket either. So I'm going to select all of these different groups. I'm going to click on Ciro. I'm going to expand them, and I'm going to lock in all like so I'm going to collapse them again. I think so. Not the hand. It actually should have some influence, because if we rotate the hand itude influence a little bit, the movement of this part of the jacket So this one is okay for now, I'm just going to the same that with it, with these fingers on the side. I'm going to the same on the other side. So I'm going to select on of these other fingers that belonged to this hand, and I'm going to click on zero like, so you can see that now. We don't have that influence here. I'm going to undo it. And you can see that before we had some weights assigned to this thumb, you can see that the thumb has some weight assigned to it and its student. So again, I'm going to select all of these fingers and click on zero. I'm going to expand all of these different groups, and I'm going to lock him, and I'm going to collapse them again. Like so Now, the legs shouldn't have any influence on the jacket either. So we can also do that. So I'm going to select these legs and I'm going to expand them. I'm going to select all of these bones. I'm going to click on Ciro, and I'm going to like him because these ones shouldn't have an influence on these jacket. And I'm going to collapse these groups. All right, so now we can continue working on these one. You can see how the weight changed. Now it is not affecting this area that it was affecting before. But we have another problem, and it is that we are missing some weight here. So if I select the selection tool on the object mode and I move this controller, you can see that we have a problem. And some of these polygons are being left behind, and that is going to cause a lot of problems when we animate our character. So I'm going to fix that. So I'm going to select the character object and I'm going to receive the post. I'm going to select the jacket object again. Now, the problems that we saw at cost because we are missing some weights here and I'm going to select the arm bones and you can see that DC's where we should have thes Wait. Now I'm going to start by locking the different bones that are already OK, so I'm going to select this one, and I'm going to lock it also, these one and also these ones. I'm going to let them all. You can see that these are okay. So I kind of like him now if I said, Like this other one, you can see that this is actually also okay. So I can also like it. And if I select this other one, you can see that the seas not Okay. So for this one, I'm just going to click on Ciro. So this one is not going to have an influence on the mesh. And now I'm going to lock it. Andi, I'm going to select the hand. You can see that here we have some weights also assigned to this area. And I'm going to expand these because here we have two bones. Now, if I select the armed group on also the hand group, you can see that we are still missing some weights here. So I'm going to assign those weights to these bone. So I'm going to select these one, and I'm going to click on zero. And now I can lock it and I can select this other one. I'm going to click on Ciro as well, and I'm going to select the wayto and I'm going to change the mode to add. And I'm going to turn off the visible only absent because I went to be able to paint the points that I can see and also the ones that I cannot see. But I have to turn on the outer normalized option like so. And now I'm going to start painting this way. I'm just going to make sure that I paint all of these different parts that I need to be paying it. And now I'm going to like it. And if I select now, these two sets off bones, you can see that now. We are not missing any weight. So now everything looks green, and that means that the weights are fixed. Now I'm going to turn on the visibility for the hands object because I want to make a test to see how this is going to behave. So I'm going to select the selection tool, and I'm going to turn on the clothes surface, object for the jacket and also the subdivision surface object. Now I'm going to select this controller and I'm going to move it like this. And if I rotate it, you can see that this is going to work the way it should. Now you're gonna see that here we have some areas where this close is going to the firm when we bend the wrist in this way. Andi, that's actually good, because we don't want to have this part of the jacket going through these other parts of the jacket. So that's actually OK. I'm just going to move this controller. And as you can see now, these works really, really nicely. I'm going to test with the rotation. You can see that this is actually going to work the way it should. And now we don't have any polygons being left behind like we did before. So now this is fixed. I'm just going to continue making off your tests just to see how this is going to behave when we animate our character. And as you can see, this is going to work Very well. Now, I just noticed that we have an additional problem with the hand and you can see that we're getting some deformations over here and over here, especially when I move these hand a lot like that. You're going to see that we're getting some small deformations, especially here. You can see that here and also here. Now, this is a very common problem and there is a very easy way to fix it. So first of all, I'm going to select the hands object. So it is this one over here, and I'm going to select the bones that are affecting these object. In this case, this is the left arm and the bones are affecting this object are the fingers for the left arm and the hand. So I'm going to select the left hand and also all of these different fingers. You can see that now they are locked, so I have to unlock him to be able to manipulate him. And now I want you to pay attention to what is going to happen on these parts, especially here and over here, because we're going to use the normalize command. So I'm going to click on Normalized. And as you can see, that solved our problem. I'm going to undo that. So pay attention over here to what's going to happen when I do it. So you can see that these are the problems that we were having. I'm going to redo it, and now we don't have those problems anymore. So when you have those kind of problems, all you have to do is to select the bones that are affecting that part off the mess. You have to unlock those bones and then you have to select them and use the normalized command, and that's going to solve that problem. Now I'm going to look him again like so, And I'm going to do the same with these other hand because it's very likely that we have the same problems here. So I'm going to select all of these bones, including the fingers and the hand, and I'm going to unlock him. And once they are selected, I'm going to collect in normalize command. I'm going to lock him again. Like so. So now we shouldn't have any problems on neither off these hands. All right now, I'm going to select the character object, and I'm going to reset the post, and now I can turn off the visibility for the hands and I can continue working on the jacket. So the other problems that we had on this jacket, I'm going to select it so we can see the weight, and I'm going to turn off the subdivision surface and the clothes surface object. So here we have some problems. You can see that here we have some areas where we need some additional weight. I'm going to close thes down and those areas should be right here. So I'm going to expand these group. I'm going to select all of these bones. I'm going to click on the Normalized Command and that's going to feel all of the areas where we're missing. Wait, Now, if I select the whole object, you can see that now. We don't have all of those dark areas that we have before. Now what I have to do is to smooth the transition between this area and these areas here. So I'm going to select this arm, which is the left arm. And it's this one here, and I'm going to unlock Onley these three bombs because these are the ones that are affecting these areas. So I'm going to unlike him, I'm going to select them all and also these other bones. And now I'm going to use the wait'll and I'm going to change the mode to smooth. I'm going to turn on the visible on the option and also I'm going to make sure that the outer normalized option is on and now I'm going to start smoothing these transitions. You can see that now. These looks much cleaner, and it is going to help us when we animate our current er. Now remember, we're going to work on Lee on the right side off our character, and then we're going to reflect that onto the other side. So right now I'm just paying attention to these side because we're going to reflect the work that we do on this side, on to the other side. Perfect. So now that this is fixed, I can lack these bones. And now I'm going to use the mirror Command to mirror the weights that we applied on this arm onto these other arm. So I'm going to select these other arm, and I'm going to expand this so I can see the different bones. And I'm going to click on this Ciro Command. So right now, none of these bones has any influence on the smash. All right, so now I'm going to select also these other arm, so I'm going to select these one, and now I'm going to click on the mirror, plaice to minus now. Before doing that. It is very important that you have also these arm selected. So I'm going to click on mirror plaster minus, and you can see that now. The weights were mirrored onto these other arm. Now, if I select only these arm, you can see that the weights are perfectly mirrored and that is exactly what we need. So now these are okay. I'm just going to luck all of these bones and all they have to do now is to mirror all of these other bones because you can see if I select the spine group, you can see that the weights on this side are okay. They are really smooth. But on the other side, they are really sharp. So we have to mirror these weights. So I'm going to select the spine group, and I'm going to use the same command mirror blast to minus. Now. You can see that when I clicked on the mirror, plaster minus command, we had some small changes. But it doesn't look the same. You're gonna see that this transition here looks really smooth, but the transition here doesn't look smooth at all. So if we want to fix that, we can do that very easily. So all they have to do is make sure that the spine group is selected, that I'm going to use the normalized Command. So I'm going to click here. And as you can see now, these East fixed Now that you're gonna see now, these side looks exactly the same as the other side. Okay, Now I'm going to luck all of these different bones. And though I'm going to select the whole object and you can see that now this is fixed. The only thing that I'm missing is the additional weight that we have here. So I'm going to fix that very easily. I'm going to collapse all of these groups and also this one. I'm going to select these hand. You're going to see that the seas where we have the way that we are missing on this other hand. Now, if I select this other hand, you're going to see that this is not the way that it should be. So I'm going to expand these, and I'm going to click on this zero command. And I'm going to also expand these other hand and I'm going to click on it and I'm going to click on the mirror blast to minus command. And now the weights are mirrored. So I can luck this bones. And now I can select the jacket object again, and you can see that now this jacket is complete. Now we can see that the weights are properly assigned. Now, I'm just going to make a few tests just to make sure that the weights work properly. So I'm going to use the selection tool, and I'm going to turn on the jacket object. And also these subdivisions interface object. And now I'm going to start moving some of these controllers. I'm going to rotate him as well, and I'm going to move him like so I'm going to the same with this other one. I'm just going to move it and rotated. You can see that here we have a small problem. So we're going to fix that very easily. So to fix it, I'm going to select the jacket object, and I'm going to select the right hand, which is this one. I'm going to turn off the subdivision surface and the clothes surface object so we can see the weight. Now I'm going to unlock both of these two different bones. I'm going to select this hand group and I'm going to click on the normalize Command like so . And you can see that now these got fixed. So the normalized command is going to help us to fix most of our problems when the problems are similar to the ones that I showed you here. So I'm going to luck these bones again, and I can turn on the cloth object. And also the subdivisions are face object. And now I can select the controller again and I can move it again. And as you can see it now, we don't have that problem anymore. So I can continue making the test just to see how this is going to behave when we animated . And as you can see, these works really well. So now the weights are okay in the hell jacket. I'm just going to do another quick test, so I'm going to select the character object and I'm going to reset the post, and I'm going to select these other controller, and I'm going to rotate it as you're going to see now. We don't have the problems that we had here before, where we had a really sharp transitions, if you remember. We used to have some problems here when this area got different in a really bad way. And now we don't have that problem anymore. You can see here. That's not a problem. I'm going to reset the post again. I'm going to select these other controller and you can see now we don't have any problems. And now I'm just going to select the character object and I'm going to reset the post. Perfect. Now I'm going to select the jacket object again because I want to make sure that all of these different bones are locked. So I'm going to up a nap. All of these groups, just to make sure that all of the bones are lacked. If I find some bones that are not luck, I'm going to lock him So you can see that all of these are luck. And I only have two lack. These ones here and the rest are locked. So now I'm going to select the jacket object. I'm going to turn off the view and I'm going to collapse these one. Now I'm going to move it to the very bottom off the hierarchy because now this is complete . So that's all for this lesson. Thanks a lot for watching and I will see you in the following lesson. 32. Weighting the character - Part 10: hello, class. And welcome back in this lesson. We're going to continue adjusting the weights to a different elements that create our character. So let's start. All right. So, as you can see now, we have only one object for which we have to adjust the winds to Andi. I'm going to turn on the view for this object, and you can see that these are the buttons for the jacket. Now I have to turn out the subdivision surface so I can see the weights on. It looks like the weights are okay, So I'm going to test just to make sure that this is going to work properly. Now, first, I'm going to turn on the view for the jacket because I want to see how these two objects work together. And I'm going to turn on these subdivisions or race object so I can see these better. And now I'm going to select these controller using the selection tool, and I'm going to move it around and you can see that the buttons are going to follow the's jacket so the wits are assigned properly. If I rotated, you can see that this is going to work really Well, I'm going to move it again. As you can see, these is actually OK, so the buttons have their weights properly assigned, and all I have to do is select the buttons object. I'm going to lack all of these different bones. I'm going to make sure that I loved him all like so. And now I can take this object and move it to the very bottom off the hierarchy, because now this is complete. And now all they have to do is select the character. And I'm going to reset the post like so. And as you can see now, all of these different objects have their weights properly assigned. So that's all for this lesson. Thanks a lot for watching and I will see you in the following lesson. 33. Organizing the file: Hello, class. And welcome back in this lesson. We're going to organize our file, so let's start. Okay, So this is where we left in our previous lesson, And as you remember, we finished editing the weight to these different elements that create our current er. So now this is complete. But as you can see, we have a mess. So I'm going to fix that. I'm going to start by turning on the disability for these subdivision service object and also for the rest of the elements that create our current er. So I'm going to turn on the view for all of these different elements. So make sure that these starts are great for all of the's elements on these ones are green . So I'm going to turn them gray like so, And I'm going to turn on the close surface, object for this one, and I'm going to make sure that these one is also on, like so. And this one has to be great as well. Okay, so now you can see that we have our current her with all of its elements. But we have some elements that are overlapping, like the same glasses and a monocle, So I'm going to take the monocle. And since this is an optional object, I'm going to move it on top off the skin object, and I'm going to turn off the view. So now all of the elements that are going to be on top of the skin object are the elements that are optional. And I do this just to keep things organized. And you can see that here we have other elements that are overlapping, which are the different hairstyles. And here we can see one. And here we can see the other one and they are overlapping. I'm going to take this one. I'm going to move it on top off the skin object, and I'm going to turn off the view Now we don't have those objects are lapping here, and I'm going to select the other one because this is also an optional object that I'm going to move it on top of the skin object, and I'm going to turn off the view for this one. And now we only have these object here for the hair which has the hair and the beard. So if I turn it off, you can see that now. We don't have other hair objects. So I'm going to move these over here below this cave object. And I'm going to turn on the view for these one now for the San Glasses. We can have him on or off. You can see I can turn this off and this is going to have no sunglasses anymore. But I'm going to turn it on because I like how it looks with the sunglasses. We have the better things here. This are okay. The eyebrows They have to be on the tongue has to be earned as well. The eyelids, All of these four eyelids. They have to be on. But right now we cannot see them because they are inside of the head. What we can see these one, and also these went over here by the other ones are inside of the head. But they have to be on the teeth also have to be on these ones as well. The head has to be done as well on. Of course, the eyes have to be done. No, during it is actually optional. I'm going to leave it on for now, but maybe later on, I may turn it off, but for now I'm going to live it on. Okay, The belt buckle is also optional, but I'm going to live it on for now. The genes have to be on. The T shirt also has to be on, as well as the hands, the boots and the jacket. Not remember for the boots and the jacket. Make sure that the clothes surface objects are on for these two objects and the buttons they are optional. I don't really like how they look, so I'm going to turn them off. But if you want, you can leave them on. And since DC's on optional object, I'm going to move it to the top like so above this king object. Okay, I'm going to assume out, and now I want to see the textures again. So remember to bring him back. All we have to do is press and and then we have to press Q to bring the materials back. Remember, we can use the shortcut and Q to turn them off and again and Q to turn them on. Okay, so now the seas, our character. And while I'm going to do now, is make a few tests. So right now, I don't need all of these windows anymore. So I'm going to change the layout so we can work with more space. I'm going to go to layouts. I'm going to go to Standard. I'm going to some out, and I'm going to select the character object. And I'm going to reset the post just to make sure. And now I'm going to use the selection tool. Andi, make sure that the object mode is selected and I'm going to start moving some of these controllers. So I'm going to select the head controller. I'm going to use the rotator. I'm going to rotate these head and you can see this is going to work really well, I'm going to use the spine controller, which is the triangle, and I'm going to move it as well. You can see these works really well. I'm going to try with the hand. I'm going to move him and rotate him like so and also this hand. I'm going to rotate it a little bit and I'm going to move it just a little bit. I'm just making sure that all of the's objects work properly. So I'm really not trying to pose the character. I'm just trying to see if everything is working fine. And as far as I can see, everything is okay. I'm just going to try with the legs. Got to move it like this. And the other one, I'm going to slate it to the back like so. And I'm going to bring these down. I think so. Okay. So you can see these works really well. And now everything is organized properly. I'm just going to make these window smaller so we can see all of these elements. And now everything is working properly. And also everything is probably organized. So now they're rig is complete. Now, all they have to do is select the character object and reset the post. And that's all for these lessons. Thanks a lot for watching, and I will see you in the following lesson. 34. Gathering references to pose the character: hello, class and welcome back in this lesson. I'm going to show you how togather references to pose your character. So let's start. All right, so at this point in the process, our character is ready to be animated or post. Now, in this lesson, I'm going to show you how to gather references to oppose our character. And there are different ways in which we can gather references, and the 1st 1 and the most of his one is using Google. So I'm going to go to google dot com that I'm going to type character post references and then I'm going to go to images, and here we can see different Bos is that we can choose from. So let's elect any image like this one. And here we have different poses that we can use as a reference to post our character, and you can see that we have a lot of different poses. Now, if we're looking for a specific post, we can type it here as well so we can say character jumping post, and you can see that here we have a lot of different jumping poses that we can choose from , and we can use these images as a reference to post our character or even to animate our character. You can see that we have a lot of different. Bos is here on. We can select any post that we went. So, for example, we can say character running pose. And we're going to get also lots of references off characters running like so and another term that you can use these dynamic post so we can type character dynamic post, and we're going to get lots of different images that show characters in dynamic poses. You can see here, and basically you can find any kind of post that we went Now another way to find poses is by using Pinterest. I'm sure you know these website. If you don't just go to www, that Pinterest that come and here we can search for the same terms. So I'm going to type character post reference. I'm going to get different posters here, so this is going to be similar to what we did in Google. But these website is more focused on the little art or art in general so we can find even the results here. So I'm going to type a different term, the same that we use before character, dynamic post. And you can see that here we will find. Also lots of different references that we can use to post our character are like we did in Google. We can search also for a particular post, so I'm going to type down character thinking and we will find different posters. I'm just going to add post at the end. And as you can see here, we have different posters that show a character thinking, and we can use these references to pose our character in cinema four D. Now, another way to find poses is by going to mix Imo, which is an application by Adobe, the same people that create illustrator and photo shop. And in this website you can upload a three D model and rig it very easily Now. The reason I used cinema for the two Rick our character instead of mix Imo is because mix M o is going to limit you to the animations that they have in their website. And when you read a character in cinema for D, you have the ability to animate the current ER in any way that you want now makes Imo is very powerful. But as I said, it is limited to the animations that they have in their website and they have a lot of animations. But if you want to have more flexibility, went animating your characters, Cinema for day is going to be a much better way to rig your characters. Now I'm going to use make summer because they have a really big library off animations. So once we are in mixing with that come, we can come here to animations. And here we can also search for a specific animation. For example, I'm going to look for a jumping animation, so I'm just going to type jumping. I'm going to press enter and you can see here some previews of the animations. So I'm going to select one of these animations. Let me select these one. Now I can see this animation here on the other window on The cool thing about these website is that you can see the animation taking place and you can also rotate the camera some in and some out. Basically, you can navigate in this website like you would in cinema 40 so you can see this animation in an angle that you want. And, of course, you can cause the animation and go to the frame that you want. Let's say you want to pose your character like these. You can just pause the animation here and look at this character from any angle that you want. So this is going to help you to be able to see how this character is posed from basically any angle. Okay, so those are the three main ways in which you can search for reference images or videos so you can post your character in Cinema four D. And that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 35. Running pose - Part 1 - Posing the legs and arms: Hello, glass. And welcome back in this lesson. We're going to create a running post for our character. So let's start. Okay? So as you can see, I am at my finder and I have a new father where I placed this image that I found online on in this image, we can see a run cycle so you can see that this character is running and we have the different stages off a running cycle, and I'm going to select one of these posts is to pose our character. And this one is the one that looks more dynamic. So I'm going to pose my character in these posts. Okay, so I'm going to close these one, and I'm going to go to Cinema four D. And here I can collapse this group because we don't need it. And I'm going to increase the size of this window. And now I'm going to go to window and I'm going to go down here. I'm going to open up the picture of you were. So I'm going to click here. Okay, now I'm going to go back to the finder. I'm going to grab these image. I'm going to go back to Cinema four D. I'm going to drop it here and now I can scale this down. And if I click here and I click and drag, I'm going to be able to place this window wherever I went. So I'm going to place it here like so I'm going to make thes bigger. I'm going to change the size of these like so Because all I care is to be able to see these reference image. I'm going to some in, like, so so I can see my reference image here and now. I can keep this window open and I compose my character using these image as a reference. So I'm going to start by looking on my character this way, and I'm going to use this selection tool. I'm going to start by selecting the spine controller, which is the triangle. I'm going to select it and you can see that the spine has to be rotated because you can see that the body he's in this direction. So I'm going to rotate it using the raw potato. I'm going to rotate it like this. I can even go to the side view if I want to and to be able to see the same view. I have to come to cameras and I'm going to change to the left of you. Right now we are on the right view. So I'm going to change to the left of you. And now we can see our character looking at the same direction as these image. Okay, so I'm going to rotate these even more like this and I'm going to move it to the front. Maybe like this. Okay, now I'm going to go back to the perspective. You and you can see that this leg has to be moved. So I'm going to select these leg controller and I'm going to move it now. If I select my character, if I go to controls and if I open it up and I select these leg controllers, I'm going to scroll down. I'm going to select the right leg, which is this one. You can see that right now I have the set to I K because this later is all the way to the left. Now, if you want to use the f K controllers, remember, all you have to do is to scroll these to the right and you will be able to use the F K controllers that we have here now for these posts. I'm going to use the like a controller. So just in case you don't see these controllers here at the bottom, that's what you have to do. I have explained this in a previous lesson, but just in case you missed it, So I'm going to select this controller and I'm going to rotate it. I guess it I'm going to rotate it like this and I'm going to move this to the back like so you can see that now. Our character looks a little bit closer to the post that we have here. I'm going to move it even further, but I'm going to move it up just a little, and I'm going to rotate these even more like this. I'm going to move it even for their like. So now when you post your characters, there are different elements that you have to take into account, which are very important. One of those elements is balance, so you have to make sure that your character looks like it has balance. So even if it is a character that is running these characters should look like the body has some balance. Wait is also very important on the position of the extremities, especially the legs on. Of course, the arms are very important. So I'm going to take all of that into account. Even if I'm looking at a reference image, I have to take that into account when I pose my character. Now I'm going to slick these other leg and again you can see that it is set to I K. But if you want to use F K, that is OK, too. But I'm going to use F K for now because this is going to be easier. Forties post Now I'm going to go to the side view and I'm going to move this controller to the front like this and you can see that this feat is pointing up. So I'm going to rotate it. I'm going to rotate it up like this. I'm going to move it up just a little bit more like this. I'm going to not say that like so and maybe moving back just a little bit like that. Okay, since you got to see our character looks closer to what we have here. So the post keys going Well, I'm just going to go back to the perspective. You and you can see the character here looks nice. Now I'm going to modify the arms now. Right now, these arms are said to I k So if I select this controller, which is the controller for the arm, and I go to the settings, you can see that it is said to okay, because these slighter is all the way to the left. It is said to zero. So right now it is said toe I k. Now, when posting the arms sometimes is easier on you have more control If you set the controllers toe f k. So that's what I'm going to do here. I'm going to slide these all the way to the right. So we get the f k controllers, which you can see now. Now we have these Controller, We have one, two and three controllers, which are the for work in a Matics Controllers, the F K controllers and we don't have the box that we had here, which is for the like a controller. Okay, so I'm going to use these ass f k. And just to make sure that this dozens like back, I'm going to add a key frame here. I'm going to make sure that I am at frame zero, and I'm going to add a key frame like so. So now this is lack, Andi. Now it is not going to slide back, because now it has a key frame at 100 which is the setting for F K. All right, I'm going to the same for the other arm. I'm going to that really quickly. I'm going to select this controller, which is the controller for the arm, and I'm going to slide these all the way to the right. So we get the f K controllers and I'm going to click here to add a key frame. So now this is not going to slide back by accident. Okay, so now I'm going to post this arm in a similar way as this character. But you're going to see something is happening here, something that we haven't done. And it is that the waste is twisted. So this area should be twisted. So I'm going to select this controller and I'm going to rotate it because you can see that this is twisted a little bit. I'm going to twist it just a little bit like so. And now we also have to twist these area here so you can see that one shoulder is in front and the other shoulder is a little bit to the back. So these one is in front, and this one is to the back. So I have to emulate that. I'm going to So, like this controller, I'm going to rotate it just a little bit like so. And I'm going to select this other one, and I'm going to rotate it as well just a little bit like so. So if now we look at this character from the side view now we have the same effect. Now we cannot see right now because the back is hiding the other arm. But if we could, these shoulder is a little bit to the front, and the shoulder off the left arm is a little bit to the back. Okay, so I'm going to go back to the perspective, you and now I'm going to start manipulating this arm, which is this one here So I'm going to start with this controller. I'm going to select it. I'm going to retain it to the front like this. And I'm looking at these reference image at all times. So even if I'm moving these parts on die, don't mention that I'm taking a peek at this image. I am actually doing it because the seas our reference. Okay, so this has to be like this. And now I have to select this other controller, and I have to move it so you can see that this part of the arm is going down and this other part of the arm is going up. So that's what we have here. This part of the arm is going down, and now this other part of the arm should go up. So I'm going to do that. Going to rotate it as well? Just a little bit. Make sure that this is going up just a little bit. I think so. Maybe a little bit more. Okay. And now I'm going to go to the side view just to make sure that these looks similar. Now I can make these I live a bit more pronounced like this to make it look like like like it is here. Now you can see that this part of the arm is looking down a little bit too much. So I'm going to fix that. I'm going to go back to the perspective. You I'm going to select this controller, which is the controller for this part off the arm, and I'm going to rotate it just a little bit. So it is looking app just a little bit more like so. And now I can select this other controller and take these down just a little bit. Like so. Now this looks a little bit closer to the post that we have in our reverence image. Okay, We're going to go back to the perspective. You and this is OK now And I'm going to go to the other side. Before doing that, I'm going to make sure that these pieces are not colliding. You can see that the head or the face is colliding with the arm on. We don't want that. So I'm going just like this controller. I'm going to make sure that this is not colliding like so. And I'm just going to make sure that this still looks good from the site, and it does so that's OK. Now I'm going to go to this other side and I'm going to make these arm, so I'm going to pose the arm in this way. What you see is what I'm going to start by selecting this controller, which is the controller for this part of the arm, and this arm should be pointing to the back. So I'm going to do that, going to rotate it down first, and then I'm going to rotate it back. Like so. Okay, As you can see, we got a little bit off Akhil each. If you get that, don't worry. Just, uh, move one of the controllers a little bit and the glitch is going to disappear. So don't worry. If you see a a small glitch when you post your characters, I'm going to make these. I'm going to irritated. So it is not colliding with the hair like so I'm going to look at these from the side. I'm going to moving up a little bit more like this, and then I'm going to select this our controller for the other part of the arm. This has to be pointing down like so. Okay, Perfect. Now let's go back to the side view and I'm going to turn off the counter object so we can see only our character. And I'm also going to go to display. I'm going to select the first option, so I don't see the lines. As you can see now, these character looks very similar to what we have here. And of course, we didn't add too much of an inclination to the body because you can see that the proportions off this character are different from the proportions of these other character . So this character has a much muller torso. I can't, of course, do it. I can select this controller and I can make it like this, but it's not going to look very good. So I'm going to undo that, all right? And I am very satisfied with the results so far, but we still have a lot of work to do, and we're going to continue posting our character in the next lesson. Okay, so that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson 36. Running pose - Part 2 - Posing the head fingers and eyes: hello, class. And welcome back in this lesson. We're going to continue posting our character, so let's start. Okay, So this is where we left in our previous lesson, and now we're going to continue posting our character. So I'm going to go to the perspective. You you can see that the head is turning to the right off the current. So I'm going to select the head controller, which is this one at the top, and I'm going to rotate it. You seem to rotate to. I'm going to rotate it to the right just a little bit. I'm going to go to the perspective. Us and I can't see these better. I think so. Now I'm going to turn off the sand glasses, so I'm going to open up these group and I'm going to turn off the view for dissent glasses because you can see that these eyeballs are looking down and there is a reason for that. So I'm going to make these smaller just for a second. Now, if I select the character object and I go and opening up and I select one of these eyes, it got so like this one and I go to controls. You can see that we have an option here, which is thief Follow head option. And right now it is said to zero. Now what this option is going to do is to make sure that the eyes are going to follow the movement off the head. So if I select this election to and I select, they had controller and I rotate this head, you can see that the eyes will be looking always at the same direction. It doesn't matter where these head is pointing to. The eyes are going to be looking at the exact same place. I'm going to go and do that. And now I'm going to select the object again. And if I turned this all the way to the right, you can see that now this I, which is the left eye off the current er, is going to follow the movement off the head so I can select the selection tool again. I can select the head controller and I can rotate it. And now you can see that the characters I is going to follow the direction in which the head is looking at. So in my opinion, these. He's a better option. I'm going to do that. So I always use these option. I'm going to select the left eye. I'm going to make sure that this actually said to 100 I'm going to add a key frame. I'm going to select these other one. I'm going to make sure that this option he said to 100 as well. And as you can see now, that guy is looking the right way. And I'm going to add a key frame here now, Like I said before, the reason I add a key frame is because I don't want this option to be reset when I reset the current er. So that's why I added a key frame. Okay, Now, if I used the selection tool, I select the head controller and they rotate the head. You can see that now the eyes are going to follow the movement off the head like so. Okay, I'm going to go and do that. And now I'm going to collapse thes and also these one. Okay, I'm going to make this bigger again so we can see the whole image. And now all they have to do is to modify the fingers because the rest of the body is now in the post that we want. So I'm going to come over here. And remember I said before that when we pose the fingers, it's going to be much easier to manipulate Onley these bigger controllers. So I'm going to select this controller. I'm going to rotate it So the finger bans. I'm going to like this other one. I'm also going to retain it even more. Maybe not so much. A little bit less. And also this other finger? No. Like I said before, the ring is optional, so you can turn it off if you want. I'm going to turn it off. I'm going to come over here. I'm going to find the ring, which is this one that I'm going to turn it off like so you can leave it on if you want to . I'm going to continue rotating this finger. I think so. And I'm going to rotate these other finger. Remember, we're using Onley. These big controllers. I'm going to select these one. I'm going to retain it. So the Finger Benz I'm going to look at these from the other angle just to make sure that disease in the position that I wanted to be like so and I can do the same for these women, I'm going to rotate it just a little bit, maybe a little bit more next. So I'm going to look at these from decide and also from the front, and I like how it looks. So I'm going to the same with these other hand. I'm going to get closer to the controllers and I'm going to rotate them all. So I'm going to like this one. I'm going to rotate it this time. I'm going to do it a little bit faster. So I'm going to select this other one. I'm going to rotate it. So the finger bands, I'm going to select these other one also going to rotate it. I'm going to do the same with this other controller selected. Rotate it, make sure that this ease in the position that I wanted to be, and I'm going to the same for the last one. The pinky one. So I'm going to selected and rotated to bend the finger. Maybe a little bit less like so. And as you can see now, these looks good from either side. You can see that on. And I'm just going to make these Muller. But to make this muller also these one, I think so that I'm going to collapse these group I can turn back on the disability for these sunglasses. So we have the same glasses here like that. Now, the cool thing about the set up that we did is that now, at this point, you can see that I posed my character. And if I want to change the hairstyle off this character, I can do it very easily so I can come over here and I can turn off thes object, which is the hair and the beard so I can turn it off. And now I can turn on these other hairstyle. You can see that this is going to be in the place that it has to be because we did all the work before. So the same with descend glasses. If I want to turn off these sunglasses, I can do that like so. And if I want to turn on the monocle, I can turn it on. And now we have the character in the same post with a monocle, like so on the same with the ring. You can see that I turn it off, But if I want, I can turn it back on. So off the work that we did before is now paying off because you can see that we have a lot of flexibility with our current er, no, What I'm going to do it is for a simple I'm going to turn off the monocle again because I like the character better with this and glasses. And I'm going to turn off these hairstyle again because I like the character with these other hair cell, this one with the bird. Okay, I'm going to collapse thes now. And at this point, I can turn off the visibility for the character object so I can see this character much more clearly. And as you can see, it was very easy to create the post for our character. All right, now what I can do is make a quick render so you can see that we have a lighting set up already. So I'm going to turn this on, and you can see that this is actually lighting the character very nicely. I'm just going to make sure that well, look at the character from an angle where we can see the post so we can see this legs and the arm and maybe these other arm. But if I want to see this other arm, I'm not going to be able to see the character from the front. So I'm going to leave the post like this. I'm going to get closer, and now I'm going to make a quick render. But first I'm going to go to the render setting. So I'm going to click here. I'm going to go to output. I'm going to make sure that the settings are said to 1920 by 10 80 pixels. That's okay on and right now I'm going to turn off the object low like so perfect, and we can add global elimination. But it's going to take longer to render, and this is a reading course, so lighting is not that important. I'm just going to place might character this way, and I'm going to add a new camera. I'm going to name this camera shot one, and I'm going to make it active by clicking here on the right of the action of the camera, like so? So you can see that now this area is white, which means that this camera is active. If I click again, this is going to turn great again. And the camera is not going to be active. So I'm going to click here. So the camera is active, and now I can move the camera. So now that I like this shot, I'm just going to right click on these camera object. I'm going to go to reading tags. I'm going to select the protection tag like So now you can see the protection tack here. Now, this protection tag is going to prevent me from modifying these camera angle so you can see that even if I try to some out or rotate the camera, I cannot do it anymore, because now this object has a protection tag. Now, if I want to continue modifying these, these camera, while I have to do, is either delete this protection, tag our movie temporarily to another object, for example, to the lighting group. I can move it here. And now that this object doesn't have these protection tag, I can rotate it again. I'm going to do that like so. And I'm going to take these protection tack and move it back to this object because, like I said, I like the shot and I don't want to modify it by accident, so I don't want to move the camera. Okay, so now that the render settings are okay, I'm just going to click on Render and this is going to render in the picture of you were which we have opened here already. And now the render is finished. I'm just going to assume out I'm going to assume out even more so these ease our render. And as you can see now that we have our character rigged, it is very easy to post our character and animated if we want to. Now, in this lesson, I showed you how to pose this character in a running post. But I recommend you to try with different posters. You compose your character jumping or swimming or fighting or doing anything that you want . And that's all for this lesson. I hope that you learn something useful and I will see you in the following lesson