Blender and Motion Capture | Darrin Lile | Skillshare
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27 Lessons (2h 52m)
    • 1. 01 Introduction

      1:59
    • 2. 02 Creating a Character in CC3

      5:32
    • 3. 03 Modifying the Character's Face

      6:51
    • 4. 04 Bringing the CC3 Character into Blender

      5:45
    • 5. 05 Removing the CC3 Rig

      2:20
    • 6. 06 Deleting the Hidden Faces

      2:19
    • 7. 07 Adjusting the Materials

      2:55
    • 8. 08 Creating the Reference Bones

      9:08
    • 9. 09 Placing the Joints

      9:46
    • 10. 10 Generating the Rig and Binding the Character

      9:52
    • 11. 11 Setting up the Eyes

      5:38
    • 12. 12 Parenting the Teeth and Binding the Tongue

      8:04
    • 13. 13 Adjusting the Shirt and Parenting the Hat

      11:16
    • 14. 14 Putting on the Motion Capture Suit

      10:55
    • 15. 15 Connecting the Suit in Axis Neuron

      3:19
    • 16. 16 Calibrating the Suit

      1:41
    • 17. 17 Recording Motion and Exporting a Take

      4:00
    • 18. 18 Importing the Motion Capture File

      6:42
    • 19. 19 Building the Bones List

      6:23
    • 20. 20 Retargeting and Interactive Tweaks

      11:22
    • 21. 21 Fixing Deformation Problems

      7:06
    • 22. 22 Placing and Parenting a Prop

      8:52
    • 23. 23 Bringing the Character into an Existing Scene

      6:42
    • 24. 24 Animating the Camera in Blender

      5:26
    • 25. 25 Rendering the Animation

      9:19
    • 26. 26 Conclusion

      0:24
    • 27. 27 Bonus Lecture: Retargeting Mixamo Animations

      8:12

About This Class

Using motion capture data in Blender is a great way to create amazing animations, and it has never been easier to get started.  In this course you’ll learn how to create, import, and configure motion capture data to be used in Blender.

To do this we will need a character, so we'll use Character Creator 3 to quickly create a character to be used for this process. You can also just download the finished character, or use a character of your own.

We will then import the character into Blender and set-up the rig using a Blender add-on called Auto-Rig Pro. It has some great tools to retarget the motion capture data to the character, and to adjust the character to get good looking animation.

Next we'll use the Perception Neuron motion capture suit to create character animations. It’s a relatively low-cost system that allows you to get some really nice motion capture for your characters. But in a bonus lecture at the end of the course, I’ll also show you how to use a pre-made motion capture file downloaded from the Mixamo website.

In the next section you’ll learn how to import the motion capture file and retarget it to your Blender character. We’ll talk about how to create a Bones List preset file and how to use Auto-Rig Pro’s Interactive Tweak tool to adjust the rig for better animation. And we will do a bit of Weight Painting to fix any deformation issues.

Finally, you’ll learn how to bring your animated character into an existing scene and render out the final animation to a video file.

The Project Files for this course can be found at: https://drive.google.com/drive/folders/1t_hOdNo13C35-U6lQ0QYoX9HUTaLCmjP?usp=sharing

Transcripts

1. 01 Introduction: Welcome to Blender in Motion Capture. I'm Daryn Lile, a Blender Foundation certified trainer, and in this course you'll learn how to create, import and configure motion capture data to be used in Blender. To do this, we will need a character, so I'll use Character Creator three to quickly create a character that we can use for this process. You can also just download the finish character to use in the rest of the course, or you can use a character of your own. We will then import the character in the blender and set up the rig using a blender. Add on called Auto Rig Pro. I really like this. Add on because it has some great tools to retarget the motion capture data to the character and to adjust the character to get some good looking animation. Next, I'll show you how I use the perception or on motion capture suit to create character animation. It's a relatively low cost system that allows you to get some really nice motion capture for your characters. But in a bonus lecture at the end of the course, I'll also show you how to use a pre made motion capture file downloaded from mix Imo dot com. In the next section, you'll learn how to import the motion capture file and re targeted to your blender character. We'll talk about how to create a bones list, preset file and how to use auto rig pros. Interactive Tweak tool to adjust the rig for better animation, and we'll do a bit of weight painting to fix any deformation issues. Finally, you'll learn how to bring your animated character into an existing scene and render out the final animation to a video file. Now all the project files are available for download the blender, seen files, the rig presets and the completed character so you can open up and look the files at any step in the process. Using motion capture data and blender is a great way to create amazing looking animations, and it has never been easier to get started doing this. So let's jump right in and in the next video, let's begin creating a character we can use for this process. 2. 02 Creating a Character in CC3: before we can use motion capture in blender, we're gonna need a character to put the motions on. And instead of going through the whole process in this course of creating a video, I thought we'd use re allusion character Creator three to quickly set up a character and get it into blender so that we can then apply the motion to it. So here we are in character Creator three. This is just the default project that comes up when you first open it. What I'm gonna do is, I think gonna create a character of a guy who is maybe a little pudgy. Um, maybe a little older. And I'm gonna have him walking around talking on a phone. So that will be our scene. We'll put him in a pre made seen. So he's walking around within an environment, talking on a phone. All right, so let's some first begin with creating a new character. We don't. I want this. I think I'm gonna come down here to Avatar and base, and you've got character Creator, one characters. But down here, you've got character creator, three characters, and I think I want this one right here. Let me scroll down and see what other ones we have. Yeah, we've got Kevin and female and male. I think I'm gonna go with this one here, so I'm just going to double click it, and it will load the new avatar into the project here. All right, there we go. So I guess the first thing this guy needs is some pants. Let's do that. Let's come up here and choose clothes and right in here, let's choose pants and let's see what we have here. I think I don't want him with holes in them like this. Um, I don't want biker jeans. Just standard jeans. I'm gonna use this jeans a just double. Click this on. Put those on him. All right, Now, let's look for a shirt. What kind of shirt should this guy have? Well, definitely not that. Let's ah, go up here. I kind of want something very basic. How about this? This kind of black and white check. Let's try that. Yeah, that's pretty good. Now to tumble around here in the three d view, you compress Ault and right click and then hold and drag and you can see here if we zoom in some. You can also press Ault and left mouse, button and pan. But if I come in here, you can see we've got some skin poking through the shirt and I'm not going to fix that here . I'm gonna fix that in Blender because ultimately we're just gonna delete all of that skin that's underneath. All the clothes were not gonna need all of that. All right, so I'll come up here and click on this home button and we zoom in on the shirt because it's the one selected. If we select the character base here and then hit home, it'll zoom out so we can view the whole thing. You need some shoes now, so let's ah, weaken. Go up here and choose shoes right here. And then let's scroll and see if we confined here. I'll scroll all the way up in Well, you know, boots A. That looks pretty good. I'll just double click that. And there we go. So now we've got our basic character and he looks pretty good, but I want him to be not so in shape. I want him to be a little bit pudgy or somebody go over here and select the character base right here and now these properties over here on the right are for this particular item. So I'm gonna go to the morphs right here, and I'm gonna begin adjusting the character a bit to make him a little bit more like I want . I think I want Let's go to the full body here. And if we select these various items of the character, we can then get sliders to change the different setting. So I go to full body here. I scroll down. I think there is. Yes, there's one for heavy. I want to make him a little bit heavier. There we go. A little bit heavier, something like that. But he still kind of bulky. I think I want to come back down and let's go to the waist here and now I can increase the waste with, like this, make him a little pudgy or there increase the abdomen depth, maybe give him a little bit of love handles there, and we dio, um, I think I'd also want to make the torso longer and the legs shorter, so let's see if we can do that. Let's go over to the torso. Come down here to torso length. It's that's going the wrong way. I want to be a little bit longer like that. And then the legs. I'll choose legs here and I want the legs to be a little bit smaller. Leg length. Let's bring these down just a bit like that. There we go. Now. Are the arms a little bit too long now that we've decreased the size of the legs? Well, let me see. Let me go back to the torso and let's increase the length of the torso. Just a little bit more on. Yeah, I feel like the the arms. Maybe a little bit too long. Now, let's come up here to arms an arm length. Bring those in. Just a touch. Something like that. All right, we're getting there. What I'd like to do in the next video is work a little bit more on the face 3. 03 Modifying the Character's Face: to work on the face. I'd like to zoom in a bid and you can do that by going up here to the view menu and coming down to camera view and then choose face or the shortcut keys J So I'm just gonna select that and that'll zoom in. I'll all left click to move up on All right, Click to tumble a bit. So this guy's looking a little bit too young and chiseled for my taste here. Uh, I think what I like to do is changed the nose, make the mouth thinner and wider. I feel like the eyes were too big. I'd like to make them a little bit smaller, maybe make the brow a little more angled. So let's go through all of those things first the nose. Let's, um, come over here to the head section and choose knows here and there's a nose bumps slider that we can kind of move that. I just want to move that up a bit like that and also, but scroll down here knows wit nostril with I think I want to take the nose height and move it down just a bit. That but then I'm gonna need to move the mouth just a bit. So if I choose mouth here, I want to bring the mouth down the mouth height down just a bit. And then I want to make the lip tone a little thinner like this, and I want to make it wider. So mouth wit. Let's try and make it a little wider. Yeah, something like that, I think. What about mouth size? Well, that's a little bit too much. We could go a little bit overboard. There are really tiny. Let's let's not do that. Also, if you want to reset the value here, I can come over here to this little gear icon, click and choose reset, and that will put the value back to where it waas. So I think this is about what I want By tumble around. I feel like I want the mouth to move in or out. I'm not sure I thought we moved the mouth out just a little bit like that, and then I want to bring that chin in. So let's go and choose the jaw, ear and chin is underneath the jaw setting, so let's move that chin in a bit like that. Yeah. All right, So we're getting there. He's looking a little bit different. Um, I want those brows to come down a bit. So under the brow setting, we've got a brow angle. I can, uh, it's going the wrong direction. Have about like that. There we go. Yeah, is a little angry. There's a little angry there, and the eyes, Let's choose eyes and I want to make him a little bit smaller. So I size. Let's bring this down a bit like that. Yeah, so it's kind of squinting a bit. Almost. All right now, what about the ears? I feel like the ears could do something. Let's choose the years we can play with your angle here, Make him a little bit bigger. Now, how about smaller? Let's, um, come down to ear size and let's bring those down a bit like that. There we go. Okay, Now I feel like the neck is just a little bit too big and maybe even a little bit too tall for what we have here. So let's find the neck settings now. If we come over here to full body and type in neck, we don't get anything. And if we type and if we come over here toe head and type in neck, we don't get anything. That's the weird thing about the next settings in this. If you come all the way up to the actor and then type neck, that's where they are. So just a word of warning. There, you're gonna be hunting for the next settings for a while. If you don't try searching from the very top. All right, I'm gonna bring the neck down a bit and I'm gonna bring it in just a hair. So something like that. Let's see how that is. Come over here and I'll click the home button and there he is. So he's looking a little angry, or now he's looking a little older. I think that's kind of what I want. Something like that. Are the arms still a little too long? Let's see. Let's go back to the arms. I'll remove the neck search item here and let's go back to the arm length. Take a look like something like that. Maybe, And of course, you can do whatever you want. That's the wonderful thing with Character Creator is you can really just let your imagination go. I like to kind of think about the character's personality and kind of developed the features from the personality. I kind of picture him as being kind of a grumpy guy. Um, let me go back to the legs here and let's scroll down to thigh size. I feel like that. He's a little bit yeah, to muscular in the legs there, just a little bit too much there. And then maybe even leg length can come down just a bit. Just a bit like that. Yeah, let's do that. Also, I want to point out that if you ever have a feature or a setting like this quadriceps and it's all the way down at zero, let's see what I'm not even sure what this one does. Let's see what it does. Oh, it gives you these here above the knees right there. So if you want them smaller than that, but it's already at zero, oftentimes you can overdrive these. So if I typed in negative 25 here, you can see that that kind of did something there. Yeah, and so it doesn't always have the effect that you think it might. But you can overdrive them. You can push them beyond the limits of the slider. If if need be. All right, I'm hit home again here, all right. I think he's looking pretty good. That's Ah, that's what I want. He's kind of grumpy. He's a little tubby, and I think I'm gonna call him Lennie. So I better come up here and go to file Save Project, as I will create a character creator. I'll just call this CC three character and I'll put him in here and I'll call him Lenny. Here we go. All right, so in the next video, we will work on exporting this guy out of character creator, and then we'll bring him into blender. 4. 04 Bringing the CC3 Character into Blender: Well, now that we have our grumpy character, we can export him out of character Creator and take him into blender. So to do that, let's go over here to file and export. And I'm gonna choose Fbx clothes character. And in this screen, we can choose what three d software we're gonna take this guy into. And, of course, we're gonna take him into blend. Or so let's choose that now, here in the fbx options, you can choose mesh and motion. And what this does is it takes the character through several different motions. So you conjugate how it's deforming like it'll stretch its arms out and move its legs and things like that. But we don't really need that. It's just kind of a test animation that takes the character through several different poses . But we just want the mesh so we'll choose that we should embed the textures here. And also I want to talk about this down here. This delete hidden faces option seems I could be a good idea, but let me show you something here. With the characters selected, we can come over here and choose to view it in wire frame and If we zoom and let me hit the J key to go to face view, you can see that we've got quads here that the actual character mesh is pretty much all four sided polygons. And that's good. That's what we want. In fact, when our rigging program is looking for where to place the joints, it will look for edges and quads to try and find where those joints are. So if we had this exported as all triangles instead of Quan's, we would actually have some difficulty in blender. So let me go back over here Normal. And then let's go over once again to file export fbx. All right, What happens here is when we choose to delete the hidden faces in other words, the faces underneath the clothes here, when we choose that it converts the character two tries. Now that may be a bug in this current version, and maybe in the next version they will fix that. Or maybe not. I'm not sure if it's a bug or a feature, honestly, but I do know when you turn this on and you export it, it converts the character two tries and in trying to use the automated rigging system that we're going to use. It throws it off. It confuses it. So my suggestion is, leave this off and what we'll do is we'll go into Blender and remove the hidden faces underneath the clothes ourselves. Okay, so with this unchecked, then let's click Export. And in here let's call this Lenny once again and there it goes. So now we'll be able to take that fbx file that we just created and bring an end of blender . So let's go into blender and give it a try. All right, I've opened a new scene here in Blender. I'm just gonna hit the A key and X and delete everything in the scene. And now, before we bring that in, I want to point something out to you. Let me go over here. Let's choose the output tab here and let's come over and take a look at the frame rate. Currently, the default in blender when you create a new scene is 24 frames per second, and that's what I like to use when I'm doing animation in blender. Now you can, of course, change this two of whatever you want. If you want 30 frames a second, that's great. But my point here is that whatever the frame rate is of that character coming out of character creator, that's what it's gonna change this frame rate to be. So it's usually at 60 frames per second, so when that comes in, it's gonna change that here. So let's take a look at that. Let's go over here to file import Fbx And here in my Exports folder, we've got our Lenny Fbx. We can select that and then click Import and take a look at what it did here, 60 frames per second. So that's because that animation that happens when we choose mesh and animation in the export from character creator that's what it's doing. That's what that FPs is of that animation. So it still thinks it should be 60 frames per second. You could go back and change the frame rate in character creator, but just know that whatever you choose, it's gonna change it to that here. So I'm just gonna take this and change it back to 24 frames per second. And here we go. Now we've got our character in Blender. We can come over here to the material preview, turned that on and see our characters textures here. Now there are a couple of issues with the textures, the main one being the eyelashes or opaque noticed, too, that if we go to wire frame, you can see there is a rig in here. Let me try and select it. There it is. There's a rig in here that we could use for animation, but it's not really gonna work for us to bring the motion capture into blender and apply it to this. We need to create our own armature to target the motion capture on two. So in the next video, we'll begin working on that. 5. 05 Removing the CC3 Rig: to remove the rigs so we can add our own rig onto this. We're gonna have toe unp, Aaron, all of these objects from the rig we go back to material preview here. So if you look over here in the outlet or you can see that the rig is currently called armature and we can change that to Lenny Rig, let's do that. And then if we twirl this down, we can see the object that air parented to that main armature. And here all the objects. Here's the shirt, the jeans, the tongue, teeth, eyes, body and boots. So what we need to do is select all of these objects from the boots on down. Just shift, click all of those. And then we need toe unparalled all of these objects from the rig. And to do that in Blender, we compress Ault P. And when we do, we get this particular menu and we can clear the parent relationship and keep the transformations. And if we do that, it will maintain the characters current size. Because if we don't do that, if we just click clear parent watch what happens. Whoa, really big, Really big character, right That's just too big. So here, let me press control Z to go back. What we want to do is keep the transformations We we we want to keep this this size. So in a press ault p and choose clear and keep transformations. And there we go. Now we can select the rig and safely delete it Now that all of these objects are no longer parent into it. So we can just select the rig it x and elite. And there it goes. Now, if we take a look at each of these objects, let me go over to the item tab and you can see that each of these objects is 0.1 We need to apply the scale. So it's one point over here again. So I'm just going to select everything at the A key and press control A and apply the scale right there. Okay, so now all of these individual objects all have a scale of one point. Oh, all right. We've made the way for our own rig. We've deleted the old one from character Creator in the next video. We want to go through and delete those hidden faces underneath the clothes 6. 06 Deleting the Hidden Faces: Now that we're here in Blender, I do want to point out if we select the character and tab into edit mode that as I mentioned, these are quads. So that's good. What we need to do now is delete everything that's underneath the clothes. Here, you can see them. If we go to wire frame, you can see them here. We tap into edit mode and go to face mode. We can hit the B key and border, select everything on down like this and get rid of all of these X and delete faces. So there we go. There's that. And then, um well, we probably want to delete everything from here on down to maybe to the to the cuff of this sleeve. Here, Let's try this X and elite. Okay. And, man, let's come over here and do the same thing all the way down here. There we go. And we're doing this mainly because as you to form an animated character that skin underneath the clothes is gonna poke out through the clothes and you can try and push it back and move it and change the weight painting on it. But honestly, it's just better toe have no polygons underneath the clothes. Let's take a look at this here. It looks like we could remove quite a bit back here, let me do that. I will just hit the sea Key and circle, Select or paint. Select these faces here. Let's get rid of those, Um, and I think that'll probably work pretty well. Let's try that. I'll hit Z and go back to the Material Preview and we go. So now we've got a character that's about 44,000 tries, and that's really not bad for a character of this resolution. That's really pretty good. All right, In the next video, let's work a bit on the materials. I just wanna a just a few of the materials and also let me zoom into the eyes here. I do want to work on the eyelashes here. We really need to make them so we can see through those polygons, so we'll work on that coming up next 7. 07 Adjusting the Materials: the material for the eyelashes here really needs to be an Alfa Channel or haven't Alfa Channel so that we can see through the polygon but still see the painted on eyelashes. Now the eyelashes are in the same object as the body is the head and the hands here. So if we select the body and come over here to the materials to have right here, we've got all the different materials that are on the body. We've got the head, body, arm, leg nails and on down here we have the eyelashes. If we choose that and then we scroll all the way down in this material panel here, all the way down to the settings section. We can then under blend mode, change this from opaque to Alfa hashed. If we do that now, take a look at that. You can see You can see when we select the head. We can still see the outline of the polygons. They're still there. But what's going on? We're getting some clipping here. If we zoom in a little bit too far, let's fix that first. Before we look again at the eyelashes. Let's ah, go over here to view and in the clip start we can change it from 0.1 meter to say 0.1 meters and then we won't clip into the character there. All right, so now you can see the eyelashes we can see through them and all those are are just paint strokes. Those air just painted onto the texture of the polygon. But the part that isn't painted on is invisible. It has an Alfa Channel, and we've turned that on using this Alfa hashed blend mode. And we can go through and adjust our materials a little more. If we want, we could scroll back up and up here. We could take the head material and we could increase the speculator a bet to make the skin a little bit shiny. Er, And as we do that, we also need to bring down the roughness of bits that will do that. If we bring that down, you can see you can make a scandal little shiny er or glossier so you can adjust the material, the metallic, the speculator and the roughness in here. I wouldn't go too far with it until you actually get it under the lights in your scene. You really aren't gonna be able to tell exactly how the material needs to be until you get it in the lights and in your scene. But you can always adjust those over here. All right, so we've got our character set up with the materials. We've removed the rig from Character Creator. Now in the next section, what let's do is begin creating our own rig using the blender. Add on auto rigged pro. 8. 08 Creating the Reference Bones: All right, now we're ready to create the bones of the rig. And as I've mentioned before, we're going to use a program called Auto Rig Pro. So if we go over here to the blender market, auto Rigged pro is here on the front page, at least today, but you can always search for it. And what you're gonna need is thedc, um, pleat virgin the $40 version, mainly because it's got this remap tool, and that's what we're gonna use to actually retarget the motion capture to the rig. So you would need to get this and download it, and they have some pretty good documentation about how to install it as an add on in blender. But ultimately, once you download the program, you're gonna have a ZIP file here, and all you need to do then is go here in blender to edit and preferences and under add ons , you will want to click on install and browse to that zip file you click install, and once you do it will then become available in here in the add ons and you can just type rig and you can find it in here. Now I've already put a check mark next to it, and that's how you enable it. And you can see here that the location is in properties. So let's go take a look at that. I'll close this window, and that will hit the in key to open up the side panel here and right over here. Once you install it, you're gonna get a little tab right here. AARP auto Rig pro. And here it is. So this is what we're gonna need. These are the different sections. The auto rig, pro smart, remap and export. We're only going to be using the top three here, and they are not in order of use. In other words, we're going to begin with this smart one right here. This is the way we begin. Then we go to the auto rig pro, then we'll go to remap. All right, well, let's get started putting the reference bones in using this smart feature in auto rig pro. So we need to come over here and first choose what objects we want as part of the rig. Now, you may notice that I have a new object in here. I went ahead and modeled and textured a hat for this guy. I don't know why. I just felt like he needed a hat. And it will enable me to show you how to parent objects to the rig like hats or hair or a cell phone. We're gonna have him holding a cell phone as well. So I've added a hat. But we can hide that for now. And before we go any further, I think I'd like to split out the eyes here into their individual eyeballs. They're currently all one object or the two eyeballs are one blender object. Somebody at the period Keane, zoom in here and we need to split thes apart into two object. So I'm gonna tab into edit mode and press all Z to turn on X ray, and I'll press Ault aided de select and then press the be key to border Select one I. Now I want to separate this out on a press the peaky and choose to separate by selection. Now, if we tap back into object mode, you can see we've got two eyes here. We've got base I and bases years or one. So let's rename these. I'm gonna call this i dot l for the left eye, and I'll rename this one i dot are for the right eye. Okay, It helps toe have those separated for what we're about to do. All right, So let's now select the objects. We want the reference bones to be matched to. So we're gonna want the shirt, the genes, the eyes. I'm not gonna worry about the tongue or the teeth. At this point in time, we need the body and the boots. So those are all the objects that we're gonna want the reference bones to be a part of here . So now that we have those selected, I'm gonna choose get selected objects. And now we've gone into the front view. Zoom in here. We've got this button here. Add neck. So let's just click that. And now we have this object that we can move up and down, and I'm just gonna put it right below the Adam's apple, and then we have add chin, and I'm gonna drag this down and put it just kind of at the tip of the chin right there. And we have add shoulders. I'm gonna move over and click, add shoulders and I'm gonna put this right about here. We're probably gonna reshape these shoulders here in a bit, but let's keep going. I'm gonna click. Add risks. So one right here, add spine route that goes right down here in the crotch right down here. And then we've got add ankles, and I'm add those and put those right around here around the shoe laces. Something like that. Okay, now we've got all of that. Now I've got the fingers detection set for five fingers and the box will precision and the finger thickness are at their default settings. But often times with this particular kind of character from Character Creator three The finger detection isn't real good on these because there fingers air so close together. So just keep in mind that we may have to do some manual rearranging of the bones on the fingers. All right, so now let's go up to the face and let's click on facial set up. Now we've got this. Let's go over here to the material preview right here. And we can see the facial controls because we pressed all dizzy earlier. If if I press all z and turn off X ray mode, you won't be able to see them in material preview bun. If I press all Z, we can see them here. All right, so now I'm gonna begin placing these reference objects where we need him to be on the face . So this the ear needs to be like this. Uh oh. It looks like we've got some of the gums coming through the chin. I pulled that shin back too far. We can fix that here in a bit, but let's take the eyebrows and just hit g and move these down like this. Kind of matching the eyebrows here. There we go. I'm gonna take the nose and move it up between the eyes and move this up in just on top of the bulb of the nose there. And then I'm gonna de select and hover over this and press the l key and I'll hit G and move this up. It s and scale it down a bit and we go. And now I just want to grab these guys and move these around the I like this out like that . And then this needs to go on the cheekbone. Maybe right out here and I'll just put this one straight below it de select everything and press the l key and hit G and move this up. And maybe something like this. I think I'll actually press s and Z and scale them down just a bit. Now we're gonna have to open up the lips some before we actually bind the character to the rig. So we will be doing that when I do that, I'll also work on the gums coming through here. This right here is the chin. I'm gonna move this up to about here. Move this to about here and there we go. So now we've got all of the bones and all of the facial reference objects in place. Now, we also need to do one more thing. We need to come over here and tell it what is an eyeball object? Just either one. It needs to know one of the eyeball objects. So I'm just gonna click here, type in I and I'll just use the left one there. Okay, so now we have all the markers for the body and the face. Let's now come over here and press go. And there we have it there. We've got all of our Oh, we got an air down here, that the fingers didn't work. That's kind of what I was afraid of. So there's all of our bones, all press all Z and there we can see him there and you can see how the bones of the hand were kind of off there. As I said, that happens quite a bit, mainly because these fingers air so close together. But other than that, I think it did pretty well. In the next video, we'll go through and adjust the joints, put them where they need to be, and then we'll be ready to generate the actual rig. 9. 09 Placing the Joints: All right, let's go through and see if we can place the joints where we need them. I guess First of all, let's work on the hand. I'm gonna go to the top view here, and I will also press all dizzy again. So we're in X ray mode here. I think what I need to do is grab all of these. First, I'm gonna move these back. Just thes joints here. Need to come back to the back of the hand like this and maybe spread out just a bit like this. Let's first of all do that. Well, I see now that this is our thumb. So if I pressed the Elke disliked that whole thing. All of this needs to move over here and here in edit mode. We can just move these joints around however we need to. So I'll just select thes and kind of place these joints where the bend would happen on a hand normally like this. And now I can go through in place, these four fingers, these joints here. So let's say they're about like this back here like this, and then we can begin moving these into place. So I'll grab these three g Moved this to this joint. You can see by the wrinkles on the texture where the joint should be. And I'll just move each of these into place like that. Now, we're gonna have to do some work here to move them up and down into place as well. But for now, let's just work on these individually. So don't bring this to here, and this needs to go to here and this year and then well, I could just grab this and move it down to that knuckle dear here and here to the tip of the finger. And we do that one last time for the pinky as well. All right, so we've got the ring finger, the middle finger, the index and the thumb. Those look like they're in pretty good places. I think now we conduce is figure out where they should be vertically. So what I'm gonna do is press all dizzy again, and then select this and press the one key. And let's take a look at this and see where it is in the finger. Yeah, it looks like all of these year need to come up, so I'll choose the move tool, and I'll just move these up a bit. Kind of like that. It's a little hard to see. You've got a kind of tumble around a bit to see, but I think that's pretty good there. Let's try this one. Now grab that one and let's move it up and tumble around and see how we're doing something like that. Actually, it looks like some of these could come up. So this this, this and this. Let's move these up into the hand of it like this, and we go. And then now let's work on the ring finger. Um, let's take these two and let's move these up a bit like that. Maybe see how we're doing with this once again. Kind of hard to tell thought we need to just get it close. So it's pretty much in the center of the finger, maybe a little bit higher than center. Sometimes there we go. And then let's grab these and move these up and we can grab this. Move this up. Okay? No. Ah, let's put these in place. It looks like this could come up. This could come up and that could come up and there we go now noticed that this ex mirror had been already turned on, Which means all of these over here moved into the same place as we put them over here. So that's good. That mirror was on here. Now let's take a look at the bones of the face me select one and hit the period key and zoom in. So now what? Let's do, Let's hit the three key And let's take a look at this. First of all, I see, um, a problem with the job own our job. Bones don't joint or hinge behind the year they and right kind of in front of and below the year here. Then we could take this head bone. Let me hide that hat and we go. We could take this head bone and move it forward a bit. And, uh, we might be able to move the neck up just a bit. Straighten that out. Okay. Now for the teeth. We've got these bones here, and if you look up here, these air teeth top. If I hit the Z key and go toe wire frame, we can see the teeth in here. What? I want to do is move this down and back, but it's still a little bit hard to see. So what let's do is let's hide everything except the teeth in the tongue. I'll hide the boots, the body, the eyes, jeans and this shirt. And here we have just the teeth and the tongue Z and go to material preview here so we can see him. So what I want to do is move this back here because if we don't move it back, it'll influence the nose and the lips, and we don't want that. We'll also grab these bones right here once again, these air teeth bottom. And then I'll hit G and move these back. So they're a part of this bottom teeth, but still pushed back near the back of the gums. Now this right here is the cheek. We don't need to move that, but if we press all Z, we can see that there's this one behind it, and that's one of the tongue bone. So let's grab these and I want to move these down and then let's hide the teeth right here and there's the tongue. So now we need to put our tongue in place. Let me grab this joint and move these into place. Fount like this. That's kind of what I think we need like that. If we press the Z key and go toe wire frame, we can actually see the edges so we could place thes joints more on the edges, Actually, which is where it's going to bend. So you might as well put a joint on the edges and we go. All right, let's bring everything back. I'll bring the shirt, hat, eyes, teeth, body boots back. Now, let's take a look at the eyes. I'm gonna press all Z to turn X ray off, and then I'd also like to turn off the ability to see through here. So if we select one of these bones here and we come over here to the object properties under Vieux Port display, we can turn off in front. There we go. So now they just poke through without us being able to see all of the bone. And this is what we want to place these I bones. So what's happened here? Is it detected the polygons of the eyelashes, the polygons of the eyelashes are out here, and it thought that those polygons were the eyelid. And that's not the case. So we need to grab these and move them back to the actual eye lid. So they're just barely poking out like this. So I'm just gonna bring these back, these two right here. I'm gonna bring these back, this one I can take back like that and this one, I'll just pull back like that. And once again, we have the ex mirror onto the other side did the same thing. All right, so we've got those eyes in place. Let's now go back to the view port display and turn on in front again. Now, let's take a look at these bones here. I think this joint right here should be where the belt is. So I'll put that right about there, and this needs to be kind of at the bottom of the rib cage, so I'll put that about right there. Um, these shoulder bones here, we could take these joints and move them forward just a bit. And then if we come down here to the ankles, we always need to adjust these a bit. Think the ankles would probably be. Maybe around here this joint goes where the ball of the foot is, where the toes bend. And here goes to the end of the boots. These back here, this needs to go to the back edge of the boot here. That looks pretty good. And here's the joint for the knee. I feel like that's a pretty good place for it. Let's go take a look at the joint for the elbow. I kind of feel like it's gonna be down here a little bit further. It's kind of hard to tell when he's in a shirt like that. O Z, Yeah. I kind of feel like it needs to be around in here. Okay. All right. So I think we've placed all the joints where we need to. In the next video, we'll work on generating the rig 10. 10 Generating the Rig and Binding the Character: now that we have the reference bones in place. In other words, telling auto rigged pro exactly where we want all the joints Now we can actually use these reference bones to generate the actual rig. So to do that, we've already used our auto rigged pro smart section. So now I'll twirl that up. And now we need to go to this auto rig pro section here, over the top. And right here we have this match to rig. And what that will do will, as it says here, generate the rig from the reference bones. So now let's just click this and see what happens. All right? So there is the rig now. It isn't bound to the character yet. So if we say grabbed a foot control here and hit G and moved it around, you can see it isn't bringing the character along. We can ah test something here. We can hit the r key and rotate the forearm. I can hit ah are two times. I'll choose that head control and hit are two times, and it kind of tumbles around like that so you can see all the face controls moving around there. But the I controls aren't. And that's gonna be something that we're gonna have to deal with, um, and also weaken, maybe select this and hit the G key and move that down and test that once again, you can see the I controls weren't moving around for that. I'll select this main master control here and hit G and move that around and you can see it's all moving together, but it isn't connected to the character. Now, if you find that there's a problem here that a particular control isn't in the proper place , you can always go back and do this again so you can come over here and choose edit reference bones right here. I'll just click this and then go back to the way it was. Select your joints, move them to where you feel they need to be. And then once again, click matched to rig here and regenerate the rig again. And there it is. Okay, so now that we've got this in place and it looks pretty good, I think Well, let's do is come over here to the skin section of the auto rig pro part here and now we need to make a few adjustments to the character before we bind the character to the rig. And if we cover over this, we can see that it says to select first the meshes or the character and then the armature before you click that, So we will do that. But first, let's come up here and I'm gonna hit the period key and zoom in. And I think I mentioned before that we need to deal with separating the lips a bit before we bind the character. Or else these controls here are too close. So the top lip controls will connect with the bottom lip and the bottom. Lip controls will connect with the top lip, and it's a mess. So we need to fix that. And while we're here, we also need to fix this, too. So I'm gonna come out of Poe's mode, come over here to object mode and now select the character tab into edit mode and let's begin pulling some of these out. I just need to grab a couple of points here and just pull them out like this so we're not overlapping the gums. I just need to pull that out just a bit. Yeah, something like this. Maybe I'll grab. Maybe I'll grab all of these and just pull them out just a little bit more. So you don't accidentally overlap with the gums. Okay? Now that we've done that, I'm gonna go to the front of you here. I'm gonna select one point at the bottom of the top of the lip and then turn on proportional editing right here. Now, if we If we move this point now, it would also move the bottom lip. Even though we're selecting a point on the top lip, we need to come up here and choose connected only. So on, Lee, the points that are directly connected to the selected one is going to move. So now what I want to do is press G and Z, and I'm only gonna move in the Z axis and I'm the scroll the mouse wheel down until I don't know if you can see that influence. You can see how I move that with scrolling of the mouths. I'm gonna bring it back about like this, and then I'm just gonna move up just a bit. I can scroll out to kind of widened the influence on this. I think this is about all I need right here. And then I'm gonna select that top point of the bottom lip and hit G and Z and just move that down just a little bit like that, Some moving the lips toward those controls. So when we bind the character, it will only affect the top lip or the bottom lip exclusively. All right, so we've got that taken care of and I'll bring those lips back together once we're done binding the character. Now the next thing I do often times is take a look down here at the feet and sometimes we get close or pants kind of going over the center line. We've got it pretty close right here. And what that will do is allow the bones on one side to affect the points on the other side . And sometimes I come in just like I did with the lips and move points back and for fourth. But I think I think I'm gonna let it be and see if there's any problems and then we can fix it afterwards. But, ah, there's a good chance we won't have any problems since it's not actually coming across that center line, so let's give it a try. All right, So now what we need to do is make sure everything is an object mode, and what I'm gonna do is select the particular objects that need to be bound to the rig. And not everything does this round of binding. We're gonna do a couple of pieces independently, but I need the shirt, the genes. I don't want the eyes or the tongue or the teeth. In fact, the teeth we really need to split out top and bottom like we did with the eyes. But we'll do that here in just a minute. I'm gonna use the base body for this and the boots. So really, only four objects need to be bound to the rig. At this point in time, notice that the bind button isn't highlighted yet. We need to shift and click the rig, and now we can see that it's highlighted here and with all of those selected now we just click bind, and there really isn't a progress bar or anything. And sometimes the program in Windows says not responding. So just be patient until the bind button isn't blue anymore. And you're gonna have a few things added over here in the outline. Er all right, it looks like it is all done. If we pull this down, we can see what it did. It took those four objects that I selected and made duplicates or proxies of them down here in the character collection. So this is the character mesh up here, and this is the rig down here, So let's see how it did. I'm gonna de select everything, select the rig. Let's go back into pose mode and let me grab one of these feet and see how it did G. And hey, it did pretty well because it didn't pull any points away from that other foot. That's good. Okay, um, Weaken, grab this right here and hit G and move that down and look what it did. It left the eyes, the teeth and the tongue, and that's okay. That's what it's supposed to do because we're gonna come back and deal with those individually. Now, one thing about a character rig is that it's not always a good idea to press control Z to undo. Sometimes that can have bad effects. So what I would suggest in dealing with the character rig in Blender is when you want to go back, just hit the a key to select everything, and then press Ault are to clear the rotation Ault g to clear any movement. And alter s to clear any scaling. So for this all just press all g it also press. All are just in case I happen to rotate anything. Now also, I want to come up here and check these fingers. Sometimes they get stuck together because they're so close, I'm gonna select this index knuckle control. And instead of trying toe, rotate it with the R key, I'm gonna hit the S key and scale it, and you can see that it's got drivers in it that allows you to bend the finger by scaling that particular control. And let me just select this one and test this. Yeah, and that looks pretty good. It's not pulling on other fingers, so I think we're doing ok here. Yeah, that looks pretty good. You look at the pinky. Yeah, I think we're doing pretty well here. Good. So the fingers look good. Ah, the feet look good If I select the head bone up here and hit the R key two times, I can tumble this around. It looks like we've got the collar of this shirt a little bit too connected to the neck. And as I said, we still need to deal with the eyes, the teeth and the tongue, and also that I control probably needs to follow along with the head control. It doesn't do that currently, so we've got some work to do, but it's so far looking pretty good. 11. 11 Setting up the Eyes: Now let's set up the eyes. And to do that I want to point out that when you select an object here that was created with auto rig pro anywhere in the rig here, these control objects have a C underscore, Right? And then if I say I go over to the hand here, see, underscore hand f k dot l lower case L or lower case R. Right? So that's kind of the pattern that see, underscores for control and then a dot l or R in lower case for each one of these items, each one of these control objects. So keep that in mind. Now let's go. Ah, back over to object mode and I'm gonna come in here and let's, um well, let's select and I'll select and I over here in the outline er So if we select and I and we come over here to the Data Properties, you can see the Vertex groups that were a part of that I when it was all one with the other . I write the left and the right was all one object, and we split them out. We've got these Vertex groups over here. These air from character creators, so we don't need these. So I'm gonna delete these with the minus button over here, there, and then we need to create a new Vertex group for the auto rig pro rig. So I'm gonna come over here, create a new Vertex group and to keep with the same pattern. I'm gonna call this C underscore I dot l and hit Enter. So now I've created that Vertex group that matches the naming convention of a rig. Now what I'll do is tab into edit mode will hit the a key to select all of the faces and vergis ease of the eye. And then I'm gonna come up here and click a sign. All right, so we've got that done. Now, if I hit Ault A and D Select and then I come over here and I hit select, you can see that those points now are selected when we're dealing with this Vertex group. All right, So Tab back into object mode. And now let's go over to the modifiers panel. And here we have an armature modifier that came in or was created when we brought in that character, creator, rig and model But now we've taken away the Vertex groups from that, so it disconnected from the armature. Now we just need to come over here and click object. Select that rig again. And now that binds that object to the rig. All right, so let's try it again on the other one. Let's go here. I'm gonna first go over to the Vertex groups for the right eye and delete thes. Let's create a new one that is the same naming structure. Has the rig enter? And then let's tab into edit mode. Hit the a key and I'll click a sign. There we go. Now if we go back to object mode, goto our modifiers panel and we choose the rig. Now let's see how we did. If we come back here and choose the rig and then go over to pose mode now, I'll select the I control hit G. And like that, we can move our eyes around. That's what we want. Okay, so we have the eyes set up with the I control. But now remember, if we select that head control and move it now, this is OK, but the I stay with that I control and that may be good for some things, but for retargeting motion capture. We really want that. I control the follow along with the head. So if we select that I control, we can see that it's constrained to this control down here that c underscore position control. If I select that I control, come over here to the constraints. Excuse me. It's see trajectory. So that would be this one right here? Yeah. So it's constrained to this control rather than the head. And for some instances, that might be good. But I think for our purposes here, we really needed to be part of the head. So I'm gonna select that I control. And I'm gonna delete this child of constraint right here. So now what I need to do is parents the I control to this head bone. And to do that, I think I'm gonna need to go over into edit mode right here, and I'll hit the Zied key to Goto wire frame I want and I want to take this bone that's already selected that. See, I target and in shift. Select this head bone right there. All right, that's C underscore head now I'm gonna press control, P make parent and keep offset because I don't want that. I target to pop over to where the head bone is. I'm gonna keep the offset right there. All right, so now it's Tab back into object mode. I'll hit Z. Go back to Material Preview. Now we want to go to pose mode, and I want to select that head bone. Just that head bone hit the r key two times. And as I tumble around that I control stays with that head bone. Now I can take it And Aiken, move it over, say like that. And then it will stay where I put it in relation to the head bone. So that's good. Okay, So what I'm gonna do now is just hit the a key press. All TGI Ault are to reset everything. And there we go. Now we've got our eye control set up in the next video. Let's work on splitting out the teeth and parenting them to the teeth. Bones 12. 12 Parenting the Teeth and Binding the Tongue: now for the teeth were gonna parent it to the rig. Kind of like we just parented the I control to the head control. But this time, we're gonna parent on object to a bone. So to begin, let's go over and let's split the teeth out into upper and lower teeth. I'm gonna hide everything except that object. So hide all of this id the body and the boots. And I'm also gonna hide the character rig right here. I better go back to object mode and let's select the teeth and hit the period key to zoom in. So now let's tab into edit mode, and what I'll do is just hover over each of these teeth and press the l key to select the linked components for each of these and on around just hitting l covering over each of these and selecting everything for the top teeth and gum. And then I'll press the peaky and separate out by selection. All right, so now we've got the lower and the upper teeth. Let's rename them. I'll call this one teeth underscore upper. And then down here, we want this to be teeth underscore. Lower. There. We go. OK, so now we have those two ready to go. Let's now bring back to character Rig right here. And what we need to be able to do is we need to be able to select an object and then also select the rig imposed mode. So if I select the rig here and I go to post moment, what I want to be able to do is select the upper teeth. But no matter how much I click it, I can't select it. And and that's because there's a setting turned on Under hit the edit menu here, called Block Object Modes and appear are the object modes. But with this on, we can only select things that are in the same mode. So we could only select things in pose mode currently. And if we switch to edit mode, we can only select things in edit mode. So we really need to turn that off so we can select two different objects in two different modes. So I'll come up here to edit uncheck this now what we need to do with the rig and pose mode , I'm gonna come over here, select the upper teeth and I'm gonna shift. Select this center control object right here. That one. It's called Teeth top Master. Now, with that selected, I'm gonna press control P and parent to the bone I just selected right there. Now, let's do that again. I'm gonna select the bottom teeth and gum shift. Select this bone right here. Control P set, parent to the bone. Okay, Now, what that will do is if we select this control this job bone and hit G and move it. The teeth come along. All right, so that's what we've done. We've just parented the teeth to the existing control bones. All right, Now, let's work on the tongue. Let's do a similar thing. I'm gonna hide this and bring the tongue back here. Now, the difference with the tongue is we're actually going to bind the tongue to the rig the way we did the character, the head, the shirt, the jeans, etcetera. And we're doing this as a separate bind because it would have complicated an mixed up. What should be bound to what? Within the mouth. So maybe the inside of the cheek would be bound to the tongue bone and the tongue would be bound to a tooth, etcetera, etcetera. So I've just separated these out to make it a little cleaner and easier to deal with. Because once you get Vergis is bound to the wrong bone inside the mouth. It's really hard to go in and fix that. So if you recall to bind an object to the rig, we need to be in object mode. We need to select the mash right and then shift, Select the rig. And now we can come over here and click find, and there we go. All right, So if we de select everything, select the rig, go to pose mode. We've got thes tongue controls right here. See, There's one right there. If I hit G and move that now we can move the tongue around. However, there these other two controls inside here that we can't really see. If I press all Z and go to x ray mode, we can see them. But we're not gonna be wanting to rig the character in that way. So we want to be able to see these a little bit better. And one way to do that is just to make them bigger. So they stick out beyond the tongue. If I select this control here and go back to the rig section up here, I can click on edit shape. And if we click this now, let me tumble around so you can see it. It is automatically taken it into edit mode here. So now, in edit mode, I can hit the s key and scale it up. It was just coming out of the tongue and then hit S and Z scaled up in this way. So it's just coming out of the tongue there. So we'll be able to see it once we open the mouth. Then be sure and do not hit the tab key here. You want to come over and click apply shape. There we go. So now if I press all Z, that's visible now, even though we're not in X ray mode, Okay, let's try that again. Let's press all Z select that one edit, shape it the s key. Oh, and I'm scaling up with the proportional editing to alone. I really don't need to do that. I'll turn that off now, hit the s key and scale up. So we see it here a little bit and then I'll hit SNZ and scale up this way. There we go and then click apply shape And there we go, I Z now we can see them outside of the tongue. I'll click this and hit G. Yep, this and hit G good. So we can kind of move each one around independently like that. Okay, so now let's bring everything back. Bring the teeth, the shirt, jeans, the eyes, body and boots back. Let's do that. And then, while we're here, let's go ahead and fix the lips as well. So I'm gonna select the character, go back to the front view tab into edit mode, and I just want to turn that proportional editing tool back on. Make sure we're choosing connected. Only I must like this Vertex and press gz. And let's bring this back down like this and we go on, let's try it s press gz and bring that one back up like this. Okay, now we've got those in place. Let's give it a trial. Select that jawbone G. And there we go. So now the teeth and the tongue I'll come along when we move the job bone The last thing I want to do here for character set up, I think is, is to go through how to fix the shirt, collar and the button here. If we select that head bone and take a look at this, hit the R key two times and move around, you can see that top button is being influenced by the head bone by moving around. And also the collar there is being a, I think, a little bit too influenced by the neck. So in the next video, let's work on adjusting the weights to fix these issues here on the shirt. 13. 13 Adjusting the Shirt and Parenting the Hat: Let's take another look at what's happening with the shirt here. I'll select that head bone and let's hit our two times and I'll tumble around. We can see the top shirt button is moving around. And also that collar. The collar of the shirt, I think is moving around just a little bit too much. How do we fix this? Well, let's talk about this. First of all, I want to take a look at the actual bones that air underneath the rig. Here, come over here and in the object properties, come down here and turn on in front under Vieux Port display so we can see the controls through the character and that I'm just gonna hit the tab key to go into edit modes. Weaken. See the bones underneath here. And you can see that these bones are called spine One spine, too. Shoulder, etcetera. So these air all the bones that the character is bound to, and each one of these bones has an area of influence on the character. So let me hit the tab key again to go back to pose mode on the rig here, and then I'm gonna select the shirt And with this selected with this object selected, I'm gonna come over here and choose weight paint. Now, when we do that, you know, Here, let me change this to solid view here. Okay? So when we do that, we get this blue color and we can press shift and right click, and we can choose what bones underneath the shirt. Here. We want to view the influence. So let's say we want to view the influence of spine one, and there we go. So the influence goes from red at the highest to blue at the lowest. So if I shift right click here, I can choose spine to. This is the influence of that bone. And if we move up here, I can shift right, click and choose, say, the left shoulder. And that's that influence there so you can see that each bone has an influence over a certain area of the character. And sometimes those influences are too big or too broad and cover parts that it shouldn't. So if I shift right click here, let's choose the neck bone here and you can see it's got influence all the way down here. It's got influence all around the collar. So I don't know that we need that there. If I come up here and do the same thing, shift right click, we can choose the head bone and we can see that it's having some influence on the collar here, so we don't really want that either. So how can we remove that influence so the shirt isn't affected by the head? The neck, etcetera. Well, let's go back up here to object mode right here. And what I'm gonna do is I'm gonna tab into edit mode and I'm gonna de select everything, and I'm gonna make sure I'm in Vertex Select here. Now, if we go up to the item tab here in the sidebar, it says nothing selected. I'm just gonna select a point here on the button. And now we can see all the bones that are influencing this one point. And look at this. It's got influence from the chin. Now that probably shouldn't be right. That's probably why it's moving around the way it is when we turn the head. So how do we get rid of that? Well, if I came over here and hit the X to delete this out of here. It would Onley delete it off of this one point. Even if I selected multiple points, only that first point that I selected is being represented here. Then how do we remove the chin from all of these? Well, if I select one, let's say and that's all the influences. Well, then hover over this button and press the l key to select all of those. Now we still see the influence from that one. OK, that's good. Let's go now to write down here, our data properties will select that. And now we can see all of our Vertex groups. I don't need this. And maybe I can move this up to here for now. Actually, I'll twirl these up so we get a little bit more room here and bring this down. Okay, so we want to remove the chin chin. Zero to from this. If we twirled this little guy down right here, we get a search box and Aiken type in chin and there we go. So here's chin zero to I'll click removed. Now it removes it out of here from that one. But it also removes it from all the others. Now let's give this a try. Aeltus Tab back into object mode. I'll select that head bone. Let's go into pose mode here. And if I make sure that selected there we go now hit the R key two times and there we go. We're not moving that button anymore when we move the head. So let's try it again are two times And there we go. So now the button is staying where it should be. All right, that's good. I'll press Ault are to clear the rotation there. Now we need to deal with this collar. Let's select the shirt again, Tab back into edit mode, and let's select one point here and what we have here. Oh, look at this. We've got influence from the ear, from the teeth, the head and the neck. So we've got some work to do here. So once again, let's hit the a key to select everything on that shirt. Come back over here to our Vertex groups, and let's begin with the ear. It's type in ear, ear 01 l right here and remove. There it goes. That was type in the teeth, teeth bottom l There we go. Remove now the head. Let's grab that and remove and the neck. So let's type that in. Select that and remove. Okay, now, let's try it again. Let's like that. Head bone are key and this side of the collar looks good. But look at that other side. We need to go over there and work on that. So let's do that. I'll select this tab into edit mode. Let's select one point to see what we have Once again, ear teeth jawbone. Okay, that's a new one. So let's ah, get the a key to select everything. Come over here and I'm gonna begin from the bottom up again. So all typing here. Ah, here. 01 are remove teeth. Bottom are we move? Jawbone. Grab that one. Remove. And I think we're okay. They're all right. So it's tab back into object. Moments like that. Head bone, our key twice. And yet we're doing good, but there's still some pulling right in here like that. What's going on here? Let's like the shirt. Graham, that cheek inflate tongue and skull. Okay, We need to do those. Let's do that. Let's hit the a key. Ah, cheek inflate our remove, and we'll go through these others as well. Tongue 01 Remove and skull that 01 Grab that and remove. Okay, now, let's try this again. Get the R key. That's looking a little bit better. All right, so we've got that taken care of. I'm gonna press. Ault are to clear the rotation on the head bone. One thing that I haven't done yet is to parent that hat to the head bone. Let me do that real quick. Let's come up here. Find the hat There. It ISS bring that back. Now, what I'll do is just select the hat. Shifts like that head bone control P and parent to the bone. There we go. I'll come over here to the outline er and press all to a to de select it. Select that head bone and there we go. Now, that's looking pretty good. Okay, I'm gonna press a to select everything old are all G. Make sure we're all reset up. Looks like I need the boots back. I mean, bring the boots back. There we go. So now weaken. Select one of these controls and just tested out. We can bring this down. I could select this and but our two times and roll that around. That's looking pretty good. Let's try this one. Yeah, he's looking pretty good there. Okay, let me hit a fault. G Ault are there we go. And lastly, I think what I'd like to do is a just the shoulders here. I'm gonna hit the n key to close that panel, and I'm just gonna hit our and rotate this down, and it just feels like that Shoulders just a little bit too puffed up. So I'm gonna select that shirt tab into edit mode. Make sure I'm in proportional editing. Grab a point on the shirt, G scroll that out a bit. And I just want to move this down some but isn't quite so big. I like that. Now I've pulled this area down a little bit too much, So if I hit G and Z and scroll that in a bid, I could bring that up. Just event like that. See how we're doing? Yeah, that's not too bad. Okay, let's go back to the front view. Let's grab this control and hit our and rotate that down. And once again, I feel like that shoulder is just a little bit too big. So let's get G and use our proportional editing tool to bring that in. Maybe bring this in a bit. And maybe I could bring this in over here and just try and adjust this area to the way you'd want it. It looks like this area needs to be brought back up. Just a hair G and Z, and I'll bring this up just a little bit. Okay? I think that looks pretty good. I'm gonna hit the a key again. Hope Let's select the rig. And then if the a key to select everything all TGI alter our that gets everything back into place. All right. I think our character is all set up now. What we need to do is go record and create the motion capture that we want the actual actions with our motion capture suit. So that's coming up in the next section. 14. 14 Putting on the Motion Capture Suit: So the first step in the process is, of course, putting on the motion capture suit. And what I've done is I've gotten a perception neuron 32 motion capture suit. It's not really a suit per se. It's more of a Siris of straps that are connected one to another. It comes with a nice manual here that you can use to kind of position all the nodes. Um, I'm gonna be using the single node glove and not the node or not the glove with all the different nodes for all the fingers, mainly because it's a little bit more complex. And I don't know that it's really useful for this particular project. But let's go ahead and open it up and see what we have here. So when it comes when you first open it up, it comes in a series of little bags each of the, um, pieces of the suit, each of the straps. But I've pulled the bags. I pulled everything out of the banks because I didn't feel it was really useful because I'm not gonna be taking it anywhere, really. It has a hub that is used to connect both to the computer and to the WiFi, um, in your room. So that's going to be useful there, Um, this is the collection of straps, and it gets a little tangled and messy. But what we're gonna do is we're gonna lay it all out on the floor. I find that if I put it all out on the floor and kind of spread it out, things air quite a bit easier. So that's what we're going to do first. Also, it comes with a pack of accelerometer nodes. I guess you could call them and, um, each of these plugs into a particular part of the suit. So this node right here would go into this, this slot right here. So what let's do is let's get this out. Let's spread it out on the floor and then we'll begin putting each of the nodes into the respect of slots. Let's give it a try. All right, so now that I have them all laid out on the floor, I can begin putting in the nodes for each of the straps. On each strapped there's a socket with two holes in it. 14 the node and one to connect to the next strap in the chain. And also, each strap shows you with a little diagram here on the back. What part of the body This should be four. So this one is for the right leg on the shin, right here. And now we can go through and put the nodes in each one of these. So the larger slot here is what accepts the node right here. And then the strap above that will be connected here. But I'm not gonna connect the straps until I get everything on. So in this one here, this is the foot right here. So it only has one, since it's the end of a chain so we can put the node Ian right there. This strap here is for the right leg. So go ahead and put this one in here like this. And this is for the hips. So I'm gonna look this over real quick and put this No two right in here. We've got the torso node here, so I'll put that in, and we've got the two shoulder nodes right here. What's put one in here and one over here is well, And also we've got the head note here. I'll go ahead and get this one. There we go. Now, here we have the two different kinds of gloves, one with the nodes on each of the fingers here and the other one with just a single note. I'm just gonna be using this one for today, because this is a little more complex, and it's just something that, um I don't feel we really need as I mentioned for this project. So I'll go ahead and put the note here in this glove right here, and we need another one right here on the wrist to begin putting on the straps. I usually begin with the legs and then the torso and then the Barmes and hands. So many Begin with this leg. I'm gonna take off my shoe first, because that helps the process. So this is the left thigh, and what I'm gonna do is put it on. So the, um, cable is going up, it's going to connect up into the, um, the belt of the straps right up here. So what I want to do is make sure as I put it on, that's facing up. So I'm just gonna slip this on like this and put this right up and it's going to go right on the side of the hips over here. The exact position will be found once we get everything on. But for now, I'm just gonna put that right there. And then this is for the left, Shin. So for this, once again, the cable needs to come up to connect to here. So I'll put this on like this and bring it up. So it's right in front, right like that. And then this cable is going to go to right there. So that's the way we're gonna put on everything. One, strap it a time and then connect him on the feet here. I'm gonna go ahead and just slip this on here and it goes right on the top of your feet. Now for me. I'm gonna use my shoe for this because the character we're going to be applying all this to has shoes on, and it matters. I've found that it matters quite a lot whether you have shoes on or not. And even the kinds of shoes that you're wearing, you can tell by the way you walk. What kind of shoes you have on. So I'm gonna put this on the top of my shoes and then connect this to here like that. All right, here comes the fun part. This I find is good toe. Have a mirror. Um, if you're doing this alone, if you have other people, they can help put the put the suit on, adjust the straps, etcetera. But for me, I'm gonna try and do this on my own. So what I usually do now is I just put in one arm here for this shoulder, and then I kind of hunt in the mirror to try and find the other shoulder. And here it looks like this. Maybe it. And then we make sure that these shoulder, um, pods or these shoulder, uh, sockets are right here on the back. And this part back here. Well, here's the head strap right here. That's gonna need to come up and go on with this part, being at the back of your head right here. Some try and put this on in the mirror so I can see that. There we go. And then I've got to find these pieces here and bring these around in the in, in the front like this. And then what I need to do is take these pieces and put them under neath Let me bring this out and then don't bring this down like this And you can put this right inside the Velcro on the belt. Same thing on the other side, over across the chest, like that. And as I said, these ah nodes appear need to be at the back of the shoulder blades. All right, now I'm gonna put on the arm straps and as opposed to the leg straps, these cords need to go down to connect down to the hand. And we've got a accord right back here that's going to connect to the arms. So we need to have that chord facing down this, and it needs to go on the ah side of the arm just like the the leg one does to needs to go on this side of the leg. So that's going to go there. This piece right here needs to go in here like that and then the gloves. Now the gloves right here. This is for the right hand. Um, no, we just need to slide that on and adjust the strap so that the little notes are in the right places. There we go, and then take this cable and bring it down to here. So now all I have to do is just put on the other arm and hand. And the last piece of the puzzle is this hub right here that we just need to connect with the remaining liar right here. And ultimately, it's going to be powered by this USB power supply. It's an anchor, a n k E r, and it's just gonna be plugged straight into the five old to AMP. Socket right there, so this will just clip on and slide into your pocket. 15. 15 Connecting the Suit in Axis Neuron: So now we need to connect the perception neuron suit to the computer. And to do that, we need to open up the Axis neuron software that comes with the perception neuron. When you first open it up, you've got this nice quick start guide. It's actually pretty helpful if you're just doing it for the first time. You can click next here, and it will just take you through all of the steps of setting up the suit talking about WiFi USB mode. What the buttons of the Hub do all through here is some really nice information, and it really helped me get this set up pretty quickly. And if we scroll through here, we get to link with computer USB mode, and we're just gonna need to connect the supplied USB cable to the Hub and then to the computer and set it up in the software. So let's work on that right now. If I close this here, we've got this panel and no, I've already got the suit set up, but we can go through the basics of how to do it the first time. If you're going to do this with WiFi, it's a lot more convenient to do it with WiFi. But I'll tell you up front, your WiFi needs to be really good and really consistent. And mine is not. If there are any glitches or pops or problems with your capture with the animation, I would say 90% of the time, it's a problem with the WiFi. What I've found is, if I connect it with a USB cable, it is so much more solid. I got a 25 foot U. S. B cable. I hook it up to the hub and my computer and I can walk around my office without too much trouble at all connected with a hard wire with that USB cable, and the capture is so much more consistent. But let's go through how to set up the WiFi here. I'm gonna come over here to set up, and it says to link your computer to the router, which I have mine directly connected to the router with an Ethernet cable. All right, now I'm a click next, and it's gonna hunt for all the WiFi networks in my area. And here's mine, you comptel. I'm currently connected, but when I click on it I get the password, and this is where you will need to enter your WiFi password for your router. Now, since I've already done that, I'm just gonna ex out of this and ex out of this. And then once that's all done, you can disconnect from the computer plug in that power supply because currently with the hub connected to the computer with a USB cable, it's drawing power from the computer. You can now hook up that battery supply and connect exclusively through WiFi. However, if you happen to have a many USB to USB cable of a good length like my 25 foot cable, you can go ahead and click, Connect here and connect with that cable. All right. In the next video, let me zoom in a bit here for Harold. I'll just way that you in the next video. Let's go ahead and calibrate the suit and get it set up so that we can begin our motion capture 16. 16 Calibrating the Suit: All right, Now let's calibrate the suit. We can see over here that all the nodes air doing pretty well there either green or yellow . And that's good. The only problem we really have is when a node turns to read for an extended period of time . But now that everything is connected, what I'm gonna do is come over here to this icon right here and I'm gonna click calibrate And the first thing I'm gonna do is do this steady pose. And to do that, I'm gonna click de Select all and then click here for just that one, and then I'm a click next. And for that you just need to stay very still. You just It's just looking for all of the nodes without being moved at all. All right, so now let's go back and and go to calibrate here again. And this time Now, notice all of these others have been checked, which means we need to go through these. We're gonna go through the a pose where the arms air straight down, we're going to go to a T pose and we're going to go to an s pose and each one of these will have a countdown and then the beeping for a few seconds to show that it's actually calibrating. So let's give this a try. I'm gonna stand up and we're going to calibrate our suit. Here. I'll click next. And here we go. And there we go. Now the suit has been calibrated. In the next video, we will begin recording a couple takes. 17. 17 Recording Motion and Exporting a Take: all right, now that we've calibrated, I'm gonna go ahead and begin recording clicking this right here, and I'll change the file name to Lenny and click. OK, and here we go. Now come back and click on the record button again. And there we go. We have our first take. We can just double click on that file. And here is a recording that's kind of zoom out and tumble around the navigation within. The view is just using the right mouse button to tumble the left mouse button to pan and the scroll wheel to zoom in and out. All right, let's hit play and see how we did. So here we go. I got my phone and here we go. So, yeah, I think that'll work. Okay, that's all we really needed for. This is just walking back and forth and and talking on the phone. Now, one thing about it, it's a little bit jerky. And what I like to do is smooth it out. Summits kind of difficult to see here, but once you get into blender on a character, you can tell that there's a little bit of harshness to it. What I'd like to do is come down here to this smooth factor area, and I'd like to turn this own and then I'm gonna take all of these up to about 10. And I feel like that just gives a little bit of extra smoothness to the animation. I think it kind of helps. So I'm just gonna put those at 10 and click apply. And of course, this is completely optional. This isn't Ah, absolute thing. Try it yourself. See what you think I'm gonna click, play and play it again. Yeah, and I just feel like there's just a little bit of extra smoothness when I do that, so I kind of like it. Okay, so now we have our take. Well, let's do now is exported out as a B VH so that we can take it into blender before I do. I want to trim the beginning and ending. I don't need all of this at the very beginning, so I'm just gonna go to right about here and let's see when I began right about there. So I'm gonna bring this and trim that beginning part of just gonna grab this right here and drag it in and then I want to go to the end. And I don't need all of this here, right here. I'll grab this and drag it and trim off that in part right there. Okay, Now, let's come up here to file and export. I've got the name of the file here, my folder that I'm gonna put it into. I've got a folder here called Axis Neuron. So I'm gonna put it in there. Select folder. As I said, I'm gonna use Thebe VH file format, and there are lots of other file formats in here, but I found that this be VH works really well when bringing it into blender. So our click export and there it goes. All right, so in the next section will bring the file into blender and retarget it onto the rig. 18. 18 Importing the Motion Capture File: Okay, Now let's bring that be VH file that we just exported out of Access Neuron here in the blender. But before I dio I want toe do a little cleanup here in the outline. Our let's come over here. And I want to change this collection too, Lenny mesh, because thes air all the character objects right here. And then I'm gonna change this to Lenny rig right here, just so we know what these are. And then before I import anything, I'm gonna select this top seen collection. So it goes into the top of the hierarchy instead of one of these collections here. So I just wanted to go into here outside of the ones we've already created. All right, so now let's go over to file import and let's go to motion Capture be VH. And then I will browse to that Axis neuron folder. And there is our B V eight that we've exported now, recall when we first brought that character in from character creator and it was really big . We're gonna have that problem here if we don't deal with the scale. Recall that it was 10 times larger than what we needed so for here we need to type in 100.1 right there. And then I also want to scale the FPs the frames per second. And what that will do is it will scale it down to that 24 frames per second that we have set here in blender. And also, I want to update the scene duration notice here that it's ah, 250 frames in the timeline. When we bring this in, it's gonna be more than that. So I wanted to expand that selection to compensate for that extra time there. All right, so we've got our scale at 0.1 I've enabled scaled FBS and update seen duration. We've got our file selected. Let's click on Import Pvh. And there it is. There's our character. So it's come in once again outside of these collections here. And there's that rig from the Perception neuron. Let's just click play and see what happens by click here. I'm gonna walk along and there it goes, Right, So that doesn't look too bad. Let's take a look at it. As I look at this, it looks to me like the feet are kind of wobbling kind of trembling. Let me see. See how they're kind of moving just a bit. Yeah. See that even when he or I should say I pause there to turn the feet Still kind of move just a little bit. And that is an issue that you can find. Sometimes I haven't come across this all the time, but sometimes when you export just a B VH out, you can get those little Cheddars. And I just want to show you one way. I've found that I can get rid of those. So I'm gonna come up here and choose our character or our motion capture rig that we just imported. I'm gonna select it hit X and delete. And let's go back to Access Neuron. And I want to show you one thing here. So here, an axis neuron. All I'm going to do to try and fix that foot jitter problem is just export to a slightly different file. Now, if I click here and play, I don't really see those foot jitters here, but sometimes I'm gonna go up here to file export. Sometimes if you change from bio vision be VH to processed be VH that can help. So I'm gonna change the file name here to ah, Lenny processed and we still got it in the same folder, and I'm just going to export it out in this way. Export. All right, here in blender. Once again, I'm gonna select that top seen collection. And then I'm gonna come over here to file import PVH And let's choose the Lenny processed. We've got our scale at 0.1 Scale FBS and update seen duration checked over here. Now let's go ahead and click Import be VH. All right, let's see what we have now I'll Click play and I think it looks a little bit better. Let's give this a try. I feel like there's a little bit less jitter in the feet as I'm walking there. So let's give it a try. I'm gonna hover over the timeline here and hit the home key on the keyboard just so we can see all of that and notice what it did. It extended it from 250 to 8 66 year and I'll go back to frame one, and I just want to show you a couple of things here if I bring up the timeline here, you can't see any key frames here of the animation. I'm gonna come over here and just click this right here. This little arrow right here and then if I twirl this down and if I come over here to pose mode and click on one of these now we can see all the key frames. I'm gonna switch back to object mode here. Now you can see if we select him, then you can see all these key frames I'm gonna scroll in. There's a lot of them. It's cruel way in. You can see all the key frames here, and that's OK. We don't need to really deal with those. I just wanted to show you that there, there. But if you have these visible here, I want to hit the home key to go back here and try and play. It can slow your view Port display down a bit, minus still currently running around 24 frames per second. So that's good. But I just wanted to let you know that when these key frames are visible, it can slow you down some. So what I'm gonna do and What I often do is just press all to a to de select. And then those key frames aren't visible anymore. So then you can usually run at a good speed in the view port. All right, so now what we need to do is go through the process of actually retargeting the motion capture data to our character rig. So in the next video, we'll begin working on that. 19. 19 Building the Bones List: The next step in the process is toe link. The bones in the motion capture rig to the bones in the character. Rick. To do that, we need to build a bones list, and we can find that by going over here back to the auto rig pro panel. I'm gonna stroll up the top one and go to re map right here. And here's where we're gonna enter in the source armature or the motion capture rig and the target armature for the character rig. So first of all, it's select this one, and I'll come up here and click on the Eyedropper for the source armature, and it will populate that into there. I'll select the character rig and click on this eyedropper, and it will populate it into that field. Now we can click build bones list and there we go. So now what it's done is it's gone through and tried to find all the corresponding bones between the two rigs and some rigs. It's gonna do very well with and other rigs. It isn't going to do very well at all, and the ones that it doesn't do very well, you're gonna have to go through and manually tell which bones should coincide with which. And oftentimes it's ah, process of trial and air. Now I have gone through the rig from the Perception neuron and the rig from Auto Rig Pro, and I've learned that there are basically three things we need to do. It does a pretty good job of figuring out what is what. But there are three places that we need to adjust. First of all, this hips or the master in the perception neuron rig, it's called hips in the Auto Rig Pro. It's called C underscore route. Underscore master dot Exe Now that's okay. That's the way it's supposed to be. But we need to know that this is the route bone we need to tell auto rig Pro that that's the root of the rig. So I'm gonna check that there now, the other two things that we need to deal with our for the feet, and that's because the feet in this rig R i k. If I come over here to pose mode and select one of these feet right here, if I hit G and move it around as I moved the end of the limb like this. You can see that the rest of the leg comes along and that's inverse canna Matics. That means the control is going up the limb inversely to the top. All right, I'm gonna press all g to put that back. However, for the hands. If I take this here and I hit G, it isn't going to do anything except just turn the hand. So for the arms to get the hand to move, we need to begin here and rotate, and then we need to rotate here and then we need to rotate here, right? We're controlling that limb moving forward down the hierarchy, down the limb here. And that's why the controls for the arm are called forward. Kinnah Matics or F K. You can see that here hand f k once again, I'll press fault are for all of these. So since the feet are I ke, we need to make sure that the bones list reflects that. So for the left foot, we can see here it's got see foot f k forward Canham attics and that's not gonna work. We want the i k. So I'm gonna click here and I'm gonna delete back to here so we can see all the foot bones and I'm gonna scroll down. And here here's foot i k dot l I'll click on that. Now we've got the i k bone linked to the left foot of the perception neuron rig. But we also need to tell auto rig Pro that it's supposed to be I k. We need to do that. The next thing is the right foot. So let's scroll down and find the right foot. Here it is. I'm gonna click that and then in this field, I'm gonna delete back to here, scroll down and find that i k dot are there it is. And then I'm gonna make sure and choose I k here. All right, so those are the only three things that we have to change for this particular bones list. Now, as I said, if you were using another motion capture suit or say downloading ah BV hr fbx file from a website somewhere. This list can be different for each different kind of motion capture that you have. So what they've provided here in auto rig pro is a way to create presets so we can take our settings here and save it as a preset. So every time we bring in a new motion capture, we don't have to go through all the little details of making sure the bones list is configured properly. Weaken, Just bring in a preset. So what let's do is let's click here and go out to our folder, and what I will do is create a new folder here. I'll call this rig presets, and in that folder I'll create a file called Ah PN Preset perception neuron preset and I'll Click. Accept here and then I will export this information to that file export. All right, so now when we bring in any motion capture file from a perception neuron, all will have to do is just browse to the file and import it, and our bones list will be all set up. All right, so the next step will be to retarget the animation from one rig to the other, and we'll do that in the next video 20. 20 Retargeting and Interactive Tweaks: now, before we re target the character here, there's one last thing I want to check, and that's the character scale. Now on a rig. Pro has this auto scale feature and you can see here It says it may not work if the rest position is incorrect Scale manually. Otherwise, well, currently, frame one of this animation is not a t pose, so it doesn't match the rest position of the character to do it manually. Weaken. Select the character here, and we can hit the tab key to tab into edit mode. Now the character pops into a T pose. We can come over here and turn on in front under Vieux Port display right here so we can see it. And then if we go to the front view, we can scale our character in edit mode to match exactly or at least pretty close to our character. So many ensure that the three D cursor is in the center of the grid by pressing shift s one . And then I'm gonna change my pivot point from median to three d cursor. Now, once I hit a and select everything I can hit s and scale this whole thing up or down to match my character. And it doesn't need a whole lot here just a little bit about like that. Now I can switch back to a median Point and Aiken tab back into object mode, and there is our motion capture rig there. All right, now, the next thing is is to click on retarget over here in the auto rig Pro panel. Well, then click. OK, and here we go. Now, this could take a while, and once again, you won't really get a display of the progress. But when it is done, the character will jump over to the source armature in the scene here and here we go. The character has been mapped to the motion capture rig here. I'm going to select something and just hit the period key to zoom in a bit. And if we just clicked, play here. We have a few problems. Click right here, and first of all, it's moving very slowly, right? Let's stop playback and see if we can fix that. Generally speaking, we should be able just to go to salad mode, and that should do it for us. Let's hit play and Yeah, we're running at 24 frames per second here. Now there's a couple of problems. One, He's walking with this straight legged gait and that's not quite what we want, is it? You can see how the rig is bending, but the legs aren't and he's kind of standing up a little too straight. It just isn't looking quite quite right. So let's ah, hit the space bar and stop the animation and let's see what we can do about this. I'm gonna go back to frame one and Auto Rigged Pro has some tools for us to fix things like this, and that's over here in the interactive tweaks. So I'll click this and now we get this additive location, additive rotation and a location scale multiplier that I don't believe we're gonna be needing to use for this project. But these two tools here are really important. They really do a good job of helping with this kind of thing. So what I like to do is begin from the bottom up using the interactive tweak. So I'm gonna select one of the feet here, and I'm gonna hit the one key to go to the side view. I mean, let's zoom in here so you can see that the characters feet are below the floor plane the grid line here. And that's one of the reasons why the legs air so straight. So let's grab this. See foot I kr and let's move it up. To do that, what you need to do is come over here, select the object here, and then use the location tools to move it up or down. So currently we're moving at 0.1 meter. When we do this, if I click on the minus Z here, you can see it move up quite a bit and then back down using the pluses E. So what we need to do is reduce the amount. We're moving this up and down. And to do that, I'm just going to click in here and type in 0.1 instead of 0.1 and enter. Now, if we use that negative z gonna move up in smaller increments. So I think I just want to go up right about two there, and I just moved it up or clicked it four times. I'm gonna sex the other foot and move that one up. And there is one thing I need to point out. This is kind of tricky in them. Here, let me move this back down. It doesn't work by selecting it in the three d view, right? I selected the left foot, but the right foot is still selected. Over here. You have to go by what selected? Here, Let me scroll up to the left foot, or you can twirl this down and type in foot. There we go. And here is the left foot. Right here. Now that's selected. It doesn't matter what selected over here. It has to be selected here. Now let's move this one up in the negative, Z 23 four clicks, I think is what I did for the last one. Okay, so now those feet are sitting on the ground plane, but the legs air still very straight. Let's now grab this control. That's the route. Master, Let's come over here and type in route. There it is, Route Master. And now for this I think we're gonna need to take it down in the negative. Why? Here? Let's try this. Yeah, let's start moving this down until the knees begin to bend Just a bit. Could be a while. There we go. So you can see how the knees come back to engulf. Thea Need joints there? Maybe like this. Let's give this a try. Um, and then we need to work on the arm here. This arm is a little bit too bent backwards, so I'm gonna type in forearm here. And that's the left forearms. Let's choose this. And then the rotation. Let me try. Negative X. Yeah, that's what I want. I want to move that forward a bit. Well, o R let me try to No, I don't want negative X Don't want Why Here it is. Positive Z Here we go. Sometimes I just have to try a few here. Positive z, I'm gonna bring that forward some. So it's not so straight up and down there. And the thumbs air always an issue with the perception neuron rig here. So I'm to grab this thumb one. That's what I want. I'm gonna type in thumb and see thumb one left and I'm gonna rotate this'll. It's ah, Looks like it's in the a negative x and I'm gonna take that down three times. Now. I've still got 10% here. You can change the degree of change here in the rotation as well. If you want. I'm go grab that thumb up here cause it always needs it on both of the hands. So let's try up. And once again, I did it again. Let me Ah, choose the proper thumb thumb one are. There we go. Now, let's try and get that in like that. Okay, Um, I feel like this shoulders could use a little work to, and I think I want to move them forward a bit. I'm gonna grab this shoulder. Yeah, this is the shoulder dot l. So over here shoulder dot l here and then I want to move it forward a bit. Rotation. Let's try Negative Z. Now that goes back. Let's take it forward like this. Is that too much? Yeah, that's too much. Let's take that shoulder forward. And let's also do the same thing for the right shoulder. Wrong way. There we go. Okay, so we've got those. Let's give it a try and see how it looks. I'm gonna get the n key to close that panel, and then I'm gonna come up here and hide the perception neuron rig and are auto rig pro rig . And let's just give this a try. Allow hit play. Let's see how it looks pretty good. I feel like the legs are getting a little bit extended there. You see that? I think I want to bring that master control down just a little bit more. But other than that, oh, in the arm looks like it may come down a little bit too far as well, kind of overextending. But other than that, I think it's looking pretty good. Let's give those things to try. I'm just going to re enable or bring back the rig here and let's grab that hip control and I will bring this down just a bit. No, I did it again. I need to select it over here. Type in route. There it is selected here. Now bring it down Wrong. One needs to be Why there we go. Should I bring it down? One more. Let's try that. And then I wanted the forearm here, right, the forearm left to rotate a little bit forward. No, that's the wrong one. There we go. Something like that. Okay, let's try it once again see how we did it play? Yeah, I think it's looking pretty good. The arm isn't over extending. The feet look pretty solid and the legs aren't over extending when he walks. Yeah, I think that's pretty good. All right, in the next video, I think I just want to fix a couple of these little problems here. Let me go back to our material preview, and you can see how the skin is kind of poking through the shirt in just a couple of places . I think that'll be an easy fix, and we'll take a look at that in the next video. 21. 21 Fixing Deformation Problems: let's now work on fixing some of these deformation problems here on the elbow. I'm gonna select the shirt and me zoom in here, and I think what we need to do is first of all, work on the weight painting here. I'll go up here to object mode and wait paint. And we looked at this earlier, but I think now I need to actually do a little bit of weight painting to try and fix this problem with weight paint selected over here. I'm gonna go to the top panel right here, that active tool panel and you can see the settings for the weight paintbrush. Twirl this up. I have it on draw. But I'm gonna twirl this up and here for the blend. I'm gonna choose, add, and I want the wait. I'm gonna bring the weights down quite a bit and this strength down quite a bit. And I want a paint on here. The weights for I think it be the forearm here. So I will shift right click and choose this forearm stretch right here. Yeah, that looks good. And then I'm just gonna begin painting, and you can change the size of the brush by pressing the F key and then moving the mouse here and then click. And so I'm just going to click and paint some influence here on this elbow area, something like this just to kind of puff that out of it. You can get anything more in here now. I can't really do too much more than this, it looks like So what I'll then do is tab back into edit mode and do a little bit of rearranging of the points as well. All right, so now let's go over to edit mode and yeah, let me just grab a couple of these points. I've still got proportional editing turned on so hit G and scroll the mouse wheel a bit and just kind of rearrange some of these points in here. It's period key and zoom in. And maybe I just need toe lift these up a bit. Let me grab this one here and lift that up this one and lift it up. Something like this. Yeah, I moved that up to like that. It looks like that one still sticking out just a little bit too much. So there we go. All right, Let's see how we're doing. I'll go back over to the material preview tab back into object mode, and yeah, it looks like we've covered that pretty well. The only problem I see now is this part right in here. I think I'll just grab a face and let's hit G and move that back. I could scroll back to increased the influence on the proportional editing there. Yeah, I think that'll probably work. Okay, let's try that. Now. I'm just gonna move back and forth along the animation here just to see how it's holding up . Actually, I'll go back to frame one, and let's see. Okay, we still got some here that we've got to deal with. Let's ah, grab a point or an edge here and zoom in and yeah, maybe I could just take this it she and move it out. Just a smidge like that. Maybe move this up A hair just rearranging some of the points, some of the weights seeing what I can do to kind of clean that up. So we really don't have any skin poking out. We've got a little bit of stretching here in the texture since I've been moving these around a bit, and we could kind of move these down a bit. So there's just a little bit of work that can be done here, and this isn't going to be needed every time. This animation has some fairly extreme bending at the elbows. And also this Ah, 3/4 sleeve shirt probably wasn't the best idea, but that's okay. Weaken, weaken, make it work. I'm gonna scroll forward and see if there's any problems with the ah arm here. It looks like it pokes out right around here. Yeah, so I think I need to do a similar thing here. I will tab into edit mode and zoom in so I could tumble around this point here around the elbow, and then I'll go back to solid mode. Wait, paint. Let's shift. Right click and I'll choose that forearm again. And here we go. I'm just gonna add some weights in here by clicking right in here. And then once again, I'll go in and move a few points around. There we go. I will go over to edit mode. Let's ah, grab a few of these points here. Start moving these around a bit. All right. That's looking a little bit better. Let's take a look at it in material preview. All right. See how it looks when he drops his arm down? Not too bad. Is there any poking through there? Doing all right? Let me Ah. Scroll through here. Looks like I see something there. Yes. So we could move these up a bit, I guess. Grab something in here and do a similar thing like this. All right? I think we're doing pretty good. We've got him. We've got this shirt pretty well covered here. Let's just go in and see if we have any points pulling out from here. I don't think we do too badly. Let's see. Well, I see one point right here. I'll just grab that and move that in just a little bit. All right? I think we're doing pretty well. I think we've covered some of those overlapping problems in the next video. What I'd like to do is add a cell phone to the scene and put it in his hand, curl the fingers around the phone just a bit, and then parent the phone to the hand so it stays with the hand as it moves around. So that's coming up next 22. 22 Placing and Parenting a Prop: what I've done since the last video was create this cell phone right here. Let me zoom in. So I just modeled this very basic cell phone. Nothing fancy here. Just basically a flat rectangle with some texture ring on it. So what I'd like to do is put this in the character's hands so he could be carrying it around as he's walking and talking on the phone. So let's go ahead and work on that. I think what I'll do first is bring back the rig and maybe select this hand control here. And ah, let's see if we can move the cursor to it all. Press shift. Us too. And yes, so the cursor moves there, and now we can go back and select that cell phone here. And let's move that object to this cursor. Ah, press shift s and we can choose selection to cursor. And there we go. So there's our cell phone, at least moved a little bit closer. Now I'll change to local transformations and let's begin moving this into place. I think I just need to spin it around. First of all, me grab this and spin it like this and on, Turn it like that and then we can move it up and kind of put it in his hand up here. Let's try this. Yeah, we're getting there and maybe I'll put it in like that. Oh, maybe we could tilt it a bit. So just wherever you think is appropriate here, I think maybe I'll move this up here like this. And so now what I want to do is just move the fingers around until they kind of curl around it. So let's now go back and choose the rig. And what I'm gonna do is move one of the fingers and create a key frame. And then I'll turn on auto key frame here so that every time we make a new adjustment, it automatically applies a key frame. So maybe I'll work on the thumb first. Maybe I'll grab this year and let's go to the Rotate Tool and I'll just take this and move it down like this. And then once I have that where I want it, I'm gonna press the high key on the keyboard and choose to insert a key frame for rotation here. Now notice that for every control where there wasn't a corresponding bone from the motion capture rig. We don't have ah, whole lot of key friends going all the way through. We just have one at the beginning and one at the end, and I want to take out the ones at the end so that what I create on frame one stays for the entire length of the animation. So I'm just going to get rid of this key frame here. Now, I'm gonna turn on auto key frame and then work on this one up here. Notice. Once again, it has a key frame at the end. I'll go ahead and just delete that for now. And then I'll take this and rotate this up like this. Maybe I should bring this out just a bit. Let me do that and we go and I'll grab this and move it down still. And then let's move it in some as well. Kind of like this. Grab this key frame and get rid of it. We go. All right. So you've got the thumb there. Let's now work on these other fingers. Um, this one here, I could probably take that and then hit the s key and scale out to move that back a bit. There we go. Ah, let's take these other fingers and do a similar thing. Let's grab the middle one control here, and I'm going to scale that in a bit. It s and skill that in. So we kind of get it intersecting with the phone just a little bit. Let's try that. Um, let's grab this one here. Same thing, Gail that in. And maybe I'll rotate this in just a bit. Yeah, Maybe I shouldn't go that far with it. I'll rotate this back that and then let's try this one. Here s and bring that pinky N. Maybe I'll roll it in a bit like that and roll that in some. All right, let's see what we've got here. Gonna go forward and the phone stays where it iss. We need two parent it to some sort of hand bone here. So it'll stay with the hand. Let me go through and take out some of these key frames at the end here. The ones that we've changed year and here here Oh, I think I would change some of these here and us like this down here and delete that. Let's just make sure our hand is staying where it needs to be throughout the whole thing. I'm gonna bring it over here. Let's take a look at the hand. All right? Here. Yeah, It looks like it's pretty well, staying where we want it. That's good. All right, let's go back. And now its parent, That thing, the phone to the hand bone. So it's come over here and I'm gonna slick that. Oh, I'll selected Over here. There we go. And it looks like I accidentally placed a key frame on that. Let's get rid of this. We don't want that. There we go. And now its parent, this phone to the hand bones. So I'll select the phone and shift. Click this hand bone here and recall we've got block object mode unsolicited here. We haven't We've turned this off so that we can select objects in two different modes. Now let's press control P and parent to the bone. All right, I'm gonna come over here press all today to De selected. We'll turn off that rig. Let's go back to solid mode so it'll play a little bit quicker and let's hit play and see? Yes. So now he's carrying the phone along as he walks. There we go. Oh, and it looks like we've got just a little bit of an issue here with the neck I saw right there. Let's take care of that real quick. Ah, we can either deal with the neck or the shirt, either. One. I think what I'll do is maybe work on this shirt. Let's try that. I assume in here and let's turn on proportional editing and I'll hit G and move this up a little bit too much. Maybe something like that. I think that may help. All right. And there he goes. All right, so I think we're ready. Okay, let me try one more thing. I feel like this thumb right here is not quite right. It's bent in So I that I accidentally over rotated that at one point. Let's select that thumb, go back to the auto rig pro, and in our interactive tweaks here, let's ah, type in thumb. And that's thumb one l right there and then, Yeah, let's bring this back out of it. Maybe about like that. Let's see. Ah, let me take this down to maybe five degrees. Bring it back. Yeah, I think that looks pretty good. So that looks a little bit more natural, I think. All right, let's hide this again and see if we're ready to move to the next step. Yeah, it looks pretty good. I think what we should do now is take this character and put it into a scene. Put it into an another scene that we already have pre made and place him so that he can walk around in an environment. So in the next section, let's start working on that. 23. 23 Bringing the Character into an Existing Scene: so there are a few housekeeping chores we need to take care of before we can take this character into another scene. First of all, I'm gonna come over here, and this is that motion capture file that rig that we brought in from perception neuron. Let's just go to a wire frame here and yeah, here it is, right there so we can delete that we don't need this anymore. I'm gonna just hit X and delete that. Then what we can do is move this cell phone into the Linea mesh collection. Now, if I take this and I drag it and I drop it right there, nothing happens. I can't drag it into that collection. And that's because I have parented it to a knob decked within this collection. Here, the rig collection. Now, if I come out here and hit the M key to bring up the move to collection menu and choose Linea Mesh now it works. So just a little trick there. So we've got all the objects in one collection on all the rig objects in another collection . I'll go ahead and bring that back so we can view that. All right, so Let's select the rig. And let's change this to object mode here. Okay? So we now have our character and our rig. Well, let's do is let's go and open up the file that we're going to bring this into. I've got a warehouse, seen that I want to bring him into and have him walk around. So what I'm gonna do is open up a new instance of blender. There are a couple of ways you can do that. You can just double click on an icon on your desktop, but I'm just gonna come down here and right click and choose blender, and that will open up a new instance of blender. Now that I have this, I'm gonna go to file and I will open my warehouse. Seen that I have here it ISS. So now what I want to do is move that character into this scene. And to do that, I'm gonna create another collection over here. I've got a collection for all of the lights and the Volumetric cube here. I've got a collection for all the objects in the scene. But what I also want to do is create a character collection as Well, now, if you have multiple characters and you can bring in multiple characters, let's just pretend like we're going to do that. I'll create a new collection and I'll call this characters. And then within here, we can create a new collection and call this Lenny right here. Okay, so now what we need to do is go back to our other instance of blender. I'm just gonna go back here. I'm gonna select everything in my scene with the A key in object mode. Everything is an object mode here. And then I'm just gonna press control, see and copy it. And then I'm gonna go back to the other instance, and I'm gonna select my Lenny collection, and I'm gonna press control V and paste it. And there it is. Now, there are a couple of issues here. One we've got all these control objects thes air, the object that were created to make the control objects for the character. So we don't need to see these. And as you can see, they're all called CS. So what we can do is we could end the Lenny collection weaken, Just create a new collection. Call it CS objects and then just select all of these all the way down to here, and then just drag him in. There we go. Now they're all in there. And I could just turn off that collection here. And there they go. So let's just hit play and see what happens. Well, there he goes. All right? So he's not exactly positioned correctly, so we're gonna have to move him around a bit. But everything works, Everything's here. So what we can do is select the rig, go into pose mode here. So now we can select our position control object here, and we can move him around where we want him to be. So I think what I want to do. I'm just compressed r and Z and rotate this a bit. And then, well, let's see. I move them over here. Is that right? Where is he? Let me drag a bit. Okay, so he's walking this way. All right, so I got that off a bit. Let's press R and Z turn them a bit like this. And then let's grab this and move him over, see if maybe he's gonna walk along here. Let's try this. I'm just drag. And yes, so what if he's walking along here? Let's say, But I see an issue here. He's kind of floating above everything else where the floor is. So I think I was off in terms of the floor on the other one. But that's okay. We can just hit the N Key. Come over here to the Z axis right here and just type in zero and enter and that'll drop it down to the floor. Now let's see how he's doing here. You can walk along, dear. Well, I kind of want him a little bit farther away from table and maybe Turnem Arthuis A bit like that. Let's see how he's doing here. A little bit farther away. There we go. Yeah, let's say he walks around like this. Kind of pacing at the table here. Okay, let's see how he looks. I'm gonna turn on the view port shading here. Yes. Oh, there we go. We've got our character in the scene. I'm gonna turn off the rig here. World that up. So there we have our character in the scene. Readyto walk around, and I think maybe what we should do is create a camera and ah, try and render out an animation. So in the next video, what let's do is let's create a camera, maybe animate that camera moving around in the scene, and then will render out a final take. So that's coming up next. 24. 24 Animating the Camera in Blender: to add a camera to the scene. Well, let me switch back over here to the material preview, and then we'll just so we can move around a bit better and then all press shift a and create a camera. And here it is, right here. And so I think where we want to put the camera, I kind of think I'd like to begin over here kind of looking through these crates here and then come around and end up, I don't know, kind of look kind of up here. I think something like this. So to set the beginning point of for the camera, let's come over here and, ah, press control all 20 to move the camera to the view. And then I'll hit the N key and come over here to the view tab and turn on lock camera to view. Now when I move around, it will move the camera as well, so I kind of want it to be something like this. Although I feel like that's a little bit too much of a telephoto lens. Let's come over here and see under the camera panel. What are focal length is, and it's 50 millimeter, which is pretty standard, but I think I'd like a wider lens. I'm gonna type in 35 millimeters here. Yeah, so that gives me a little bit better of a wide angle lens, I think. I mean, let me try that, and maybe I'll begin right around in here. All right? And now that I have this in place, I'm gonna press the I key and drop a key frame right here for the location and the rotation of the camera. And then, ah, let's I need, uh I zoomed down before I turned off lock cameras. Let me come over here and turn this off. And then if I move this back and forth, it'll then pop back to where that key frame is. So now with this turned off, Aiken tumble out of that camera. So that's the hard part, is just remembering to turn this off and on when needed. All right, so I wanted to come around and end up somewhere up here. I think let's do this somewhere. I don't know. Somewhere like this, I think, and then that camera needs to be placed. That pointer needs to end up at that point would like to have it when he kind of pause is right here. That's what I would like to have. That camera kind of come to a stop is when he does as well. So maybe was. Try six. 70. He'll try that. Right. So I'll press control all zero to move the camera here. And then ah, blocked the camera to view. Let me zoom in and out and move the camera around to kind of get the framing that I want something like this. I think I kind of want this top part to be a the top of the frame. And then these to be kind of said at the corners of the frame like this. So I think that's probably pretty good. Let's go with that. I'm gonna hit I and create a key frame there. Oh, it looks like it's at 6 71 That's okay. All right. So me go back to frame zero Here, uh, let me turn off lot camera to view and let's just play and see how it looks. I'm gonna go back to solid view and let's just hit play and I'm using salad. You just so it will move fairly close to 24 frames per second. It looks like it's doing pretty well. All right, So the thing I'm seeing here is that it's going in a straight line, and I don't want that. I want it kind of an arc. So let's go back in bed and find where we want that arc to be. Let me Ah, turn that back on and I'm gonna around three. Well, I'll make it. I'll try and make it 300 here around there. I'm gonna zoom out. Maybe right up here like this. Something like this. So we can kind of see that top of the shelf there. Let's try that. I'm gonna hit I location in rotation. We turn this off, let's go back and see how it looks. Now I'll hit play again. Yeah. So now we're kind of going in a little bit more of an arc. Let's see how it looks as it gets to the end of the camera. Move here. Comes over here. Let's look at the timing of the stop here. Yeah, that looks pretty good. Actually, it kind of comes to a stop when he turns around there. Yeah, Okay, let's go with that. I've got lot camera to view off, so I'm gonna go ahead and tumble out around that and we can see the camera moving. If we then you can see it's kind of in an arc there around. Okay, Good. Now that we've got the camera in place in the next video, let's set up the scene to render the animation and then see how it looks. 25. 25 Rendering the Animation: Now that we have our camera animation done, we can render the scene out and see how it looks. I've got the cameras selected, but I don't see it over here. I think I'll just bring it out. Let me hit the period key here, and I'm gonna click and drag this camera out into the scene collection. There we go. Now let's take a look at a couple of rendered images just to see how it's going to look through the camera. So first I'm gonna begin here. It frame one the key frame that we have here, and I just want to render out a sample frame to see what it looks like. So let's go over here. And first of all, choose the Render engine. Currently, I've got E V selected, which is the one I'm going to use. You can also use cycles. Cycles is a ray traced render engine, which means it's going to simulate the balance of light in a realistic way. But because of that, it's going to take longer to render out each frame. E. V is a near real time renderers. It renders out a lot quicker. It doesn't simulate the bounce of light as realistically. But if you're willing to trade that for a quicker render time, it does really well. So with evey selected, I'm gonna come up here to the output and make sure I'm using 1920 by 10 80 which is just the standard HD resolution. You can change that by clicking here and choosing one of these presets. I'm just gonna leave it here as is. I wanted to export out at 24 frames per second. I want the file format to B, P and G. So let's just do a couple of test renders to see how it looks. I'll come up here and go to render and to render and image is F 12 so I'll hit F 12 and here we go. The render time for this was nine seconds. So here's how it looks from frame one. All right, I'll just close this window and let's skip to frame 300. Here. I'll hit F 12. This one happened in four seconds. Okay, that looks pretty good. I'll hit escape and let's skip forward to the third key frame. It f 12 and this one, too, took about four seconds Okay, so these all look pretty good. The only thing I would like to change is that everything is in focus, and I like to have a shallower depth of field. That's one of the reasons I like to put things in the frame in the foreground. Let me go back to frame one, and I'll hit the zero key. And let's turn on the rendered Vieux port shading here. One of the reasons I like toe have something in the foreground is to kind of throw it out of focus. And to do that, we can come over here to the camera properties tab right here. I've got the cameras selected and weaken. Turn on depth of field here, and then we can choose what object we want to keep in focus. So I'm gonna keep, um, How about this hat? I'll keep the characters hat in, focus or click on the eyedropper, hover over the hat, click that, and now it's always going to keep that object in focus, and you can see how it's kind of blurred these out. We're getting some flicker here just because of display issues, but you can see how these are kind of blurred out. I'd like to come down here, and, um, I happen to know that Thea Canon 24 to 70 Zoom Lens has eight shutter blades on it, so I'm gonna put in eight. And even though that particular lenses ah, 2.8, the widest aperture opening is 2.8, I'm gonna cheat it and just call it 1.8. So I get a little bit more blur here. So if I skip to the next key frame and see that this area has kind of blurred, I skipped to this these air a little bit more blurred. Now, that's all I wanted to do there. All right, so now what let's do is go ahead and render this out. To do that, I need to set the output. I'm gonna come over here to the output tohave here, and I want to set the output to a folder here. I will, right click and create a new folder and I'll call this rendered frames. We go and I'll open that up. So that's where are rendered. Frames were gonna go. I'll click. Accept. You can see that here. Now. We just need to come up here and go to render and render animation or control F 12. And here we go. All right, Frame one took. Oh, just around four seconds. That's good. So about every four seconds, we're going to get a frame rendered, and we have, I think, 900 frames in the animation. So if we were to make a guess, let me bring up the calculator here. We were to say, um, 900 frames times. Ah, well, it's call it 4.5 seconds equals and then we divide that by 60. We are looking at probably over an hour to render all of this out. So now is a good time to go get a cup of coffee, Take a break. Um, and when this is all done, we'll come back and take a look at it. All right. The render is all done. We can come over here to this video editing tab here, And if you don't see that, you can always click the plus goto video editing and video editing and bring that tab up. And here is where we can view are rendered frames. To do that, we can come down here to our timeline and press shift A and then we can choose image sequence. I will then browse to that rendered Frames folder, and here are all of our frames. I'll hit the a key choose add image strip and there it is, all right, so we can just hit the space bar and play through it, and you can see that it's playing pretty slow. It isn't playing at 24 frames per second, and that's because it has to cash all the frames to memory. So you can see that doing it here with the red line. So we would have to play through the entire thing for us to be able to see it at 24 frames per second. But once it got to the end, we could then begin again and play it through at 24 frames per second. So there's our animation. Yeah, it looks pretty good. All right, so the final thing we should do here, I'll just hit pause is let's export out an actual video file. So currently it's 900 still images, and that can be kind of a hassle toe work with. While you're editing, it can really slow things down. So what I like to do is export out an actual video file that I can then either bring back in here to the video editing sequence there, here in Blender or to the editing program of your choice. I happen to like Adobe Premiere. There's of course, I Movie and Final Cut and Sony Vegas and DaVinci Resolve. And there's just so many video editing programs out there that you can use. Whatever you want to use is is up to you, of course, but let's get it out to a video format that we can use. So to do that, I'm gonna come over here back to this output area, and instead of a PNG file, I'm a switch it to this FF MPEG. Then I want to come down here, change the container to an MPEG four, and I'm gonna keep it at H 264 But I'm gonna change the quality toe high. Let's do that, then I want toe tell it where to put that final video. I will click here and let's create a new folder and I'll just call this final video. Let's put it in there. Call it, um, let me on phone. We'll click. Accept. All right, So let's now come back up to render render animation or control F 12. And here we go. Now you can see it's happening in under a second, which is great, because all it's really doing is just compacting it into a single file. So this will take a few minutes, but then we'll have a single video file that you can use for editing. Okay, the render is complete. I'll go and close this window and let's go take a look at it. Here in our final video folder is an MPEG four called Linea on phone. Let's open this up, and here it goes, and there we have our rendered shot. 26. 26 Conclusion: Well, thank you for joining me for blender and motion capture. I hope that we have covered here in this course has been helpful and that you found some processes and techniques that you can use in your projects. It's never been easier to use blender and motion capturing your animations, games and visual effects. And I look forward to seeing the amazing work that you produce, so thanks again and take care. 27. 27 Bonus Lecture: Retargeting Mixamo Animations: we've learned how to create and use motion capture data from a motion capture suit. Let's now take a look at downloading some pre made animation for our character and for this I'm going to use mix Imo. Let's go to mix em o dot com here, and I'm gonna choose animations. Now you can scroll through here and click on various animations that you'd want to use. Um, there's a dance one here, a silly dance that I saw not too long ago here, this one. Let's try that one. Let's put this one on our character. So now that we've chosen our animation, let's come over here and click on Download and I'm gonna choose an FB X Really, that's owned the only thing you have. You can choose Kalata, but I think in FB X is really gonna be the better choice. Let's do it without the character or without the skin. I'm gonna choose 24 frames per second, and I won't choose any key frame reductions at all. So with all that set up, let's click on download, and I have created a mix Imo folder here. I'm gonna go ahead and put this fbx file in that folder. And now that that's all done, let's go back to Blender and let's import this in Let's go to file import. And this time let's go to FB X. Since it's an fbx file, here we go and let's browse to that folder. And here is our silly dancing FB X. Now I'm not going to change anything over here. I'm gonna keep everything just as it is and let's see how it works. Click Import. And there it is. Now it looks quite a bit different from the rig from the perception neuron, but it's still there. Everything's still there. If I click play here, you can see there it goes. So let's work on putting this on our character. I'm gonna see how long this is. How long is this? It looks like it's 93 frames. So in a type in 93 here, hover over here and hit the home key. So there you can see all of our key frames this to does not have a T pose at the beginning , so I think we should manually scale it to do that. Let's tab into edit mode. Let's go to the front view here, and I'll come down and turn on in front so he can see it. Let's change our pivot to three D cursor and I'll select everything. And let's scale this until it about right. I think I'm looking here at the elbows and kind of where the elbows is gonna go right about there. I think now the hands and the fingers air pretty off here, but I think that will be OK. Everything else looks pretty good, so I'll go back to my median point tab back into object mode. And here we go. Okay, now let's tell Auto Rigged Pro, which are mature. We're going to use. So with this one selected the one from Mix Imo. Let's click the eyedropper here on the source animation, and it says source armature, not initialized. Frieze source armature. So let's click on this and there we go. Now it's book on our rig here for our character and click are I Drop her there. Now we need to build a new bones list. Here I'll click build bones list and let's do that. Now we've got differently named Bones over here from the Mix Imo rig. So Let's choose the mixing bowl rig hips here and looks like it assigned the route master there. And that's correct. So we want to then click here to set that as the root. Let's then find the feet I'll type in foot. There we go and let's choose thief foot f k dot l. That needs to be changed, right? We need to change this toe i k Let's type in I k and choose the left bone, and we want to ensure that it is seen as I k. It's do that over here we moved these type and I k like a dot are and see it as I k there. All right now we can do is we can go ahead and click retarget. So let's see how it works. Retarget and then Okay, okay, looks like there he is, looking pretty groovy. It's I go to salad mode. Let's turn off the mix Imo rig for a moment and let's hit play and look at him go. So once again, he's pretty stretched up. I'm going backwards. Let's go forwards here. There we go. Once again, he's looking pretty stretched, so we're gonna have to do some interactive tweaks here. Let's go ahead and do that. Um, so let's go to the side view and take a look at the feet. I'll come over here, type in foot, and let's begin with the left Foot. Interactive Tweaks. I'll take the location down 2.1 and let's try and move this up. Um, I think it's see. Yeah, there we go. Negative Z, maybe twice. Let's try the right foot. Negative Z twice. Yeah, let's do that. All right, Now, let's work on this to bring this down some. This is the route route. Let's select that, and we'll bring that down with the why we're gonna have to come down. Probably pretty far for this. Something like this. Let's see if that's gonna work. Well, he goes pretty far up there. Year. Let's bring that down. So the knees been just a little bit nothing like this. Let's see how that works. Yeah, I just don't want those legs to stretch too far, you know, Maybe let's bring this down. One more beyond that work. It looks like that leg is stretched and still over extending their There we go. Okay. Got that? Now Let's take a look at the arms. The arms actually go into the chest around here. Let's see. We can fix that with some tweaks, these air forearms. So that's type in forearm and the right one here. Let's see if we can bring this out to bet. But that's the rotation. We don't want that. Try this. Yeah, it looks like we may be able Bring those out just a little bit that let's see how that works. Now what happened to be put his arms out like this? That's not too bad. It's a little bit hyper extended there, isn't it? But that may work. Let's see. I'll turn off the rig. Close that panel. Let's see him go. Oh, yeah, he's got the moves. Uh, so there we go. And there may be more tweaks that we could do here for a leg here and there. But generally speaking, that's how you'd bring a nan Imation motion capture data from a website where you can sometimes get these for free or for purchase, and you can use the same process to retarget thes to your character here in blender