Maya - Facial Rigging using Blendshapes | David R. | Skillshare

Maya - Facial Rigging using Blendshapes

David R., Senior Animator

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20 Lessons (5h 11m)
    • 1. Introduction to Head Rigging

      1:49
    • 2. Preparing your Head Model

      25:00
    • 3. Adding Head Joints

      12:34
    • 4. Creating The Jaw Joint

      7:41
    • 5. Naming Joints

      7:09
    • 6. Creating Controls for Animation

      18:02
    • 7. Connecting Controls to Joints

      8:58
    • 8. Making Controls Work Together

      9:08
    • 9. Binding Model to Joints

      18:04
    • 10. Painting Weights

      16:36
    • 11. Jaw Weights

      18:28
    • 12. Rigging Eyes & Teeth

      24:12
    • 13. Creating Blendshapes

      21:18
    • 14. Designing the Graphical User Interface

      19:40
    • 15. Using Set Driven Keys (SDK)

      12:28
    • 16. Blinking SDK

      22:14
    • 17. Teeth Blendshapes Fixes

      16:12
    • 18. Phonemes Shapes

      17:55
    • 19. Cleaning The Rig

      21:07
    • 20. Bonus Video

      12:07

About This Class

Perfect course for those looking to add to your rig the ability to talk and convey facial emotions.  This is where your character really starts to come to life!  This is were you, as an artist, create your own shapes and controllers.  It's your rig that allows the Animator to tell a story.  At the end of this course you'll have the ability to animate the brows, eyes, and mouth for a complete facial rig.

Transcripts

1. Introduction to Head Rigging: Hey, guys, it's David here from animation methods, bringing you another lesson here for rigging ahead and creating facial controllers for that rig. Now, we're gonna be looking at some of the proven methods that I still use in the studio two days. So when I go to work tomorrow, I'm gonna be using this exact same take nikh. All right, So I still use these controllers here. You're gonna be able to create your own custom controllers. You're gonna be able to come in here and create your own custom attributes in the channel box. As we see here, we're going to be able to come and create thes amounts, different shapes, very simple control this year that animators can start using to manipulate the rig. We're gonna add joints into the head here, gonna add all this flexibility into the mouth. And not only that, but we're gonna be able to look at how to create thes blend ships, which these blend shapes. You can add as many as you want, including the teeth. And once you have all of this and you hook it up into this main rig, this is what we're gonna end up with a very easy, very user friendly, um, rig set up. So if you're ready to jump right into this and start bringing your own custom facial and create the joints and how did you skinning and all that stuff? Just jump right into the other lessons, and I swear I will catch you on the other side. It's where it's where I will. I'll catch you, just jump. 2. Preparing your Head Model: All right. So let's look at what are some of the best ways to set up our modeling are seeing so that we can break this head a little bit easier. So what I'd like to do here is going to the front via port and make sure you turn on your grids by clicking on There's a little grids icon right here. And then you want to make sure that your model was actually centered right in the middle of it. So if I press five for shaded view, you want to look at the pivot point of this entire mash. This is just the whole the head with the neck, and then you want to make sure pressing four to go in tow wire from you want to make sure that the pivot point of that mashes actually centered on to these darkest grid of Maya here . So if your model is like over here, you want to make sure that you first of all, your pivot point, it has to be right in the center of your model. If it's not, you can go to modify center pivot, and that should automatically move that pivot point right to the center of the entire model here, and you can see it's still right in the center of the models. So now what you can do is holding down eggs to snap to dribs. You can easily just push this over. You can see how it starts snapping to the grid and make sure it lines up to that. Dark is grid. And that is how you can know that your model is perfectly lined up to that origin. And then what you want to do is also you want to make sure that the eyes so you can see that this eyeball is separate from this other eyeball, and the pivot point for that eyeball has to be right in the center of it. So let me go into wire frame so we can see here. That pivot point is right in the middle of that sphere, which creates that that eyeball. So when I begin to rotate this like this, you want to make sure that the eyeball doesn't come out of the head mash because, let's say, for example, for press insert and move this pivot point slightly off the center of that sphere, and I start moving this. You notice that the eyeball starts coming out of that Meshal. You don't want to do that. I want to make sure that your pivot point is actually centered. So I just start moving this around The eyeball still stays in there, so that's very important. So keep this. Both of these eyeballs separate from the head mesh and what I did here with the eyebrows. Now, most of the time, you can texture these eyebrows. You are pain, um, in there and you're in your text, Oring. But I created this little, uh, model here separate from the head. And then I select it both of the eyebrows and the head model and inches did a mash combined so that everything is together. And then once you do a combined, you want to make sure you delete history by going to edit, delete all by type and go to history and then notice I got some values here. Ah, you want to make sure that everything is zeroed out. So by to do that, you go to ah, modify freeze transformation. That will set everything back to zero here. And then if I move this away you can see what I have inside of the model as separate mash. You want to have the gums. Typically, it's a good idea to have it combined with the skin so that when the job opens and we skin the jaw, you want to be able to open the gums as well with the skin, and then the teeth will be separate. You can see how I have the upper teeth and in the lower teeth as separate geometry. And then two eyeballs are right there. So what I'm gonna do right now is I'm going to move this back where it was, and I'm gonna combined the gums to the head so that Cyril is out. And then very quickly coming here inside of the model, Select the gums and then shift. Select your head. Go to MASH combined. Now what that's going to do now is if I just select the head. It's also selecting the inside of the of the gums. So as I move this away, notice the gums are in there. But the teeth, the upper teeth, the lower teeth in the eyes were still separate. So that is exactly what I want. And Then again, you could do notice. It moved the pivot point down here, which is it's OK, but I like to keep it in the center and then it read names is to Polly surfers one when I did a combined. So if I go to a window out liner, he can see it created this other node in this other gum. So what I like to do here is goto edit, delete by type, the all by type and then history. And then again, you notice it got rid of the extra gums and head group and then this one, Polly surfers one double click on it and just call it head. And so now, with this set up, I cannot come in here to my layers, select the head. Do layers create eight was create layer from selected. So I now have the head selected, and it's gonna create a layer with that had already in this layer. So if you don't have your layers, make sure you turn on these, uh says attributes This one's your channel box. And if you can see any of these windows, are you having a hard time looking at your windows make sure you're displaying all of your windows or go to display. You are elements endure. Restore you elements or you can also try. Show all you I elements and that will show all of your windows and then you can quickly find it here So you can also snapped this away. So maybe it's hitting down here. So you want to make sure that you have this here and then again, this the means visibility. So if I told that on and off, I'm turning on and off what I have in this layer so I can double click on it se head, and then you can change different colors for your your mash on that layer, or you can make it not visible. You could make it template or reference, which means he won't be able to select the head model. So I like to keep it normal and just that there's already a layer called heads. I'm gonna call it ahead model and then save it. Let's see what that does. Okay, so if you see this little extra empty square here, if I click on it, you see it says t t means template, which means I can no longer select that model. Now she's using it like a template, for example of, you know, like a template. If you're gonna trace something out, use a template. So that's what it turns into. If I click on it again now it turns into, uh, the mash turns into the smooth mash. But again, it's just a reference I cannot select it. So it's It's useful to see the whole shaded mode, but I still cannot select it until I click 1/3 time. Now I can select it and it's back to normal. So that's very useful When, for example, is a template. Every gonna add joints in here. You want to create your joints without accidentally selecting the model. So this is actually very useful. And so with that, now that we have our model set up, we can start adding joints in here so we can look at this from the side view and we're gonna start adding, or joints up in here from the from the chest up to the neck and up to the head in the next lesson. So this is just a quick overview. You can customize your layer however you like, but let's start looking at how to actually rig this head model 3. Adding Head Joints: already then. So let's create our joints in his head model now. So, to creator joints, because our model is already centered right in the middle of the grid, we can easily come in here to the side view port, and we're going to go under the menu that says animation. So under animation, you were actually going to change all of these windows starting from I believe, assets or animate all these windows to the right will change according to what you select here. So from assets to the right will change. So go animation. And most of our tools there were going to be using to rig this head are gonna be found under skeleton. And then later on, once we skin the character, we're gonna be using the skin, uh, window here. But for right now, we're gonna be using this joint tool. So I'm gonna open up this option box. What is this is your settings. Click on that. And for my 2014 which is a version that I'm using, gives you the option to mirror joints. So you want to come in here and and watch out for this symmetry, make sure is set to off if you have any, anything selected here is going to start adding extra set of joint. So you want to make sure that that's set to off unless he wants symmetry joints. But for this one, we don't. I'm gonna come down here. I'm gonna sit my primary access to be ex secondary access to be why and my world orientation to be. Why? And this has to be said to positive. So the defaults are okay and I'll go over this a little bit later once we start adding joints and what this does and what it means And I want to set thes short bone length to one which is already at one. Make sure this is set 2.5 and the long bone length matches at the same as that value and then the 0.5 will match the same as this. So this is only, uh, it pretends to you if you're gonna be switching or swapping this rig into other other soft worse. But if not, don't worry about that. And now we are ready to create joints so very easily. I'm gonna create one down here for the chest and we can plan this out. You know, it doesn't have to be perfect the first time, so just try to see where you're gonna be placing joints. So I'm gonna place this may be down here like so this is gonna be like the chest area, and then we're gonna go appear to the neck. This is the base of the neck right here. So there's imagine a line going through right here. I'm gonna go right there. And then from here from the beginning of the neck, I'm gonna go turn off the grids so we can focus on this. Gonna go right behind the ear lobe, so about there, and it can go a little bit under knees, you know, not too much. But let's say that's where the head will rotate from. And then once we have that, we can easily move up here and add another one for the tip of the head. And so now we have this joint set up, and what we want to be careful of is you want to make sure that when I rotate this forward , it's actually rotating in the positive just because it feels like when you rotate forward this is, ah, normal direction that you would rotate in. This would be normal, which would be positive. I rotate back. That should be negative. But if you look over here in your channel box known is that we have that the opposite. We're getting negative values here. So, like negative 31. I don't want to come in here and input negative numbers to move the head forward. I want to come in here and the channel box and input a positive numbers. So to fix this, we can do this manually. We need to rotate this. So let me make sure I have this under reference so that I don't accidentally select the head. And what I want to do here is select all of these, so select that route joint, do a select hierarchy. We know this is a root joint because it's the beginning of our of our joint chain, so you can see how these bones point they're pointing at the at the Children's. This is being the main one because there's nothing behind it. That will be what we call the root of the chain. So we select their route and then do a select hierarchy press F eight and then we're going to select appear this question mark. Once we select that question Mark, we're going to be able to see our what's called a local rotation axis and what that does you can really see the little. Here we go. Let me turn this offer now or do ah, template so we can see the little arrows. So right now, as we have it, the why is pointing behind the model. So we know that we need to flip this wide to be in front because if we rotate this, why all the way around? We're going to know that that is going to flip our rotation to be positive when we rotate the chest or the head forward. So in order to do this is you can turn on a snapping. So if I select that little manipulator and do a road teeth right now, we can freely rotate this. I don't want to rotate freely. I want to snap Rotate that so that I get an accurate rotation. So double click on your rotate to do a discreet roti. Once you checked that on, you gonna say snap, rotate by 45 degrees, or you can choose any number you like. But now watch this. When I wrote tape this, you're gonna see it snap. So that's 45 degrees right there. It's another of 90 degrees. It's another 45 and one more will give me 1 80 So now you can see the wise pointing forward . But I need to come up here and do it to the rest of these. So it's flipped the Y all the way. I could even do a 1 82nd type in 1 80 discreet road tape so that I can just do one full turn, so rotate, rotate to it, snaps there goes, come up to the head. Now this tip joint doesn't really matter. Some just going to leave it, Senator, turn off screen road teeth. And once we're done editing, remember repressed F eight. So once we're done, we need to get out of this. Um, well, we got we call this component moat, which is we're editing the local rotation of that joint. So this is these little arrows are showing us what? That local, um way that the joint is pointing so pressing a fate now we are out off a component mode, and we are now in what's called object mode. So close this. And now let's try it again. Going to select just this bottom one like we did before and then let's check out the rotate . Now, if I rotate this forward, notice that now we're getting positive numbers when I rotate this forward. And if I rotate this passing backwards now, we're getting negative numbers. So I want to come in here and make sure that we're getting positive numbers on each joint. So positive going forward. That's good. Back going negative and then the tip joint. You do not worry because there's nothing in front of that joint that we can start controlling and manipulating. But you saw how we had to Ah, manipulate that manually. Oppressive fate. Turn on the discreet row tape and then to show the the local rotation to show it you can actually go to display animation. I'm sorry, transform, display and then you'll see here. Turn this off by selecting these dotted lines. If I press local rotation, you can see now that local rotation, but there's actually a script on my website. If you go to animation methods dot com Ah, backlash scripts or think it's four slash forest Last scripts. You'll find this script right here, which still works under Ah Mei A 2014 but it's the exact same set up that we have, but it's for manipulating the local rotation of joints. So this is the same set up that we saw under Skeleton Joint Tool and then option box. So we did it. A max is. You want to make sure the A maxes was said to X. So what that mean is, if I do a show access, aim axes is the main access that this joint points to the next joint. So if I go over here, notice what this script, I could easily show axis instead of going to display a transformed local. That's why uses square because it's more convenient. So this X axis is pointing at that next joint, and then I can still come in here, say X nozzle up axes has to be away from it. So these air kind of pointing up now when we created them in my other pointing the other way. But that's essentially the up, so this would be up from the X, So X is going forward and then why is going up? And then we want to set our actual world, which is our our grid space world to be up. So this is X Y Z. So we want the why still to be up. So we're gonna select why right here and then this was this was actually manually or, I would say, almost automatically just selecting this Korean joint. You'll select that one, select the route, do a select hierarchy, show axes, and then you could just press what the up access should have been a y. So I gotta be careful there are in joint now. This flipped everything the other way, but notice how quickly were able to do that. And instead of going into the F eight and rotating this manually, I can tweet this by saying rotate. I believe this is the X axis. So ANC's rotate when 80 and I still have all of them selected, rotate and then look at that. It it created all of these in the direction that we wanted. So flip them 1 80 because I say rotate on the x axis. Remember X is spins around it. So this is why I like using this script and then you can hide axes and that's it. This is a comparison between this script and using Maya's joint tool, so it's very useful. This is very easy. And in the next tutorial, we're gonna look at how to add joints for our jaw so I will catch you in the next tutorial . 4. Creating The Jaw Joint: All right, so in this lesson, we're gonna look at how to add a simple jaw joints that we can open and close our mouth. So this is gonna be a fairly simple In order to do this, Well, we're gonna go on the side of you again very quickly, and we're going to use our joint to or you can add this to this show. This is our shelf right here. And then I went under custom right here and to at this joint tool toe are shelf here. Just hold control shift and click on it. And then you're gonna see this little icon appear right here, which this is the same as clicking here. So this is a little shortcut now, so I'm gonna click ones right where the jaw should hinge from. So you could look at anatomy books. He can look at our at a lot of different images of where you think the jaw Haynes should be , or you can experiment on your own. So I'm just gonna click over here and drag it click and drag where I think the the hinge for their jaw should be located typically trite under an in front of the year lobe I'm gonna say about here. Ah, well, you know what? Actually, let me show you the wrong way. A lot of people usually think that by, you know, creating a little chin joint over here, and then you can parent this to the head. Bones, this is ahead, Bone, right? If I do a parent, most of you would think that would be the correct way. But again, this is kind of tricky because you might think, Oh, yeah, I have this controller over here, and I have this thing for the head. But really, you don't? Because if you move this joint for the head like this will be like the head is nodding like saying, yes, you're actually opening the jaw. So you don't want that. You don't want to open the jaw as you rotate the head. So this is actually pulling the job open, if you can imagine that. So this is why this set up does not work. Somebody delete that joint. And the correct way would be to have that one joint separate from the head joint. So about here. And then once he treat that one, just click another one over here by the chin and press enter. Now you'll be able to move the head separately. But you want that you still want the jar, the whole mouth to move with it. But do you wanna have this independent control over the jaw? Right. So in order to do that now we can simply grab this child is going to follow the parent, this one. So let's grab the child shift. Select the parent impressed P Now that's automatically going to create a little joint connecting them. So what this does now is go to the perspective. You Now this is going to move everything down together, just moving the head and the mouth down. But now you have that individual control too. Once the head is looking down, you can still move the jaw without moving the head joint. As we saw in the other example, this joint was in there. This was just connected to here. So as I move this down, the mouth moved down. But now we weren't able to get independent control for that mouth. So 10 that out. Now you want to make sure that all of these joints have zero values and the rotation notice every little joint I select here as zero accepted tip. The tip joints don't really matter. But if you have values and the rotate, just make sure you go to modify freeze transformation on that joint. And again, you want to test on for the local rotation right now because we created the joint in the sight of you port and automatically creates, um, right in the center of your model. That's the reason why we place our model in the center of the great to begin with. So now let's go ahead and test for rotating the jaw so they rotate this down. I'm getting negative values now. You might want that if you think that's appropriate. If you open the jaw, you're getting native values, and as you're closing your getting positive, you know that's that's totally up to you. But I prefer when I open. I just want to come in here and type in like I don't know. 10. I don't really like to input negative values when things move. So what I'm gonna do is I need to use my script. Oregon, like I showed you. Press F eight pressed their little question mark, select your discreet rotate and then rotated when 80 on the X axis. I believe so. In order to do this manually, I'm gonna show the axis. So OK, I can see any to rotate around. The X is gonna need to be flipped a 1 80 So the wine is two point down, so I'm gonna rotate. This is X Y Z. So I need to rotate on the X axis 180 degrees. Now you can rotate it positively or negatively or it doesn't really matter. But I'm just going to click that in this one as well. X now this doesn't matter, but it's like to orient that joint. Make sure both of these are the same. And now I can hide the local rotation axes and check that when I rotate this in, this axes down. Now it's on the positive. So that's exactly what I want. And then when I want to close the mouth, I'll be able to come in here, say zero and close it. All right. And so the next thing you want to do is you want to save your work. Always save your work. So goto file. And this is what I recommend. Don't save over your original file. So, for example, right now, 1/2 It's called the head rig Underscore 01 I don't want to save over, because if Maya crashes right now, I'm gonna open this file, which is which is gonna be like the work that I did yesterday. I don't want that actually want a new one. So I'm gonna save this as Hedrick 02 And I like to save it as a Maya, ask ease, and then save. And then that's it. So in the next lesson, we need to rename our joint so that when we skin the model to the joints were very easily able to identify which joints belong to. What part of the body? So let's stop right there, save your work and will catch on on the next Listen 5. Naming Joints: All right. So let's do a quick recap of what we've done so far. Like nothing that we've done right now has been really complicated. Everything we've been doing is we set up our model. We place it in a layer. We simply went to the side via port here we created Ah, a little lion of of bones here to go up to the neck. And then we created a separate joint here for our jaw. And then we parented to the head. No, this has been very simple, very complicated. I'm sorry. Uncomplicated, and we haven't done anything. That's that's scripting or anything like that is very simple. Um, so the next thing we need to do is we actually need to rename our joints now. Don't leave joints like this. Easy. Appears as joint one now pressing the down arrow key war. Well, I already go through Ah, your joint chain here. So as you go through these receive their just name by default joint wine two and three or whatever. So you don't want to leave him like this because if you have a character with so many joints, you want to be able to identify these joints so very quickly we're going to go in here now . You can rename I'm here in your China box by double clicking. Or you could go to window out liner. This out liner shows you everything that you have in your scene right here. So you have the left eye, the right eye, the upper teeth. Right? So I renamed these myself here as well. The lower teeth and then the head. And then down here is safe. It says joint one. And you have this little plus. So have you. If you click on this little plus, you're gonna start seeing everything else that's underneath, or I should say, parented underneath because this is sort of like little. This is a folder inside of a folder. But actually, you know, it's a joint inside of another joint inside of another joint inside of another joint. So this is HASA what we call the hierarchy or the way the joints are connected to each other. So if I look a joint six, what's joint six? If I selected here, you see it highlighted here. So that's the jaw or the chin tip. So this one is connected to Look at this. A little line. Go up here, Joint five. So that is true. This one is connected to that jaw joint here. And then if I look here, this joint fire was connected to appear. You still want to go up. So not as the line is going up to joint three. And Joint Three would be this one, the head. So that is correct. And then this joint four. What was that? So we see here we have another God's the left and up. So drink four is connected to join three. So both of these joints are connected to this joint, As you can see here, this one connected to that one. That one is connected to that one. So this is how you read your outline? Er, which is very important. Some. I'm gonna select that one. This is the 1st 1 the first joint, which is at the very top, and everything goes underneath it. This is what we call the route joint. So I'm gonna call this, um, can say capital letters or under scorers or no symbols. You can use numbers. I'm going to say brut underscore You have to use underscores you cannot use spaces. Spaces are not allowed and say J n t for short for joint and then press enter Going to go down here and see what that one select. So that will be the neck. This is not the neck joint that's actually the head joint. This one down here is a nectarine. So you can see if I move that around, that moves in next. So I'm gonna call this NEC underscore, and it's a joint. Very simple. Let's come in here to join three. What is that? If I move this around, that would be the head. So the model agrees. Yes, I am the head. Some gonna double click on that and say Head underscore J and T for joint. This is what we call a name space. So those of you have been watching my of rigor shark Siri's videos on my website. You should know about name space. So let's select that other joint. This one is ah, tip joint that we don't use. So this one we rarely name it, but to to name A. I'm gonna say head on this court tip or you can even call it and joint so that you know not to use that underscore J and T. And then it's go down here. And this one is what this one is actually the Shaw. So I'm gonna say Shaw underscore J and T. And then the last one, it's part of the job. But it's the end or the tip. Something to see John on your score. And as we named the other head and joint underscore joint press, enter. And then now we have renamed all of our joint so that we can quickly, like we can all come in here or open this right? I haven't had my coffee, so I'm a little slow to always gonna have my coffee. Coffee, coffee, coffee, coffee. So Right, So you have the route, you have the net joint, you have the head joint. And so naming him, you can quickly come in here and no, what joint is what? So you don't have numbers anymore, right? And you can even closes out. So this is very important. Um, and I believe we are done renaming our joint. So what do we need to do? That's right. Save our work. Save ass. Select his head. Regal too. But I want to say now it's version three save and I believe that's in. That is all the hard work that we're actually going to do. The rest is almost easy. It's nothing but creating controllers, parenting them together. And then lastly, we're going to skin them together, then at the very in at all the fancy stuff with blend shapes and smiling and and I brought controllers and all that kind of stuff. So we're gonna look at that, creating controllers in the next lesson, so I will catch you in the next one lesson. 6. Creating Controls for Animation: all right. So let's start adding the animator friendly controller so that we can when we create rig, obviously don't want toe select the joints which are located inside of the models. So we want to create thes controller so that the animator can easily come in here and turn this off. This is what he's going to see. The joints, they're going to be inside of the model. But the controllers need to be outside. So let's go ahead and look at how we can create these controllers. So do that. I'm gonna show you how to create your own custom controller and then and the next one, I'm gonna use my own script, which he confined the script on my website at animation methods dot com scripts, and it will show you how to use it and install it. So let's go ahead and create our first controller for the chest down here Now, each little joint except the anti joints will have a controller. So here's how we create controllers go to create nerves, primitives, and then we're gonna select circle. Now I like to turn interactive creation off because if we leave it on, we actually have to watch this after clicking drags have to click and drag here. I don't like to click in drag It's I'm that lazy So I'm gonna go toe create nervous turned this interactive creation off And they're now when I go back and say circle, it's already there for me. So I like to use that little quick feature there. Just just create one for me. You know, I don't need to click and drag one, so that's just preference. Um, so that is how you create a controller. Now, I do not recommend you create a square even though square watch this. Given the last square, you might think I it looks pretty cool. Well, actually going to turn off the model. Have you tried to select one notice? It's not one solid piece like this circle is. So this is why we cannot create controllers using this square nerves. So I'm gonna delete this now. The script I have allows you to create a square, and it's one solid piece. So that's why I recommend using the script which we're gonna look at in a little bit. Eso Let's turn the model back on. No grabbing the move tool. I just pressed W as a shortcut, or you can, you know, come on here and select that tool. Um, but only two always use this shortcut. So I highly recommend you get comfortable using it, which is V as in victor or V, as in valley. So that snaps the location of this controller here to ah, Vertex or the center of a point. So holding down V and then middle most Yep. To have a middle mouse button here. I'm just gonna click and wiggle it around that area where I wanted Teoh to move Tool. It has to move right to that center of that joint. Make sure it's not offset like this. You know, it has to hold on the middle mouse, click and drag it. So that's exactly where that joining is to be. Because this controller, I'm sorry that controller needs to be there because this controller is going to move that joint and that joint needs to move from its pivot point. That's why it's important that both of these pivot points match. All right, And then I can re scale this. I'm gonna turn off the template because this is what? The animator is going to see the actual mash. So I'm gonna press f eight and I'm gonna select all my points here. I'm gonna start re scaling this, uh, actually, after you select them here, I re scale this, um, a little wider about like that. So once you're done adjusting the points press F eight again Now let's change the color of it. So select controller and press control A to open up your attributes window over here, and then you want to find the one that says circle, shape anything. This is shape on it. So this is nervous circle one nerve circle shape. So that's the one and then make nerve circle. So we don't need to worry about those two just shape. And then we're gonna scroll down to object display open that one, go down and drawing overrides one more time, open that one, and then I we need to enable it. So let's go ahead and click. Enable overrides. I know it's a couple of steps, but once you do it, you know two or three times it'll become second nature, and then that's it. This little color swatch over here allows you to click and drag any color that you that we have available here. You cannot click on this and pick a specific swatch color can only choose whatever slider colors we have here, which throws plenty of controls there or colors to choose from. And then that's it. We have this nice little blue controller here, which is still ah, centered there. Now, here's another little trick. Let's say we want to move this controller higher up or lower, whatever you like, but we want to keep the pivot point right there. How do we do that? Well, you could press F eight again and selecting all the points here. Make sure you get all of them being in this F eight mode or what we called component mode allows you to move it however you like. So I could move this further down if I wanted to and then press f eight and then you're still going to get that pivot point to state put word originally Waas. So that is how we create this controller and then quickly Ah, you want to rename the controller and the sea all these. All these numbers here in the China box. That's a big no no. You cannot have values here because the animator Rwanda rotate this however he wants or, you know, give a nice post to the head model. And then he just wants to zero everything out when he's done. So if I zero everything out, notice our controller moves away from that that original spot where we needed to be on the joint salt, that's not good. In order to set Thistle as our default toes for our controller, we need to go to modify, freeze, transformation. And when we click on this look of year in the China box, everything has been set to zero or default. This is what we want. So now when I rotate this harbor right like and the animators thung, he can quickly come in here and say, zero enter and then look at that. It's back to its original spot. It's fling flat, and the pivot point is still in that joint, so frieze transformation is very important. And then lastly, you want to rename this so something that an animator can quickly come in here and say, Oh, that controls that. So this will be the chest underscore CTR Oh, now see TR hours short for control. So again, chest control, press enter and we're done. No, an animator does not need to coming here to this controller and re scale it. OK, that's a big No, no, You don't want to give the animator control over changing how the controllers look. So what we need to do here is go to scale and visibility. So highlight the names, scale and visibility on X Y and z right click and then you'll see down here I'm holding right click. It will say Lock and Heidi selected. Now when I release on that notice it locked and it hide the scale Invisibility. So now the animator doesn't have ah away to re scale this Even if I press the re scale tool notice I cannot re scale this. I can rotate it, I can move it but I cannot re scale this. So that is how you set limits for animators, which is it's OK, you know, you don't have to worry about this and so let's move along. Let's add another controller for the neck. Sonny's my script, which again you confine on my website on animation methods dot com, and I'm gonna do another circle. So it created a circle for me. There it is. Nice and tiny did not scale that up. Now, the reason why I like to use a script is because I can make this smaller. If I go to color, check this out. Just select a controller and pick one of these five colors. And then very quickly, I didn't have to go to the attributes editor. So I'm gonna grab this holding down V again the middle mouse click and drag it Now, notice it doesn't want to go up there and snap even though I'm right on it. So what you need to do is click and drag on this little box of the manipulator. Just wiggle it around. That way you can free it up and it's not locked into one axis. Now try it again. And there goes now that it's position there, um, gonna press f eight. And I'm gonna customize my controller so very easily select. Oh, my points. I could move this over under the edit points. I could move this higher up if I want it. Um, I can even do something that I typically like to do with these controllers here, so watch this Gonna minimizes. I'm gonna template this, that I can see these points better. Gonna grab all of these. Except that one. Ah, and I'm gonna move these forward like this. Just reshape it however you like. It doesn't have to be exactly what I'm doing here. Describe this one too. Make slightly smaller. So that's gonna be a neck controller. So grab all of these. Whoa. What happened there? I think I zoomed in, so just want to grab all these little points here. You can even remove the template shrink It is, you know, make it any any custom size you like. But I'm happy with this suppressive eight. Once you're done and then notice the pivot points still maintains on that little joint. So that's pretty cool again. You want to come in here and do a freeze transformation, modify frieze transformation and name this Nick underscore C t r l. Now this controller is on Lee going to rotate. This controller can rotate and translate because it's on the route. All these other joints here in the head will only be able to rotate, so select that controller Select the translates called Control and Select Skill and Visibility. And again, right click Say Lock and hide Selective and we're left with just rotate. And then that's all we have to do. Now let's go ahead and add a controller for our head. So let's again opened up the curve script. Gonna add another circle. Now, there's plenty of other controllers that we can create, but I'm going to stick with something simple here. Quickly changed the color of it. Re scale it. Hold press w and V to snap it right there. So let's move on a little bit faster. So select all these points whips. Make sure I have them all. Move this wherever I like it to be. Mm. Could move this down just so that it's not in the way I'm going to say about not right there. I could even move this away. Appear on top of the head if I wanted to make it look like a little halo. Yeah, Halo, please. Some halo. No, I don't have a next box. Darn it. Well, I'm just gonna say right there and skilled is down a little bit. Press F eight when you think you're done again? You have all these crazy numbers here, So go to modify, freeze, transformation and rename it. I'm gonna call this head, underscore Ctrl for control. And again, this controller is on Lee going to rotate. So selecting that control, select all the translate skill and visibility and right click lock and hide selected. And that's it. Um, next thing we want to do is add one for the job and we will be done with our controllers here. So let's go ahead and add one for our jaw here. So creation circle coloring. Now, this might be a little bit trick. You're confusing to some of you. When I was starting off, I used to confuse this jaw with Thea. Sorry, this joint with the actual jaw controller. So actually this is not the one you want a parent. Get a signed this controller to You don't want to do that. That's the wrong way. You want to move this controller? See a over here to this one back here. This is the one where they changes. Remember that once you place it there, you want to press F eight again and then just move it to wherever you like, select all the little points and I'm gonna move it in the Z And we were down here to where the jaw is, and then I'm gonna go back to reference. I'm not going to start shaping this to something. Were you can tell an animator that this is the jaw controller. So I'm gonna grab this, Gonna move some of these up and rotate this like that. Push some of these up, bring some of these down. So something like that. So this would tell the animator this controller here is responsible for moving the jaw. And you know, there's other controllers in that script that you can use that look like arrows, which might be more easier, but that's completely up to you. How you customize it so I can move this. Have, right, Like, I can rotate this like so I can very quickly customizes have right, like, press that fate when I'm done. Pivot point is still back here. What do we got to do next? We need to attract get rid of all these values in the channel box by doing modify, freeze, transformation and again the jaws only going to rotate, so we could only rotate the jobs. So again, we need to get rid of the translate scale invisibility as well. So right, click lock and height selected and give it a name. Shaw underscores C t r l. And that would be it. We have created Oliver controllers. We have all over joints renamed. Everything has been set to ah zero out and all the controls are clean. And now they are ready to be hooked up to the ah joints. On the next lesson, we're gonna look at how we can connect thes controllers that when I move the control, the joint moves with it. So it save your scene and I will catch you in the next video. 7. Connecting Controls to Joints: All right. So we are looking pretty awesome right now. We have all these controllers, we have all of our joints and we're ready to move on. So in this lesson, we're actually going to connect the controllers to the joints. So that is the big secret of how things work underneath the rig. So the controllers moved the joints, the joints will move the mesh or the polygons, our model. So let's go ahead and dive right into this. So the first connection I'm gonna start from the bottom worker, wait up. Just like we did with how we created our controller. So obviously this is our route joint. What's so special about our route joint now? The route joint can actually I should say it's the Onley joint that can translate and rotate All other joints cannot translate because if you try to translate them, you are not moving them. You are stretching them. That's the reason why we cannot translate all these joints, all the ones that are green. We cannot translate them. They can Onley rotate now this one because the bottom one is the root. This one can move because I will actually move the entire head, and it's not stretching anything. As you can see, it's moving everything. That's the reason why this route joint is very special. So there is a connection. Under constraints. Make sure you're under the animation type constraints. I'm gonna tear this off here by selecting the dotted line just to make it easy so I don't have to keep coming up here. Constraints is how we connect controllers to joints now. Each one of these works a certain way now, Like I said, some of these controllers cannot translate. They can on Lee wrote it. So we need to select one disease that allows it to only rotate while the route joint allows it to rotate and translate. So that's another one. So, for example, parent will allow you to do that so that so we have, you know, a couple of different ones about five constraints here. So depending on exactly what you want to do, you would choose that particular constraint. So, like I said, a parent constraint allows you to rotate and translate. Ah, any type of ah connection that you do So, for example, this control will rotate and translate that joint so that would be perfect skill. I rarely use scale, and most people don't use scale. But if I were to scale the controller, our model would scale with it, or the joint will skill with it, which will cause the entire monitor. Skacel. I don't recommend using this one unless you have a need for it. So orient constraint that allows you to make a rotation connection on Lee. So that's another one that we're going to be using throughout this model aim. That's good for the eyes. So when you have a controller and an object needs to always aim at it, for example, you know I move the controller for the eyes to the left. I need the eyes to always aim at that controller so that that's what that's used for. And then, lastly, the point a point will only allow you to translate. So remember, there is a different point only translate. So if I wanted just move something around using the move tool, it will move with it. But if I try to rotate it, it's not gonna rotate because it's only connected to the translation. So once again, very quickly, let's skim through this translation on Lee is self explanatory. It our aim at at another controller or an object to a controller. Orient is only rotation scale. We rarely use it. But if you have to, it's self explanatory. It'll scale parent rotate and translate. So that's very important that you understand that very important. So if you go to the option box under the parent because we're gonna connect this ah, chest control to this route joint using a parent. So both of these are associated together. Same thing with these joints. So this controller is associated with that joint, and this head controller is going to be associated with that head controller. And this jaw joint is going to be connected to that John joint, and that's gonna be it. So this tip bone nothing that had tip bone nothing. So here's how it works. Ah, this one. Select the leader. So this controller is going to be leading the joints. If I move the controller, I want to I want this joint the route, joining here to be following this leader here the controller. So I'm gonna select the leader first, then select the joint or the follower second gonna open the parent options box here, and I want to make sure that maintain is 19. Offset is checked to on now. Typically, you can leave that off, but every turn it off. What it does is it matches up the pivot points together. So if your privet points are not aligned, it's actually gonna merging together. So sometimes you don't want that because it'll move things away from where you originally had them. So in case something is not aligned, I want to maintain that offset, hit, apply and close it. Now, if I select his route, notice that the joints are like this purple color now, because that means there is a connection between this controller and that joint. So if I move the controller, notice that all of my joints are moving, which is perfect, that's what I want. And because we did a parent constraint, I can also move all my joints. Right. So let's move up. So this neck controller, remember, this does not translate. This only rotates. So I need to do a connection between this controller and this next joint. So select the leader, select the follower and we need to do an Orient country member Orient Constrains Onley connects rotations. So again, option box maintain offset is on ad. Let's check it again. Select that controller and everything above it. If I turn this off hopes turning off everything above it works well and lastly this. Let's check it out. There's head controller is going to be moving this joint right there. So again it's only going to rotate. So select the head Control selected Joint Orient And then lastly, Aiken already know is gonna work because it's very simple, very simple connection to do to select the job control selected job joint again another Orient and then select the controller and I should be able to open the jaw. No, If I move this, check this out. What's gonna happen? It looks like it's broken. Something is holding this thes joints from moving freely. So we're gonna look at in the next video how we can fix this and I can tell you straight off. It's because these controllers, if I move this main controller, it should move all of these other controllers that we have here in our model. But it's not so we need to parent Thies to work well with each other. So in the next video, gonna show you how to parent thes controlled or so that the controllers now work well with each other because the joints were fine. But the controllers air not working well. So let's go ahead and save our work. So I'm down to version five now, so let's go ahead and save that out, and I will catch you in the next listen. 8. Making Controls Work Together: All right. So let's look at how to parent thes controllers to each other so that they work together and they move appropriately with our rig here. So you can see if I move this route, this route should be responsible from living all these controllers, not the joints. We ready? Know that that moves the joints. But we want to move the controller. So if I if I rotate this notice that all these controllers air not moving with it. So if I wanted ah, the character to to say, for example, about down, it's not bowing down because these controllers again are not following that main route controller. So to do this, we need to parent thes controllers accordingly. And we can look at how things air parented by opening the out liner. Now you can see our controllers here have this little s curve shape. So that's that would be the chest controller than neck controller, head controller and the jock and shoulder. So the best thing to do here is and turn that off, figure out how this whole all these controllers follow each other. So which one is the follower? Which one is the leader so we're not going to be using constraints because the constraints are for the joints, like we did in a previous lesson. Parenting. It's It's a simple select one controller. Select the other controller and then hit P on your keyboard to parent Phyllis controllers to work well. So let's take a look at how these work. We know that this is the route controller. So this route controller should be like what we call the master controller. This should move everything and then going down the chain, we have the neck controller, so the neck should move freely now from the master. So you can see it is but everything above it now the head and the Josh, it moved with it. And then as we moved down the control ah, hierarchy or the chain. Now we have the head moving independently, which is OK, but now the head thinking about it, the jaw should be moving with the head right, because your jaw obviously is attached to your head size. You move your head controller. The jaw controller should also be moving with it. So that's sort of the logic that we need to. It's very simple, but we need to now execute that. So how do we do that? Here's how we do it, child. Parent P remember that little phrasing? Because I little phrasing it's very simple. And it tells you so much about how things move. So, for example, this is apparent, right? This is a leader and this neck and shoulder, um, working both of these together. This should be the child. So, for example, I move the parent this control of the next move with it. Right? So if we remember that phrase child parent, and then press Pete now only working with controllers, not joints. So child Parent P So look what happened in here. See chest control. If I open this up, it moved that net controller inside of that chest control. So now this is underneath that chest. So if I grab the chest controller here, notice if I move it how the child or this follower is moving with the chest controller, and that's exactly what we want. So now, again, let's move down the chain now and now let's focus. Since both of these are connected now, let's worry about now. The the neck and the head controller So let's think about these. Which one is the leader? Which one is a follower? Or, in other words, which one is, Ah, the parent and which one is a child? So if I moves in neck, shut the head move. So the answer, Yes. No, that's right. You move the neck and your head moves with it. So that tells you right there. This one is a parent. The head is the child because the parent always tells a child what to do, right? So, child Parent P, we need to select them in that order. So head the child. NEC is a parent, and then press P. Now look of the junior out liner. Notice that now we have a little plus sign under the neck and shoulder. So now we see that head controller is underneath the neck, and now the neck is underneath the chest. So now we're starting to get a little higher. Aggie working, sort of like the joints did. So I have our joints over here and I have our controllers over here. So if I select that night controller, notice how I can move the head controller with it, and that's actually exactly what we want. But if you look at this jock and shoulder, that one is still screwed up because we haven't parent that to anything yet. So let's see what happens if I move this just controller. Notice how everything is working well now because we are parenting them in a specific order and then, lastly, is our jaw controller. So the John needs to move with Wood, the head controller, not the nothing that controller. It will move with the neck. But remember, the neck is already connected at to move their head controller. So now, which is need to worry about the jaw moving with the head. So again, if I move the head, the Josh move with it. So the head is the parent and the John is the child. So remember that little rule child parent P so selected child select the parent and pressed P, and then this should complete our entire control system. So if I move the chest, that will move everything. Now, look at how it's moving the neck, how it's moving the head and how it's moving the jaw. I'll undo that. Now let's work the net controller. Now this is only moving from the neck up, which is exactly what we want. Now let's move the head controller and see of the job moves with it, and you can see it is even if I rotate this, it's rotating with it. And then, lastly, that drawl should move independently, which it does, and you can use it to do a little evil laugh because we are geniuses and you can always double check your work here. So if you parents something that's not right, always open your own liner and see how things are connected. So the chest is a parent, and then the neck is a child of the chest. And then now you treat the neck as a parent and the head is a child. I was in neck, and then again we treat the head as apparent to the jaw, and then the jaw is a child of the head, so you know, I can get a little bit tricky. But once you start getting how how the parent always controls a child, you can start to understand that a little bit better. So that's how that's gonna work out. And then in the next lesson, We're gonna look at how to finally connect our joints to our actual model here. And then later on, we're gonna look at how to connect. Thes. Actually, I can even do that now. Ah, we need to parent Ah, this eyeball and this eyeball to the head so that when I move it, it's gonna move the eyeballs with it. But we'll look at that in the next lesson. So again, don't forget save. You're seen as a different versions. I'm gonna change the five to a six and save that. So let's dive into the next listen. 9. Binding Model to Joints: All right, so in this lesson, we're gonna be looking at how to finally and the fun stuff apply our model, our head model to the joints, so that when we actually start moving the controllers, the model will move with the joints. So let's go ahead and look at what we cause skinning so skinning and the tools for skinning and the first thing we're gonna do now is turn off are referencing in and template so very quickly to apply this model to our joints. All we have to do is select route joint so we can select a the 1st 1 that the joint that we created or you can go into your outline er and selected there. So it says rejoin. And then it shifts, unlike the head model that we want Teoh blind to that skin to that joint. And then all we need to do is make sure you're still under animation Tab here. Now we're going to go on your skin buying skin because that's what we're going to do. We're gonna find the skin to the joints, and then we're gonna choose smooth bind, and then I'm gonna open the option box here. Gonna close this now. Ah, gonna do? Ah, joint hierarchy. So this is going to apply it to all this hierarchy here from the re joint up to other joints and our model. So that's exactly what we want. We want this whole model to be applied to other joints, so that's OK. Heat map is sister a binding mounted. I typically do closest distance, but I'm going to try this heat map, see what happens. He can always undo the bind and try different methods that work best for you. That's the best way to learn this stuff. Try what works best for you. Not just what I'm showing you here and classic Leaner. That's OK. And interactive. I'm gonna choose interactive because I like to pose out my my character or the head so I can rotate it and still adjust the waiting Or how the model actually Comet deforms. Sorry about that. So interactive. Um and I'm gonna leave this to too, And two Now, this is what you actually need to mess with. So usually increasing values or lowering the values will give you better results. And I'm gonna leave everything as is and say bind skin and let's look at what it's telling us. Your geometry. Head shape origin contains non manifold vergis ease or edges. You smash cleanup to locate a remove measure. Regularities. So I'm gonna do a cleanup here. What? It's telling me I believe it's still going. Apply it. So let's see what happens here. Hopefully it doesn't crash on me. Still thinking Okay, so I didn't crash on me. That's good news. So let's see what this did. I'm gonna grab this route controller or the chest controller and rotated. And then now we can see that the entire model is moving with it, obviously, except the teeth and the eyes, because we haven't told it to move with it. I'm gonna create a different layer and throw those guys in there. I'm gonna select that I This eyeball properties, lower teas say I believe this icon is going to create a layer with those already in there. So I'm gonna say, eyes underscore or just, uh, teeth, eyes and teeth. It's save. Turn that off in turn on my model again. So I can just focus on the important stuff so we can see that that actually now moves the entire model, and we're going to run into some issues here, so you can see now that it's not that smooth. You can see how it's pinching here in the shoulders, right? And if I move the head, that's not too bad. But let me turn on these wire frame. It's not too bad, but you can see how these hard edges are staying there. So we need to come in here and adjust that end. I'm afraid to up in the job because a jaws always a worst one. So let's see what happens. This is Look at that. That is just awesome. I think I'm gonna add this to my portfolio. So obviously the jaw. It's always gonna be very problematic because it's has very small. Vergis is in here that he needs to calculate in. You don't Mind tries to do its best job on what to applied to that join put. You know, Maya doesn't know how it should deformed, so that's where painting Waits comes into play, and painting weights is actually that telling Maya what Verdecia specifically what Vergis is need to move with that joint. So, for example, if I move this controller here. You can see that these Vergis is right here are moving way too much with this net joint. So we need to undo that. And they can actually turn off now, this joint see through because I don't need to see my joints anymore. Or you can even show and turn off joints from here so that you don't see them anymore. And what we need to do now is start painting weights so that our model actually twists more smoothly. So to do that, you go to skin that we're gonna be under skin because we're at a different stage of our rigging. We already did this skeleton, the controls. Now we need to adjust the skinning. So Goto edit smooth skin and you're gonna see Let me see here, paint skin waits Tool. Now I like to I'm gonna do a control shift click so that I can add this tool right up here . So we're gonna be using this tool a lot. That's why I like to have it appear. So click on it. And I believe, if you no, to a settings. Yeah, so now here. You can also open this menu by doing skin edit, smooth skin paint weights, the same tool that we use and then click on this little option box. So clicking on that is gonna open this manual here, and this menu is going to show you what that joint. So if I turn on my joints again just to show you so you can see that this route joint is moving everything that is a white So everything that's white is 100% moving with it. Everything that is black means it does not affect that there is zero. Well, we call zero influence or 100% influence if it's white. If it's great, you can see sort of here. For some shades of gray, that means there some variation, depending on how dark or light it is. It's, um, percentage from from 100% white to 0% influence. So you consent definitely use, Ah, this color to show you and represent how much that skin is moving with that joint. So if we scroll down here, we can see it all of our joint. So here is my neck drunk. This is why it's important to rename your joint. So we select the next joint, you can see how quickly can select that. And now you know that this is the next joint and you can see it's fairly white because it's 100% moving that area. And over here it's getting into the dark and on the way up to black. So we need to Smooth is a little bit better so that it's more you get a better smooth deformation, all right, And same thing down here to the neck and the head joint. Now check out the head. Now they had means it's only moving this upper part and not the mouth area. And this is why if I move the head, he can see how. Actually you saw House of joints was just manipulating this bottom part. So select when you're gonna go into the ah, painting skin awaits. He always need to select your mash, your model here. So we're gonna select that, and I'm gonna show you how he can start adjusting this a lot better. So say, for example, I wanted a paint on. Let's start with the route you to come down here if you don't like to use the gray scale is a black and white. You can turn on this use color ramp that's gonna show it to you in colors, which, personally I don't like to use is color screen, because I think it's easier. Other white is 100% or black zero and gray. Anything in between is, you know, it's great out, so that's easier for me. Um, you want to make sure you're under pink mode. If you're under select, you're gonna start selecting your you're polygons here, your head model. So you want to go under paint, and then down here, you have your options for your brush. So you want to add mawr of this white influence. Now look at my brush is pretty small. If I hold down B, as in brush and then just regular click and drag some holding be clicking and dragging across the V port, you can see how I can adjust the size of my brush. So then here I could easily start painting. Do you see home adding more white? So the good thing about this is we can just focus on painting this half over here, and then we can mirror over our our paint waits by going onto skin, edit smooth skin and then down here is see mirror skin. Wait, So I'm gonna control shift click that two added here into myself, and I'm gonna look at the option box. Make sure you're marrying from positive to negative means from right to left. And then I want to make sure that it's set to y Z and depending on what your accidents that to you might have to adjust that accordingly. So adding will add white for planes. Well, it's well, there is. No, um, I should say this right now. There is no remove influence, so you can only add or replace. So to replace. You actually have to come down here where it says value you need to input like a 00 will make will make it black. So now if I do that little painting here, you can see how it's making everything black. Now you don't want to make it all black, so you wanna choose. Probably smooth for your smooth. This will give you some nice gradations, but you want to make sure that it's not set to one because one would be like the same as 100%. So you want to come down here to something smoother, like a point to or 0.0.3. And then when you start painting, notice how very gradually, start adding great to it. So this is how you're going to start painting waits on this, uh, model here. I'm gonna come in the smooth, smooth this guy out a little bit here. And then this is where you going to spend most of your time? Just painting this, you know, you're gonna be checking in on gravel controllers rotated. Make sure that it's working. Fine. Make sure things are moving smoothly. There's no pinching. There's no awkward. Burgess sees, you know, sticking out now to come all the way to the other side because I have the mirror. But I just want to show you here, have all of that. It's looking good. And then to test it out again. You wanna picked the controller? Actually, that was part of the next. So I'm gonna crabs and neck here. Now you can see we don't have that sharp edge. Well, haven't married it over, but we need to be looking at this site. So if I look at their side right now that isn't too bad. See how it starts looking a lot smoother so I can actually move the neck down like this? Select the mash, go back to my paint, waits to and I can go and blame between the neck and the route. So I'm gonna go back to the neck here and it starts moving. Make sure I'm under smooth to start smoothing this out a lot better. Now, this kind of starts Ah, bringing things a little bit more sharper. So you wanna and do this? Ah, You want a balance between the route and the next? I need to smooth this out some more. Make sure it starts working correctly here. Smooth, obvious. Nice. Nicely. Go back to the neck and I can add to the net. Notto ad. I like to make sure that I have my capacity wait up and I want to add values of 0.2. So this would allow me to You never want to add, like, 100% you want to. Gradually, very slowly I could make this even smaller, like a 0.2 or something like that. So be 0.2. Let's see what that does. So now this is actually very slowly adding white to those vergis ease. So that is what you want to do. You hear? Very slowly. See what happens when you add, uh, values to it. I just want to add some more to the chest was going from the neck down to the chest because I'm actually on the on the neck joint right now. So you need to make sure you're on the correct joint that you want to paint on, and you do that by selecting it there. So that looks not too bad. And again, you want to come in here to the root paint some of this as well, bringing back up craft some of this stuff in the back. I'm gonna increase the value a little bit so I can start moving this a little bit faster. This is where you going to spend most of your time Just adjusting this, making sure that things look good just on this side over here, and then when we marry it over, it will automatically go to the other side. So So then you can grab your soft brush, make this like a bigger and here we go, you can see this side looks pretty good. Um, gonna grab this now, When you want to marry it over to the other side, you need to make sure that your controllers, your model is set back to its default position. So right now you saw how had them, like, rotated like this. Want to make sure that it goes back to its original 00 on the controller and then cilic your model and then just click that button and then that should automatically see how that looks 10 times better. Now it married over to this side and then the other side as well looks pretty clean. So I'm going to stop right there, and I'm gonna move up on the next lesson on how to clean up the skin, waits on the neck, And then in the next lesson, we might look at how to adjust the jaw, and that's gonna be it for that 10. Painting Weights: All right, so we completed thes skinny of the neck. Now let's go ahead and move up to the head joint. Now, if I move up to their head joint, you can see Let's first thing you want to do is grab it and move it around, See where the problematic areas are. Now, if you look at this, you can see there is some Vergis is down here that are moving with it. He might be wondering why is that happening? Well, the reason why that's happening is because these Vergis is are actually part of the head joint. So we need to find a way to say that these vergis ease right here, like all around the neck, should not be part of the head joint. So if I select, let me do that. If I select the head joint, um, there's try to find these. So if we confine those birdie sees, they don't appear as a white, but that's OK. So, uh, I'm gonna grab these, uh, vergis ease right here in a signing on to the head. So I'm going to use a different method other than doing the paint weights. So what? I'm gonna do is I'm gonna turn this joint selection so I don't accidentally select my joints. And I'm gonna go to the side view port. And again, I'm gonna turn off just my joints just for the heck of it in a select right click. Got over ticks and go to this last tool. I'm going to select all the vergis ease that should be part of the head. So all of this right here gonna go through the next to you. Going to say all these Vergis ease should be part of the head joint. So in order to assign these verses to the head joint, I can very easily go to window general editors Component editors. No, Let's take a look at what this does. So, first off, we need to go under the smooth skin because that's what we're messing with. Not see how this tab is selected Springs. I don't even know what that is. We need to be sure that were under smooth skin because that's what we're working with. No, Over here, all these little joints have this little vertex number here. So all the verdicts ease I selected are right here. So they all have a number of heretics. 0123 all the way to as many as I selected and then appears says head and a joint had joint jaw and joint jaw, neck and rude and so on. Right, So here it's telling me that if I goto layout and do ah load selected components, this is gonna load. The Vergis is I have selected right now. So this is telling me that the vergis is I have selected here are assigned to all of these joints here? No, this is pretty useful because I can see you have the route joint, which the route joint would be down here. If you remember. There is no reason why these head joints, I mean the's head Vergis is should be assigned to the had joint. So well, you can do here is very easily select that 1st 1 Now we're under the route joint column, scroll all the way down, hold shift and click on that last zero, and then input zero and press enter. Now, this would make sure that none of these selected burgesses are assigned to that route joint down here and notice it disappeared in our and our joint columns here. And so the next thing we want to do is I'm gonna sign these. Vergis is 100% to the head joints on its look for the head joint right here. I'm gonna select the 1st 1 Scroll down, select the last one, hold down shift, click and chose pressed or input a one and press enter. Now, what we did is we got rid of all these other joints appear because we assigned all of these . Selected vergis is 100% to that head joint. So that is what we want it. Now, I can come in here and go back to my object. Go back to this mode, gonna select my head controller on. And these for dis ease down here are still moving. It's quite a lot of them, so we still need to do some more work. What we can do now is actually now select these pointy vergis ease and input zero for the head joint. So here's what I'm gonna do. Make sure everything's set back to its default. Go back to the side view, go back to Vertex, and I'm gonna select all of these down here and make sure these vergis ease are not assigned to the head joint. So again, go back to window component genera. Editors. Component Make sure gender smooth skin layout load selected and make sure that see, we have jaw and make sure that all this is set to zero because these are part of the neck these verte Cesaire, part of the neck that should not be part of the jaw. So that's how we know that that the jaws involved with the's word is he's that should not be there. So they should only belong to the head and probably the neck. What selected those Burgess sees. Let's see what that does. Let's go ahead and move. This had controller. So there we go, we assign, or we removed the vergis ease that were down here from the head joint. But now we need to start smoothing this out because I looks pretty painful if you ask me. So let's go ahead and paint around the neck using the, uh, the brush now, because we made this a lot simpler. So going back to the neck, I need to add more to the neck. I'm gonna go and do an ad. Make sure this is set to a low number. I'm gonna go ahead and paint. I'm gonna increase it, paint around the neck a little bit more, just like that. I'm even going to go all the way around myself, something like that, and then jump up to even gonna go bring it up here. Gonna turn off my joints. Just that they don't distract me while I'm painting. Gonna come up here like this, something like that. And then I'm gonna go select my head joint. I'm going to start painting slightly down into the neck, but then I'm going to smooth it out. So it's not going to be so harsh. Something like that. Go down and say Smooth, lower the capacity so that I have full control over it. However I like. So then start painting slightly slowly. But surely that's my way. That's the method I like to you slowly but surely don't go all the way 100% or anything like that, very slowly. Then again, you always want to grab the controller and test how this is the forming. So let's go ahead and grab the controller rotated. See how much smoother. That's looking so kind of sharp getting some sharp edges. But I'm gonna leave it rotated like this. And the beauty about it is I can go ahead and paint my weights while it's still rotated, and I can actually see it smooth out here. Someone who leave it like that. Like I said, slowly but surely grab all is this. I could even increase it just to speed it up a little bit more. Grab all of this down here. All of them. Some of this probably not going to the neck joint. And again, it's a balance between both of these. So now the next. Bring it up into the head. You can see these moving back, which is perfect. Gonna come in here, smooth that out. You can see how much beautiful this is looking so against smooth all this out. Smith. All of this and that is looking pretty darn good. Smooth some of this out here so we don't have patches. Let's take a look at the controller. Cyril this out and let's rotate, see what that does. So that's looking up to Not too bad compared to what we started. You want also want to rotate it like this, so that's actually looking pretty good. Now. You don't want to overdo it because it will break it, but I just want to make sure you're getting good. Deformation is around here, even go back into that. Soto activated. Make sure you select the mash and then selected tool. Ah, I could start adding some more white. So again, lower the levels here start adding some more white to it, so it's a little bit more stiff. I don't want the next to be too, too shady to wobbly. You know, it's it's not what the neck looks like. So I want to paint some more white into it rather than having it be smooth, because the smoother it is, the more flexible it'll look. It will start looking more like a little rubber hose, so I don't want it to look like a rubber hose. I want this to look like a sturdy neck here. Smooth this out. Just just the tips of it. I want to smooth it out around here and add some more to this site. I wouldn't like that. Bring that down some something like that, you know, you can keep tweaking this as much as you like. Zero everything out, select your mash and then mirror things over. And I'm going to select the head and the neck and see how things air moving together. So that's not bad. That's that's pretty good. I'm happy with this now. I'm not happy with this side. So again, Aiken, spend some more time. Sometimes when you ah, mirror the skin wits, it'll it will tend to break your you're skinning on the other side. So I normally like to just that manually. That's why I like to go in there and painting myself. So coming here, go back to the route. Maybe some probably need to add more white. Any here to bring this up like so Don't make it too smooth right here. Make it more hard edge something like that. More white to it to make it stiffer and then make it smooth again. Or the brush smic it smooth right there just where you need it. So you're actually selecting the vergis ease and painting for eso that that's how I get smoother. You're not painting on the polygons. Your painting on the Burgess sees themselves so That's what you need to focus on painting. Make this smooth right here. It's sort of like that. Gonna look at the neck because I'm seeing some weird rotations here. So I'm gonna add some more white around here, something like this at some nice white to that. So again, painting weights. Like I said, it's it's very time consuming, but this is what makes good animation, and it's what sets apart good Riggers. So you need to know how to rig. This is part of our rigging. So painting weights, adding joints, parenting controllers This is all part of the job of a rigger. So if you're going to be a rigger, you need to know how to do all of this and you have to know how to do it. Well, because an animator will come to you and say, Hey, I need this this other type of control or hey, you know, Ah, when I move the head, you know the chest for it takes is popping out, so you need to know how to fix that. So this is how you start fixing those areas by painting weights and smoothing things out and adjusting. Ah, you're skin weights. So with that really happy with it? SMU some of this stuff out right here. You see, some of these vergis is popping out, which is making you look a little bit awkward, but that's good. So you can see how you're going to spend time blending the colors between the black, the white and the gray, and you blend between usually T joints so you can see I'm blending from the neck to the head. And then how I blended from the chest to the next. Always blend a nice smooth gradation between two joints, two joints there. And then in the next lesson, I'm gonna show you how to start fixing this. Because we added the Vergis is from the head off to the Mick arm side to the head joint. We lost diversities from the jaw. So now we need to add the verdict sees toothy jaw joint. So in the next lesson, I'm gonna show you how to do that and for now, remembered his savior scene, and I will catch from the next lesson 11. Jaw Weights: All right, so in this lesson, we're gonna look at how to add or fix the jaw joint, because right now, if I move the jaw controller, notice that none of the job odysseys are moving with that draw controller. So we're gonna paint weights and fix all the problems issues that we're gonna have when we moved the verdict sees downward because all these virgin Cesaire soap packed really tight ender that we're going to come across some issues. So let's look at how we can start fixing this so very quickly going to select our model and because we don't have any Vergis is assigned to that jaw joint. I need to assign some of that. So to do that, I can just pain my skin waits selective jaw joint, and I'm gonna add, so make sure you're adding that smoothing. I'm gonna make this all 100%. So about all this area right here, obvious jaw section here needs to move with that joint. So I'm gonna paint all of this here like this, probably even down to the next section. And I'm only going to do half, because if you remember, we're gonna mirror the skin weights. So about there, make sure I don't paint the upper lip because I don't want the upper lip to move with my jaw. So I painted a little bit there. But that's okay. I'm going to fix that afterwards. Ah, make sure this goes all the way and make my brush bigger. Have it go all the way up here. Sort of like a beard. So you can imagine this, like a how guys have beards or hardly girl amount. That's what you need to sort of paint out. Nine. I don't need to do this side, so I'm gonna leave that like that. Um, So I'm going to start with that. And so now if I select my jaw controller and move this like this notice now, we're getting some motion in there, but there's still a lot of problems happening in here. So to fix this, going to close the mouth and I'm gonna mirror what I have on this side to the other side. So now when I am open this, I can see exactly what I still need to fix. So let's go ahead and you can see any to select some of these Vergis is here. Now you can use your brush like we've been doing, but using the brush, you can see when you try to get into some of these areas, it gets fairly hard to see what you're selecting here. So I'm gonna try and paint the bottom part here. Let me see if the teeth Okay, that's the bottom part. So all of this needs to move down with it. All of this. Now you can see how all of this is. It's a mess, Pete. All of that. So I'm gonna stop right here, and I'm gonna take care of all of that stuff by using the selection. So go to Vertex, go to the lasso tool, and I'm gonna come in here right? Or I see all the problematic areas. So on that Ah, go down the throat here like that. And let's start with that. Let's see what happens and then go to your window genera Editors component. Now you should see jar right here. So I'm gonna assign a one all the way down here closes and let's see what happened. So it's not too bad starting off. You can see we have a nice cleaner edge here. So let's see where these Burgess sees belongs. So this for tanks, that one in that one belonged to the bottom lip. So I need a new those downs more that Vertex needs to move down. What else? So let's start with those again. I'm gonna do a window generator is component. Um, load selection. You can see there's nothing assigned to those here, so I'm actually going to remove them from the head, say zero and bring them over to the job. So that's a little bit cleaner. Now, these Vergis is down here. That should not be part of the jaw. Need to go back up to the head joint. So I'm gonna select some of these verdicts. Ease. Let's see what this does. I'm gonna grab those se zero to the jaw, find the head there's no head and say zero to the head and zero that it's still one. What's already doing? A went to that head, head and a joint, which is okay, so long as they're not on the jaw and I'll fix that later. Grab these press for not this gets pretty crazy, but again, this is the only way for now until it starts looking cleaner. Eso load those say Jaws zero se move among to the head. Anything that's not the jaw press five and it's looking a lot cleaner now, So let's go ahead and sort of finalize this little section right here. So all of these for disease right there need look at thes Pretty sees right through. One more. Right. Where is it? Where are you? Right there. I'm sure that's all clean. I might have to move these up some to. So just going here and grab the Virgin sees that, you know do not belong to the jock controller and move those up to where they need to be. Press five zero everything out on the jaw and just move it to the head by 100% by in putting a one that's looking a little bit better, But we still we're still getting some down here. That should not be all the way down here. Probably all these edges right here. That's good. This one right there, that one and this one. Let's say zero and move them to the head on the straight 0.5. See what that does that sort of moved them to the middle. I'm just going to say one for now. I'm fairly happy with that. Ah, these down here are pointy. I'm not happy with Easy. Should be 100% to the Shaw. And that's actually have to do with Thea with the gums so you can see how it's starting to look a little bit cleaner. Now there's a Vertex down here that should not be down here. Which is that one? How do we fix it? Move these to the head So we find Head John. Shouldn't be to the job. Should be to the head These as well, zero head, say one. I believe there's one up here that should not be No, it's OK. So again the jar areas very tedious. But again it once you get it right, You know, this is where a character does most of their talking a lot of the motion, so you need to get it right the first time. So zero out the controllers mirrored. See how that looks. That's looking a lot cleaner. It's turning a little like a puppet. But once you get it this close, um, you know you're doing a fairly good job with this. So you could probably start using the brush in here to make sure the tongue moves 100% with the jaw joint. So goto add 100% value, 100% grabs a brush, shrink it and then just start painting slowly. These vortices here. So until you get that the tongue to go all the way down, I can see why I like to use the, uh, component editor because kind of hard to paint some of these he's Verdy sees here. I can't even get to that one. So, Pete, that one in the back, you do whatever you can, I hope not that one. That one. Perhaps some disease moving down. Move that down. All right. It's looking pretty good. The jaws starting to open up a little bit. That's good. I could probably smooth some of this stuff out right here. It's kind of tricky because those were the gums. So something like that. Now, let's go ahead and smooth out the jaw right now. So what? The job open, miss a smooth. I'm gonna start smoothing this whole section out. Or actually, I should assign some of these Vergis ease to the heads that the virtue Cesaire down here on the John should go up to the head. So I'm gonna go toe head, and I'm gonna say add didn't start adding some vergis ease and make sure the values set fairly low. Make sure these are assigned to the head. I should be almost all white right here. Should be white, just like that. Paint fierce. And then down here slowly. Start bringing these up by signing them to the head. Now, I'm not removing them from the jaw. I am reassigning them to the head so very slowly I want to start bringing these up began. So select some of these verdicts. Ease here. Now, again, this is gonna look fairly, Massey, But we're going to fix this as we go along. So try to bring these up all together, just like so again. It's looking okay. Bring this up. Bring all this up as well. Grab some of these edges to so again, Just sit here and pain away until you start shaping in the mouth like it should look like. So again, there's still some more Vergis ease down here. That should be up you can even use a smooth to smooth a lot of this stuff. Make this nice and big. Here. Start cranking all this up here. I'm gonna go to smooth now and then smooth all this out here so you can see that smooth really gives you that nice. The land between both of these the jaw and the head can even start bringing up the john a little bit up by using this smooth some of them. And then you also want to smooth the top. So if you go to the head, we're under the head. I go back to the jaw and smooth some of the stuff that's up on top of here. So that will bring that area down. Nor the British again. I know it doesn't look that well right now, but as we continue to work this, it's gonna look a lot better here. So again, you composite video and start working on this on your own. Because all of this is given. Take between both of these. Go to the head joint. Smooth this out as well. Looks like there's a heretics in there that shouldn't be assigned to a certain area. So for example, of that one probably should be assigned. Sign it to the head. Should be an ad. Make it white. So again you can see how it's harder. Select with the brush. That's why you see, he Vertex selected like that and very easily go back in here and say not to the jaw to the head. And there we go. So I'm gonna continue working on this until I get the job to look a lot smoother. And don't forget, we need to, uh, move the model back to our original spot and do a mirror so that we get the other side to look a lot better. So that's not looking too bad already, you know? But we still have some work to do right here. So I'm gonna go ahead and post the video and finish this up. All right. So I spent another good five minutes finishing up the jaw And what that I was able to get sort of this decent. He's in jaw motion out again. It wasn't anything different than what I have been shown. You still adding vergis, ease to the Jowhar for adding Verdecia to the head join and then smoothing everything out around here. I painted a little bit inside of the mouth. Now the teeth are are not in here yet, but they're going to be in here. These air, the pointy parts here that you see are the gums and sore appear. So I don't have to worry about that too much. But when we at the teas and we parent thumb to the joints, we're going to see what we need to do here. But for right now, um, I painted a little bit of the, um so if I open the mouth, you can see some of the cheek stretching here. You can see some of this area right here stretching. So I painted a little bit of the jaw joint and I smooth it up on the way up to the skin over here. So if I show you so here's a jaw and I just grabbed a smooth I started painting. Appear to the little bit, See how how slight it is, how very little it is, even all the way appear. So when I opened the job, you look in the mirror and you see how your skin deforms air high. It moves When you open your your mouth barely white, you'll see that you get a little bit of the actually a lot of your skin and your cheek starting to move. So now if I close the mouth here, if you look at the cheeks, look at how I'll squash you that looks. That's actually what you want. And again, you have so much ranging here to grab this and start moving it around like this. So zero that out and again, just keep keep massaging it until you get it to it finally looks the way that you wanted Teoh. So zero that out and then mirror that and then that should ultimately have a nice mouth set up that you can use to do the lip sinking. So that's what we're gonna do. And the next lesson I'm going to show you how to, um, at Thea the teeth and I'm gonna show you how toe create a controller for the eyeballs and the following lesson. So let's keep moving forward with this 12. Rigging Eyes & Teeth: All right, so in this lesson, I'm gonna show you how to at the teeth to follow the jaw as well as how to get the eyes to follow the head. And we're also gonna finish up by adding the I controllers. So if I move the head around, you can see that the eyes don't follow. And also, the teeth don't move with the head or the jaw. This is still an issue that we have to resolve. So let's go ahead and get right to it. So first thing we need to do is you want to make sure that obviously your teeth are position where they need to be, So I'm gonna turn on my X rayed view, and we're done with this skinning for now unless we find some other issues. But you want to make sure that your jaw arms are your teeth pivot point. You can see the pivot point is right here. So if I rotate this, it rotates from there and also the other teas. I'm gonna go to the window out liner so that I can start picking things easier. Say lower teeth. If you see here, the pivot point is right in the middle of the whole mash because we did a modifier. Ah, center pivot. So we don't want the pivot point there because that's where it's gonna rotate from. So if you start rotating this, obviously, that's not where the hinge for our jaw is. So what we want to do now is you want to go to a show here in the view port and shore joints. Since all of this is moving with the jaw, you want to make sure that the pivot point for the lower teeth is actually position over here on her jaw joint as well, so that when we rotate the jaw, the teeth also moves from that joint. So everything that moves with the mouth has to be to that joint. So to adjust a pivot point for the lower teeth, you can press, insert, and then that's gonna turn your little gets more into this little cross with the square in a small yellow dot in there, or if you do not have insert, say, for example, using a Mac or something like that. Ah, you gonna hold down the d key on your keyboard. D as in, you know like dinosaur or something? Are my name David? There you d as in David. And so you're gonna hold down D or reaches presidents, or like I did. And then we need to hold down V the as in Victor to snap it to than joint. And then middle mouse, click and drag and then release. And so now that we have the pivot point their press insert or release your D keyboard now and then you should see your pivot point for the teeth back here. So now when I wrote, take this, it's gonna rotate exactly from the jaw pivot point. Which is exactly what we want now for the upper teeth here, I select them these don't rotate the upper teeth. Do not move with your jaw with your lower mouth. These teeth actually stay with the head. So no matter what we do, it doesn't matter. You can leave the pivot point there. The upper teeth are not gonna move. The only thing that moves is the lower teeth with the jaw or the mouth opening closing. So that's the only thing we need to worry about. And what we need to do now is very easily. We need apparent the lower teeth to this bone right here on the jaw so very easily I can select authorities. Now, I'm going to select it over here in the outline. Erso say lower teeth. So it's gonna be the child, and then I'm gonna open this. So I found that I find the ah, the jaw joint. So there is a jaw joint. So Laura, teeth first, and then hold control and click. Or you can select that there are in your view, port if you can easily select it. So let me see if I can do it. So it's not clicking. Okay, there it is. So you can do it as well here. So lower teeth hold control, Click jaw joint. And there we go, and then simply press p. So once you do that, now, the the lower teeth are parented to this joint as well. So remember this controller moves joint, and that joint moves the job. Vergis sees that we painted weights and now also moves the Lord teeth. So now, as I rotate this down, I mean, get rid of the x ray view. Notice that the lower teas are moving down with the jaw. Now you want to make sure that you position these correctly or it might be, ah, skin wits issue. So you might wanna adjust your skin waits on the lower jaw. Or you can move your teeth further, bank a little bit. So if you want to adjust this Ah, you have to close the mouth again. So make sure you're under Zajac and shoulder Zero this out and you wanna unparalled t'd So the UN parents something. You just need to select the child. So the child was a tease. Let's go. Over here was his lower teeth. And to unp Aaron each is do shift peace. Ah, hold shift and press peak. And then now you're going to see the lower teeth is no longer in this jaw joint hierarchy. So now we can actually adjust this. I can move it back just a little bit slightly moving back like that. And again, we're moving it away from the joint years of the pivot. So once I'm done whole d and V and then snapped that pivot point back into the exact center of that and then released D and then that's it. Let's do it again. Select the lower teeth Selected charge. Joint press. Pete Apparent thumb again. Let's test it out. Get rid of x ray view and that looks a little bit better now. You gonna justice however you like, But that's that's up to you and that's it. We can now actually move this around and our teeth will follow along with it. So she gonna start talking now, Abla Abla Zero that out there. And that's we're done with the lower teeth. Now again, um, the reason why I created the lower TV separate you could you could have left it to be, ah, part of the mash with that with the mouthpiece in there or the gums. But it just makes it that much harder to try and and pink the weights with this brush that we were using for the whole head. So because you know, it has a lot of urgencies in there, it just makes it easier to make it a separate peace and very quickly just parented to that joint instead of trying to come in here and paint all the weights to be on your percent on the teeth. So I'm gonna leave it like that. It's completely up to you what you choose to do. So let's go ahead and test this out. Move that had controller. See what else needs to be fixed here. So the upper teeth are still being left behind again. This is an easy, easy fix. So the upper teeth do not need to follow the job because I don't wanna You don't want to come in here Open the John and the upper tees moved down with it. That would not make sense. So the jaw joint is out of the question. So what else is left? So I'm moving the head controller, and it will make sense sent. If I'm moving their head, I would want the upper teeth to follow the head. So that sort of answers your question as to what joint you need. Two parent Thea purty. So I'm gonna I select the upper tease here and parents them to this joint right here. The head. So I confined the head joint, not the head and joint. That would be that one as to be this this joint right here. I'm going to select that had joined by child first. So upper teas and then had joint hold controlling clique and impress P. Now, if I move the head controller, that's gonna move the joint, and then the upper teeth are printed to that joint, so that's gonna move with it. So now you can see as I move this around, the upper teeth are moving with it, and I can move the jaw and the Laurette ease move with it. So that is how very quickly and easily weaken set up the teeth. All right, so that's we are done with the jock controller and the teeth. Now we need to worry about the I controls and also get them to move with the head so again very easily. We're not using constraints. Now, here's something very important to understand. There's something that not a lot of people talk about is when to use constraints. So if you're under animation here, when the use these constraints here and when do you use parenting so parenting? Ah, you condone sort. Ah, skit of brief idea by when we connect controllers to joints, we use constraints. So any time we're messing with controls and joints, you want to do constraints. Now, any time we're messing with, um, connecting controllers to other controllers like we saw needed this controller to move the other controls. That's when we do parent team. So, you know, select child parent P. So controllers with controllers, we do parenting controllers to joints. We do constraints. And also, as we saw here with the teeth constraining Ah, I'm sorry. Parenting polygons to bones. We do parenting. So just any extra things that we have, like accessories. We're probably going to use again parenting. So the only time you use constraints as controls two joints try to think of it that way. It's not always 100% accurate, but that's a good start. If you can think like that, you're you're on your way to understanding. When do you use parenting when you use constraints. So let's go ahead and move on with the eyes. So again, remember, this isn't a control. This is, ah, regular polygon that needs to move with the head joint, right? So when I move the head around, I want the ice to move with it, so that makes sense. So very easily select the child. Remember child parent P. So that's the child. And then this joint over here, right there is the parent. So press peak. And then now if I move the head around, let's test that out, see if it works now you can see her left eye. That's her left eye on. This side is not moving with our model here. So we got to do the same thing with her right eye because right now is like I it's popping out. And remember, you want to keep your pivot point of that? I right on the center of that sphere that creates a Ryan. So let's go ahead and do this eyeball. Select the I select the head joint and pressed P. Let's go ahead and test this out. Notice how that turns everything purple now. So as you move this around now very easily, we can see that it's moving everything. The teeth, it's moving, the eyes weaken. Work the jaw. So it's It's a very easy set up to do. All right, so let's go ahead. Zero this out. Get back to its default Now, are we need to do to complete this is at I controllers because right now we don't have a way to move the eyes around and have her look around. So let's go ahead and using that script. Or you can go ahead and create your own controlled by going nerves circle. Right. So I'm gonna use my script here, which again it's available on animation methods dot com under scripts. I'm gonna go. Well, let's just create it right here. I'm gonna create a circle or a square could do it Square. I'm gonna show you. Ah, separate controller. Now, you remember when we created a square controller using Monye. Mayan does not give you the ability to select it as a whole. It gives it to you in four separate pieces. So that's why I don't like to use Thea controllers that Mayan gives you here. If you use this square, it does not combine it here. But if you use this group, you can see how you can easily now select that whole controller and I'm gonna change the color of it. I'm going to rotate this 90 degrees like so. I'm gonna go to the front view so that I can position this right. Word needs to be turn on the wire frame shaded. Ah, I can snap it to the I if I wanted holding on the, uh oops, I'm gonna Will this be snap it to that? I or better yet, let's see here. You don't have to do this. I'm just being very, very picky. So gonna snap it to that vergis either That I'm gonna move it forward and then now pressing . So that sort of lines it up and down. Now holding down X, I'm gonna snap it to the careered. I'm gonna move it back to the centre. Right there. So now I know it's lined up to the eyeball, and then I can re scale this. So this is gonna be my main I controller. So it's gonna move both of the eyeballs. Then we're gonna have individual I controls in here. I'm gonna move this slightly forward, gonna leave it right there, and then I'm gonna go back and create another controlling to create two controllers here for the eyes. I'm gonna make thes circles so that I know that these air for the eyes rotated 90 degrees. And then again, I'm gonna come in here and snap the location to this little vert right here, some holding down V middle mouse and you can tell it's not snapping here, so I need to Ah, come down here, Move it around and do it again. Hold on, Be now It's snapped there, and I'm gonna move it forward and shrink it. We're actually what you can do is check this out. It's even faster Way suddenly Leave it back. Snap to this vert here. So I'm gonna hold down the minimus click and snap it there, and I'm gonna shrink it just like and see it. And then while it's right here, I'm gonna do ah, duplicate. So to duplicate this controller, just do a control D. And then now that duplicated it. But it's still on top of the other ones. So to move it over here, do the same thing called down V Middle Moss, click and snap it there. So now we have two controllers have that one, and I have this one in here, which is right here, so I'm gonna select them both. And then now that I know there are lined up, I'm gonna move them forward together and to make sure that these line up with this square curve here, you can snap it to curves by holding down, See? So if you just hold on, see and you continue to move these forward you're gonna see is gonna snap to it eventually . So they're snap to it. And then now all I have to do is make sure you re scale from this middle one. Don't scale from this. I don't scale from this side or that way. Mature. You scale from this little bluish color and then re skill until they are both within that square. And then now what you can do is obviously changes the color of the controllers. You select them both. She's the color of that, and that's it. Grabbed all three controllers. Move them forward somewhere. Way out here. You don't want him like t close like this to the eyes and you don't want him about here. You want some some fair distance. So, you know, maybe two feet in front of the character of bills like in real life, 2 to 3 feet. Something like that. Maybe, maybe a little bit closer. It's to your liking, But don't make it too close. And then obviously you want to come in here and get rid of all these junk here. So select that controller. I believe you can select all three of them. And then Goto added, I'm sorry. Modify Freeze transformations. So let's check each controller that zeroed out that zeroed out and that is your it out. So let's go ahead and read. Named these controllers. Mouse listens for the This controller right here is gonna be for her left eye. So I'm gonna call this capital l for left. Underscore I ctrl So I know that is left I control. I'm gonna copy that and quickly paced it onto the other side. The other I and replace that with are so that is right. I control and then select the main eyes controller and say main I control. So then Now, if I select this one again, you also want to make sure that your pivot point is centered. Saw? If you don't trust yourself, just go ahead. Select the controllers to modify center pivot. So that way you know that the the pivot point is right in the center of them. And what I want to do here is I want to make sure that when I move this controller, this main controller. Both of these small controls move with it. So again we are dealing with controllers connecting to other controllers, so that automatically tells you that we are not Ah, using constraints were doing parenting right? So let's very quickly. Here's another shortcut, child Parent P writes. But I can actually select to child's together. So that's child child, This is apparent impressed p So now I have this as a child to this. And then this also has a child to that. So when I select the main controller that moves both of them together and you still have individual control over the eyes and then you can grab this, move it around right. So you can zero everything out over here and then last thing we need to do is now connect the controls to the eyes. Now, remember when I went over constraints, we saw this one that said aim. So this is the only thing that I typically used in Constraint four, which is constraining the I because that I always needs to aim at this control. And then this other I will aim at this control, not the main controller, but the individual I controller so to do that very easily. Go to your aim option, and you want to make sure that you have this on. Maintain office it because it, if it's not checked on your eyeball, might might look the other way of my invert. So you always need to make sure that your maintain opposite is on. So with that, I need to select the master controller first. So there is my master, and then I'm going to select, see left Eye Mess and then do applying. And then let's go ahead and test it out. Select that left eye controller, and if I move it around, you could see the eyeball is moving around sluts. That's really very quick and very easy. Select the master Control, select the other eye and doing apply, and then test this out again that moves an eyeball and close this out When I go ahead and select, it's got an X ray mode when I select this square controller that's gonna move both of the controllers inside so you can see now that now controls both of the eyes, and if I move the head around, the eyes will always aim. You can see Ah, the eyes here will always aim at that controller. So we'll find a way to to have it. Follow the eyes of you length you are always aim at the controller so you can see how the eyeballs always aim at those control. So that's pretty much it for now. Ah, and the next lesson, we're gonna go ahead and start working the blend shape so that we can get her to smile, frown, and start getting all the bottom shaped like the ease, the A. So I'm gonna show you how you can start creating some of those blend shapes, right? So I'm catching the next lesson. 13. Creating Blendshapes: all right. The fun stuff blend shape. So in this lesson, we're gonna look at how to eight blend ships and blend ships are nothing more than a copy of this main model. We're gonna create a copy, and then in this new copy, we're gonna we're gonna model it or reshape it to be anything that you want. It doesn't matter what it is. A smile can be a wink. It could be an eyebrow expression. Her being sad. It could be her lips, like an o shape of U shape. And then that new model will get transferred over to this rig to their main Rick. So then we're going to create controller so that we can easily slight thumb up and down. And then our model is gonna go through those mouth shapes that we created over here in our bowling shape. So that's what we're going to be creating right now. So to start off with blend shapes, what we do is we duplicate duplicate the main model. So to do this go ahead, select your mash. Make sure you know it's not under template or anything, and press controlled the two duplicated, or you can do an edit duplicate. It's the same thing. Don't do duplicate special. That's something else. So go ahead and do control de now. This is duplicated, but notice I cannot move it. Notice the little arrows are great out If I'm using the move tool and that is because of you. Look over here to the channel box. Everything is great out. So when we apply the buying skin, it automatically doesn't allow you to ah, to move your your mesh because it doesn't want you to mess with the main mash. That's why it locked it. So But we're not gonna mess with the main model. We're gonna mess with the duplicated one. So right now we have the duplicated selected and I'm gonna unfreeze. Just translate, execute on freeze, whatever you like. But I'm just going to right click on translate X and then find where it says unlock selected. And now we unlock the translate eggs with that will allow me to do is now on Lee. Move it in the X axis. So again, we are moving the duplicated mash, not the rig mash. That's very important that you you're aware of that. So if you want to move it up or down again. Remember to you unfreeze the translates. All right, so now with this new mash, this is where we're gonna work. Our smiles are frowns, the the eyelids, blinking, You know, the eyebrow expressions. So everything that you see in a video game or in films where the you get some nice expressions, they are created through blend shapes or this other methods. But this is one main method that that I learned to use. And I see it being used in video games for X box for the PS three, and even for the PS four that's coming out seemed we still continue to use blamed shape for , ah, rigging the face. So you're gonna learn new tools, Have, you know, modeling. You're gonna need to know, Um, some of the tools that you use as modelers for me for blend shapes. Um, you can switch this over two polygons, and there's some tools that you can use in here. But for right now, what I like to use is simply the move tool. You double click on it and you're going to get the options. If you go down here, you'll see soft selection, right? I typically like to turn that on. So we're gonna be working under Vertex mode because blend shapes on Lee work under Vertex Motor or sub object mode or I'm sorry, Component mode. Right. So when you move urgencies around, uh, Maya will know to transfer those moved Vergis, ease over to this one. So you cannot add any other type of movement to this If you're not moving Vergis e So again , always work with Vergis is and then turning on soft selection. If you look at this now you're selecting. Ah, a couple of urgencies. But they have, like, this little feather of fall off two of them. So this is how you create your shape. So if you wanted her smile or frown and you're going to take some good, you know, 10 20 minutes to get this to look nicely. But before you spend too much time, obviously you want to do a couple of tests, so it just creates something very quick, very dirty. Doesn't matter how it looks. Plug it into the main rig and see if it works. If it works, come back and continue to spend more time on your blend shape. All right, so this is soft selection. Uh, we hold down B as in brush, and then you do a regular click and drag on your view port. You're gonna resize that soft selection, which is always very important. And this is one of the main and powerful tools that I like to use when working with blend shapes. But let's say one, it hurt her smile, a smile. Usually, you know, you smile with the symmetry on the other side. So you keep scrolling down here, you're gonna see reflection settings. You want to make sure that you turn on reflections. So now when I turn it on, what I automatically do on one side gets transferred over to the other side. So that's very cool. And then from here, you can start working in your smile and also adjusting the brush size. That's very important. So very quickly. You know, I want to do a quick test right now. I don't want to spend, you know, get 10 minutes on creating a really, really good smile. So I just want to do a test and make sure that the blend shapes are gonna work lips. So I want to come in here. I want to move the cheeks up a little bit. Bring them out. You know, look at some reference, some images online of people smiling and look at where the creases are. Look at where you get a lot of that volume pushed up, so this is all muscle here, So when you push up your your cheeks, your smile, your cheeks will puff up over here. So that's when you want to make sure that you maintain that volume. It's not just a matter of grabbing Verdy season and very quickly just moving them up, and that's a you're done. Now you want to make sure that things look good, so always look at reference images. I want to push that up a little bit. So I'm going to stop right here, and I'm going to see how this is working. So go back to object mode and then say, That's a pretty good smile that I want it. You know, you can keep working on this, but for right now I'm gonna go ahead and apply this to our main rig so that I can start getting her to smile because when I complete Thea blend shapes, I'm not going to give this file with with this, uh, copy into this seeing here, I'm gonna actually delete thes so the animator will never see these blend shape copies. The only thing they're going to see is one main model with the rigs and controller. So this is the one that ultimately needs to be smiling. So how do we get this smile onto our main rig? That's actually done very easily. So we need to create a bland shape. Let's call a diff former because we're gonna be deforming this model. So the order in which we select these matters as well, So you always want to start off with your copies and then select the last model to which you want to apply the blend ships to so blend shapes Rig model last and then you go up here under the animation tab, create the former's. You remember this? Create performers blend shape. Now, don't just go ahead and click on this. Make sure you go to the option box and you want to rename the category of blend ships you want to create. So these air gonna be like smile, frowns or whatever I'm gonna cause. He's just emotions, emotions. And then you want to make sure that your envelope is set to one. This is like the on and off If he said it to zero is going to be off anywhere in between is sort of on, But it's not going to give you the 100% effect. So make sure that's always said to on and the origin you want to make sure it's set to local every said it. Two world. Actually, this model is gonna want to shift over to the location of your original blend shape, which he do not want, because that's gonna look very weird and awkward when you start moving. Controllers and the whole model wants to move away from you. So you want to make sure that it's thing locally where it is, and then all of these you know these air Fine. Just the defaults Go ahead and click through eight. So now we've created a blend shape to our rig here. But how do we get this to smile now? Now we can almost forget about this one. We don't need it as of right now. but you still want to keep him there. So to get her to smile, we need two axes are blend shape, slider windows. So go toe window because it's a new window under still, animation editors come down here where it says blend shape. When you open this, I can close this out. We can see it says emotions here, which is our category. And then we have this little slider here. So if I move this up and down, it blends between the original mouth shape and are smile shape that we created with this blend shape. So zero is no effect, and one, it's like, Ah, 100%. Ah, looking like this model here. So that's what this model ultimately is. And so now the last thing we need to do is test this out, make sure it's working correctly. Now, if I move the jaw, if I open it and I smile, watch what's gonna happen. It closes amount, and it goes into a smile. That's not what I wanted. I still have the job open, but notice that it's not open. It's just smiling, so I need to fix this. I want her to keep her job open like so. So you can see it's not working exactly how we want it. Uh, the jaws open. She should try to smile with the her job open. That's what I would want. But to fixed is go ahead and zero everything out. Make sure this is except to zero. We need to reorganize the ar layer. So when we create the skinning and the blend ships, Maya automatically organizes the layers of that. How it wants to salt. There's a particular order. Ah, that we need to set up in order for this to work correctly. So Celek your rig model here, Just the mash right click on it. And down here, you're going to see inputs. Now, make sure you go to ah, inputs down here and then when you open this, you're gonna get this window. The only thing you need to do here is make sure that blend shape right here. This one is underneath this skin cluster. So these are our layers, so I just wanna middle Mosque click on blend shape and you'll get this little line. Make sure that lang goes underneath the skin. Callister. So now my new layer order is skin cluster blend shape and that's it. Let's go ahead and test this out again. I'm gonna open the jaw and I'm gonna get her to smile using our blend shape window here. So now you can see this is working the way that it should. She still keeps the jaw open, but she's trying to smile at the same time. So now I can come in here and still work the jaw controller, right? I can close that out and she's still smiling. I can control the smile. So that's exactly what we want and saw. Now the next thing to do is that's it. We're pretty much done. Um, we need to look at how to create controllers for the animator. So the animator wants little slider controllers here next to the head so that all he has to do is grab that slider moving up and then the the smile people would do this sort of like how we have here. But this this window is not animator friendly. You want to make this more or intuitive even easier than what it is right now. So in the next lesson, uhm, I'm going to show you how to create those controllers. But for right now, let's go ahead and make one more blend shape so I can show you how to continue to add Mawr . Blend shapes to this, and we're gonna do this fairly quickly. Now, again, You want to spend a good amount of time modeling this correctly and you can Even when you duplicate this, you can duplicate the teeth. You know the eyeballs if you want to, and then move him over so that you can have the teas in this model on why you're modeling. You're careful not to go into the teeth. Machin there and same with the eyes. You don't want to push, uh, this too much like that, cause then it starts going into the eyes. So here's something that you can do as well. Make sure this is set to on all the way, and you can continue to work on your blend shape, and it's still going toe automatically update you're your regular, so you can see if I just as a quick test, I'm gonna pull the cheeks out and notice how that pulls the cheeks way out like that End at automatically updates. Yes, that's very handy. So you can continue to work. I'm gonna undo this. You can continue to work on your blend shapes here till you're you're happy with one and the automatically update to this. So let's go ahead and add another blend ship. So again, gonna minimize this or close it. I'll show you how to reopen it, Do a control D to duplicate it again. Unlock selected. And then I could not move it in this direction. And then again, you want to go under Vertex mode and then very quickly make sure I have my reflection and my soft selection. Let's try a frown here on and lower this. I don't start pulling in the nose. Something like that. You know? Nothing. Nothing too fancy yet. Now, you can spend a lot of time on this, but I'm gonna make this fairly quickly for this lesson. And again, I want to add this to this. So remember that order blend shape, first break model last and then I want to add to the blend ship we already have. I don't want to create a new one. If you remember going to create did formers and blend ship this would create a new one I don't want to create when I already have one. So I want to edit def formers here. So then what you do here just goto blend shape? Because that's the one we want to add it and then you want to goto ad option box. So let's open up the option box, and then you want to specify where you want to add it to. So let's go ahead and specify, and then notice emotions is automatically checked in for us. So that's what we called our original blend shape category. And with that check Don that sits, say, applying close. And now we're done. We've added this to our blend shape categories. So to test that out again, open up our blend ship window by going a window animation editors and blend shape and now notice we have two sliders here. So she's still smiling someone to get rid of that smile. And I want to test out the the frown so you can see how she's frowning here. Okay? And I'm also noticing that we're getting some motion appear in the cheek. So I wanted to show you this If you leave the smile on like I had it and then you duplicated that's actually gonna give you that deformation. So you can see here that I think when I duplicated this, I had to smile on. So I want to make sure not to have that smile on before I start painting. So I need to delete that so I can actually delete Blanche is by going into remove, specify nude. Let me undo that. Need to select that blend shape. This is the one I want to remove, say, applying close. Let's hear what happened. Must select both target and base. So I need to select. This is my base and this is my target. So select them both and I'll say, applying clothes and notice and the slider. We no longer have the sad face so I can get rid of that. So again, make sure you're your base here, your main model. It's set to its default pose before you go ahead duplicated, and then now we can work on it. Unlock it, move this over, and then let's test it out again by doing a quick test here. So that's something that I wanted to show you want to make sure that you always set your your default pose on your main, uh, model before you start up duplicating to create new blend shapes. Right, Quick test. Select the base, select the target. Go ahead and added, So I'm gonna add it. Blend shape ad gonna add it to the emotion. So applying close it and then open up my blend shapes and again. Now you can see this is working properly. I'm no longer getting in that. We're deformation over here on the cheeks now. It's not performing that good because, you know, she did a quick test. You want to make sure that you don't rotate your verses too much like I did, But again, this is just a quick test. So then again, you can start, you know, messing with this and even mixing these up. So that's gonna be it. In the next lesson, I'm gonna show you probably gonna improve these a little bit more. But in the next lesson, I'm going to show you how to create controllers and hook him up to our blend shapes that we have here. So that's gonna be it for this lesson. Savior seeing again, don't ever forget that Next version 11 and I will see you in the next lesson. 14. Designing the Graphical User Interface: All right, so in this lesson, I'm gonna show you how to create custom facial controller so that we can start creating these smile and frown blend shapes. And also, I'm gonna show you how to mirror blamed shape. So you can see I went ahead and created a right blink. So in order to do this were actually gonna since I don't want to go ahead and spend time, actually ah, modeling the her left eye to blink as well. We already have the right side done. So there was a way to mirror this model over to her side on the left side. Um, that's what we need to figure out. So Maya does not give us are easy tools for mirroring blend shape. So what? I recommend using our free scripts that you can find anywhere online. You can find ah, free script that I I found on my website animation methods, dot com scripts. And under rigging, you'll find mirror blend shape. So that's what we're gonna be using. And you'll see there how to use it and how to create blend shapes and how to marry them. So I'm gonna show you very quickly what I did here to model her right Blink so you can see she has textures on her eyes. So I'm gonna just selectees eyes select the mash on do control de to duplicate. And then what I did was I just moved all of this. Now make sure you unfreeze your transformations and this is what I did. So I just left it like that and then very quickly and easily. I just took about 5 to 10 minutes and grab all these verdicts, ease and even edges. You can do it under edge IDs, and it's just Graham all of this and move it down here so that it looks like she's closing her eyes is gonna take a couple of minutes ago ahead and make sure your character looks like he's he or she is closing her eyes here like a blink. So go ahead and take your time, and I'm not going to do this again Already already have the final version, but, you know, again, this is how I did it. I just wanna give you a quick overview of how I I was able to do that, and then you can sort of, you know, manipulate this a little bit better. Pushed these back. And what I always recommend is going into smooth shape. Preview or I'm sorry. Smooth preview. Just bite. Once you think you're done here, you go back to object mode, select the mash, and then press three. Pressing three will give you a preview of what this model will look like once you apply a smooth but notice. It's not really smooth because I can press one on my keyboard and it's gonna go back to the polygon. So I do not recommend you smooth it yet, But just keep it under three so that you can see that you know, the eyes and really close, even go back to Vertex lips. Not that one. You know the face model. Then we can select thes vergis ease and, you know, keep pulling them down. So select some of these. It's kind of hard here, but, you know, and you notice there's some penetration there. So you want to move this forward and you want to grab this one up here is well moving down . Move it forward. Go ahead and start grabbing on of these verdicts. Ease in until you get a nice shape of a closed I You say you want to make sure all this is looking good. So just keep working this. And until you get something that looks like that, that's exactly what I did to this models. I compress shaded preview. So I'm gonna delete this one is just a quick example of what I did here and then go back to Polygon and then the way to mirror this over. What you want to make sure that your ah, your edges here on your eyelid do not go through the eyeball. That's when you wanna also duplicate the eyeball so that you can see what you're doing. Is that what you want to do now is now that we have one side, I want to go ahead and just duplicate this and you can rename it. You can see here I rename that whole head matched to write Blink and I renamed these two to frown and smile. So go ahead. And now I can duplicate the the blend shape here because I'm gonna work with the script and then you can easily select this and you go to my website animation methods that common gonna show you how toe install this script, which is very, very easy to use. So just it has here options make sure it's under Y Z or depending on how your model is facing in the world space. So Y Z for me Ah, select based geometry for this and I'm just gonna select Ah, I believe I can still flip it without adding since a little go ahead and destroy it here, See what happens. Someone of flip the right blink to be on her left side and this I to be open now. So I'm gonna try and just do a flip selected see if that works. So there we go very easily. No, I have Ah, a left blink and I also have a right click, and I can come in here now rename this close of script and say, now, capital l and remove that one. Press enter. So this is how you can easily now with a simple script mirror over your blend ships, and I have that left blink gonna have that right wing here. So I highly recommend you use this script because Mayer does not allow you to easily, uh, mirror over your blend shapes and it does not work. If you say Well, OK, well, I have the right side closed. I can just duplicated, you know, move it over and then scale it in the negative one here. So if I undo this unlocks a negative one. So it's kind of like just doing this skill like this. So actually, Maya does not like that. If you go ahead and plug this in and out of negative X Ah was a negative one. It's actually gonna screw up your whole model. It might just try to flip it on its own. So that's why we cannot use a negative one on the X value. So you have to use a script. I highly recommend you use the Scriptures because really, really easy. There's other methods of doing that, but it's It's more complicated with the script. You just duplicate you say flip mash or whatever. That said, your flip selected and you are done. So this is how we are able to quickly duplicate that. So now let's go ahead and look at how we can customize controllers for our facial controls here, So I'm going to go to the front deport year. And I'm going Teoh, I don't like the goods. The goods air too small here. So I'm gonna go say the splitting settings and change this to let's see yards, probably yards. Just for that. For the sake of this, I just want, like, big grids here. I don't like to zoom in and look at the small grid, so I'm just gonna change that, and it doesn't affect anything. So now what I can do is I'm going to create my little slider controllers here. Ah, using curves to create a a smile and frown controller. So what I'm gonna do now is go toe eight e p. Curve tool, and I'm gonna go to the option box and make sure it's said to ah, one linear. So this is gonna make it pointy, not curvy. And then what I'm gonna do now is come in here and holding X holding down eggs on my keyboard will allow me to snap to the career IDs. So I'm gonna draw. So I'm gonna click here. I'm gonna click on this box and I'm just gonna shape this. Mm, something like that. Go back to the beginning press enter. So now I have something like this. And then I'm gonna go back to that same tool by pressing why. And remember, the controller is still right here, but it's kind of hard to see because it's on top of the great. And I'm just gonna hold X again and then just draw out a little square controller. Press enter. I'm going to hide my grids now so you can see what's going on. And this is what we're left with Some actually going to shrink this now. Ah, you can't see the manipulator because it's not centered. So again, grab the controller, modify center pivot and do the same thing for this smaller square. Modify center pivot. So this is what I want to do. I want to create this little slider here. This is what I'm gonna use to make her smile. And then I'm gonna go back to the ah neutral pose and then frowned so she can go sad. So this is what I want to use. But notice right now If I was animating this, I can grab it and move it around. I don't want the animator to be ableto move this out of that little rectangle areas. I want to constrain it. I wanna limit that's That's a better word. I want to limit the the movement of this controller. All right, so in order to do this only to redesign this a little bit better, I'm just gonna shrink this somewhat like that. That would we have a better way of selecting that controller And from here, you want to make sure that it's that you don't move this around. You don't want offside it like that. Make sure it's right in the central. That's what we use are grids to make sure that everything is properly aligned. All right, so then come here and then I can say, you know, emote CTR for for our control. So this is gonna be our emotion controller going out for a smile on down for a frown. And then this is gonna be the, um let's say emote slider. So then now all I have to do is this is our main controller. If I move this around, this little box should move with it. Right? So, in order to do that, I can easily parent the child to the parent. Remember child. Parent P. So now when I see like this one and I moved around, I'll be able to move it and place it wherever I like. And the little slider will move with it. So now when I have to do is set limits on this controller so that an animator cannot, um, move this way out here or make it make the controller go lost. So again, uh, make sure you do a freeze transformation, modify, freeze, transformation, grab the slighter and do a freeze transformation on it as well. So now everything is at default. 00 Now, I'm gonna sit like this, slighter because I want to set limits on this and go ahead and press control aid to open the attributes settings. And then I'm gonna look for Ah, you moat, slider and notice. We have here, uh, limit information. Someone opened that. And then down here, we have rotate is being open. Now, this controller is not going to rotate. It's only going to translate. Sonita, close that one out and look for translate under the limit information. That's right Here. Um, so here we have the X y and Z axis. So right Now you can see this little axis is going up and down. It's the yellow one, which is the why. All right, So when I moved, as you can see values changing here. So if I change that to zero, that's right in the middle of that controller. So I want to be ableto sent limits on the why this is a negative. So if I said a limit on the negative side, that will be when it goes down, right? But I don't want to turn this on yet. And then when I turned on the maximum, that's going to set a limit of when it goes up. So I wanted to go up and hit about their and when it goes down, I wanted to hit that pivot point on the bottom of this controller here. So in order to figure that out is I can just slight this down here and sort of rough it out . You can see it says about, Ah, negative 0.59 which is close to 0.6. So I want to try this out, see what that does, and that's actually passing. So if I hold down, See, I believe that should snap. It actually can snap it to the grid. Since we're snapping, we creator controllers on the grid. So hold down X notice how that snaps to the career. So now that it's down here, I can see the value is actually we might have moved it before we did her freeze transformation. So that's Thea the limit that I wanna set it to when you go down on the negative wise, I'm gonna turn on translation limit. Why? On the negative, it's going to be that that same negative point 59 So if I try to move it down, turn up the grids, notice how now it hits and can't pass that negative value here. That's exactly what I want. Now when I go up, let's take a look here. Turn on Za grids again, hold acts to snap to the grid, and when it gets there now it's notice. It's not negative anymore. It's positive 0.59 So I want to use that same number, turn on maximum and say not negative. Just positive point 59 Now I have a maximum value. You turn off the grid up so I cannot go past that value and I can go down and there's a limit here so you can see how I cannot move past the why. But I can still move it and believe I grabbed this. I can still go past the X axes. I fixed the why, but I haven't fixed the X axis. So I want to limit motion in the X axis. So I want to make sure I'm in the zero turn Andi minimum and maximum. And let's see if we can set this to probably not saying zero to see if that works. Setting that 20 now I cannot move it left and right because I told it the minimum value. It could move negative ANC's because the left is zero values, which means I cannot move it left. And also I told it the maximum limit Ike moved to the right is zero. So I cannot go, cannot move it right or left anymore, but I can move it up and down and then that's it. Now you consent limits for the Z, which ze would be in depth so you can set limits on that. But no, leave that as ISS at zero. Now, if I control a vice elect. The main Ah Imo controller. I can move this wherever I want. Right? And I congrats This slider here and I can only have those limits there. So that is how we create controllers within limits. And then again, you can come in here and control a go to the control shape and change the color by going Teoh object display drawing overrides, enable overrides and then find that turquoise color that I like enable overrides make sure you under shape and then changed that little slider to that turquoise bluish color. And then that is how we create controllers. Very simple, very easy. I can select. You know, I'm selecting the controller, not the slider here. And then I can even scale this down to whatever I like here. And notice that the little slider will also move with it. Do you want to be careful Because something's doing that will screw up your your limits here. So you want to make sure that you don't You don't start scaling this under specially under component months. If I grab these, um, points here and I move them up, that's going to screw up my limits because now I'm making this larger. So if I press that faint Teoh complete that notice now, my limit is still there. But I moved that controller way up there. So you want to be careful with with changing that every gonna change the the way that your controller shape. You want to change the limits to this again. But I like it the way it was, So I'm gonna undo that. And so now in the next lesson, I'm gonna show you how to create Ah, this slider. So that will mean when we move it up, she smiles. And when we move it down, she frowned. So that's what we're gonna be looking at in the next lesson. It's gonna be very easy, very quickly. So let's jump right into the fun stuff. So again, savior scene, make sure you check out animation methods dot com and Donald the script. It'll show you how to install it and use it. All right, I will catch you in the next lesson. 15. Using Set Driven Keys (SDK): All right, so in this lesson, I'm gonna show you how to create eat, uh, how to hook up this control. Or better yet, So when we move this up and down, I want this final rig here are our target to be able to smile and frown right as I move this up and down. So that's what we're going to be looking at as how to use the set driven key to actually hook up our blend shapes into this controller. So all of this hard work will finally be put into this little tiny controller to very easily have the animator just move it and then have her show emotion. So with this, uh, on overview of what we're going to be doing is so that you understand it. Ah, quick overview. We wanna have three states in this controller. So what I mean by that is the first state is neutral, which is her mouth shape right now. She's not smiling. She's not sad, it's neutral. So that would be at 00 in the middle slider right here, like it is. So we need to record that. Maya needs to know that right now. Ah, this position for that controller, which is at 00 on the translate. Why is neutral? So you record that when we slight this up. All the weighing 2.59 Now Maya needs to know that that's 100% of the smile emote. So then now when the slider is up here, we're gonna need to record that. And then same thing. When we go on the way down here 100% down, we need to record this blend shape of her frowning. So that's what we're going to be working with. So just so you're not too confused as to how many recorded states we're gonna have here. So let's go ahead and look at what's called set driven keys. That's how we make these connections between our blend shapes and our controllers with Under Here under animation tab, make sure you go toe enemy and then you'll see something called Sent Driven Key. And then you'll say, set. So says set dot, dot dot. So click on that and this is gonna open this window. Now, don't be too alarmed. Don't be to confuse. You know it's not that complicated, so we only have four windows with two categories, so the 1st 1 is driver and driven. In other words, driver would be the leader and then driven is kind of like the follower or what's being moved Alright or was being dragged along. So the leader in this case is going to be this little slider because this is our master control of this. This is a leader. When I move this, this is a master right? I move the master, and the blend shapes will be the slave. Or, in other words, the driven. I tell. It's kind of it. I know it's messed up to say, like that master and slave, but the master controls the slave. That's just some of the terminology is that we even using admire, So just think of it that way. It's it's just makes it more easy to to comprehend. So the driver you're gonna load the driver and then low driven, So low driver is the little square sliders. I'm gonna click on that and notice we're going to get all these weird. Ah, like everything was seeing a channel box we see over here. And so now how do we load the driven the driven is gonna be the happy and the sad blend shapes. But how do we load these into the driver into the driven? So we do not select them here and then say low driven? That's not how we do it. We need to open up. So Goto Windows Animation editors blend shape the way you select. Ah, these blend shapes is actually down here. You see, says Select. That's how you select them. So you click on that once and then you go down here says Load driven. Now notice We have envelope, which don't need to worry about that because envelope is like on and off. So you don't want to turn on enough your blend ships. But now we have frown and smile, which that name is the same name I gave Thea the mash. If I select and he sees his smile by, select that when you see Cece frown. So that's the names of These are the names of the models that I have here, so okay, no, this window tells us, How do we want to connect things? So we're going to see things need to connect to other things. So here's how it's gonna work. I'm going to select this little controller. And we know that this lighter only moves in the why access. Right. So this amount slighter controller Onley moves in the why translate. So I need to make sure that both of these are connected. All right, now, emotions, this is the blend shape. That controller saying this controller is going to control these emotions now. It doesn't know which one because I can have tons and tons of blend shapes here. So it doesn't know what this later is going to control. So you need to tell it. Which one? So let's work on the smile first. I like to, you know, go one by one. So this lighter when it goes up, is going to control the smile. Okay, so here's how you read it. The square controller. It's gonna move in the translate why and is going to control the blend shape, smile. And so what we need to do now is make sure that this controller here amount slider is set to its default state, which we can see here. She's not smiling. She's not frowning. So without connections here, make sure you have four connections. So translate, Why again, going to go ahead and set this as the default post? I'm gonna hit key. That's the same thing as record this post. So when the slider is not up and not down, but it's in the middle, we're going to get this mouth shape, which is nothing neutral. Okay, now, let's go ahead and tell it to smile. I'm gonna move this controller on the weight up, make sure it's all the way up to remember the maximum, which is 0.59 And then now that we set the maximum, I want to set the blend shape of a smile to maximum as well. So make sure you have your blend shape, window open and just like this on the way up to maximum as well so that she's smiling. And so now we're going to record this pose of her smiling. 100% recorded to the controller all the way up. So now that we have those connections there, Okay, so have remote slider. It's it is on translate. Why? Because I moved it all the way up. It is a blend shape, and it is a smile, so I'm gonna go ahead and record it. Now if I move it back down notice Notice how it goes from, ah, 100% to the neutral, which was in the middle. If I go on the way down, nothing happens because we haven't recorded what happens when I move this to the negative 0.59 So we're gonna go ahead and worry about that now. So now you can see here that this lighter is you see how it's moving this one. So it's actually how we connected those two together. So now what I need to do is move the slider right here all the way down till I see it go negative 0.59 And again, make sure it's that controller were controlling the translate wine, which we moved it all the way down. It is controlling the blend shape. And it is it's not the smile, it's the frown. So again, we are controlling the frown on, But we haven't said a neutral post for the friend. We said a neutral for the smile, but not for the friend. But let's see what happens. So OK, sliders all the way down Frown is okay. It's selected, but when it's all the way down, she has to be frowning. So how do I do that? I need to activate it. So there she sat. Gonna hit key. Now let's move this up, See what happens. She's sort of smiles, but not really. The reason why this is happening is because look at the frown here. It's still set to 100%. We need to set the neutral pose now for the Fran. We set a neutral for a smile right when I was at 00 here. So make sure you go to your Jonah mocks a zero and then now I have the controller selected . Okay, translate. Why? OK, blend ships. Arcade frown. Okay, We're still under the frown not to smile anymore. We need to set a frown at 00 here in the controller 20 right here. Notice I was up. That's why we're getting some weirdness now that the smile is set to zero and the frown iss at zero. Let's go ahead and key it. And then that should do it. I'm gonna go ahead and slight this up Notice fears smiling. Set it down to zero here. So if I am put zero. She should go back to neutral, which she is, then. If isolated down, she should be frowning. So that means our controllers air working. Fine. I can close all this out and I can player on with my controller here. And that is how we use a set driven key to control our blend shapes by creating this animator friendly controller Now, now the animator doesn't have to come up your window. Animation editor is blend shape. Sent key frames here. You see that? This is sort of a pain as a posture is quickly coming in here sliding this up and down like that, right? And again, I can even grab this the the whole group Lincoln position this wherever I like, right? It doesn't matter. I can grab the slider, and I still have my limits. So this is how you use the set driven key. So in the next lesson, I'm gonna show you how to add the blinks, which is gonna be the exact same way, but, you know, just so that we get the hang of it. I'm gonna go ahead and redo this in the next lesson, so I will catch you later 16. Blinking SDK: All right, so we're getting pretty close to finishing this up. So I still need to show you how to create controllers for ah, say, for example, of the mouth shapes and when the teeth need to actually move. So, for example, if she's going to say the letter A yeah, the bottom teeth need to move with it as well. So I can move this down like this, but, you know, to say in a the cheek, still kind of move up like that and the teeth will need to move automatically, something to show you how to create that. And but in this story, I'm going to show you very quickly how to add another set of blink controllers. Here's I'm gonna gonna create more of these controllers down here, and I'm gonna create two separate controllers now, Normally, people always ask, you know, how many controllers do I need? You know, that always depends on your animation needs, but it's usually not a good idea. Say, for example, we wanted our character to blink. What beginners would tend to do is at a blink for the right and the left under one controller. So if I move this controller up and down, both eyes would blink. Now, that might be good if you're starting off, but in the industry, you want to give the animators more control. So you wanna have two separate controllers want for the left eye and want for the right eye so that the animator can actually pose and get very specific, you know, eyelid motions here. So that's something that you need to consider on creating controllers. So let's go ahead and create new controller. So I'm gonna create two of them, some gonna goto through eight e p. Curve tool. Make sure that it's still set under linear and holding down X. I'm gonna snap again to this little rectangle here, press enter when I'm done, and then I'm gonna duplicated long in a central pivot, controlled the to duplicate. And then I'm gonna move this over about there, but doesn't really meaning that we'll leave it there for now. Do another controller. Ah e p curve and holding down X press enter Turned out my grids. Okay, I'm gonna shrink this about there, and then I got I'm gonna change the color. So control a go to enable overrides and change to that turquoise color there. Same thing for this one. Enable overrides. And here we go. So now, like this, I'm going to go ahead and duplicate it. Now, make sure this one is also centred. Pivot. Now, I can go ahead and control de on both of these controllers, Move them over, grab both of these and sort of, you know, can you shrink? Um, something like that. So this is gonna be for my blinks. Then go ahead and freeze transformation. So modify, freeze, transformation. So, like the other ones, and then just press g to duplicate the last command. So this is gonna be my right underscore. I believe it was just control right on this one. Yeah. Controls. This is gonna be my left. Underscore. I underscore CTR. Oh, this is gonna be my right. Underscore. I slighter this is gonna be my left. Left. I underscore Slider, And there we go. Now, let's go ahead and set our limits to these sliders here, so control a and make sure I'm under the slider and translate. So again, remember, translate X. I don't wanna be able to translate this on the axle. Say 00 maximum. Um, I still don't know what it is. So before I said it, I need to look for it. So go ahead, turn on my grids. Actually, it's not lined up to the great, so ah does come down here. Probably a negative. 35. Oops. Just try and see. I can do a negative 35 a positive 35 here. Doesn't have to be exactly just Yeah, So it negative 35 is going to be my negative limit. So a negative 0.35? I believe it. Waas? Yep. And then whoops for my positive control. A It's gonna be positive. 0.35. Let's see what that does. So that looks pretty good. I cannot move it left and right. That's pretty good. So let's go ahead and do the same thing to this one here. So control a ah translate x The negative zero translate x on the positive zero. Translate why? And the negative is believed 00.35. And I'm just copying the values from the other controller and let's see what that does. So up and down works Good left and right. Works good. So now we are done with these controllers. Now let's hook him up. So how do we do it? Remember, a set driven key Goto enemy said driven key set. And this one is gonna be Well, you know what? Since this is going to be our upper lid, I forgot. But it's good that I made that mistake. So there I can show you. Um, so the eye blinking starts from the top and only goes down to create the blink. So, actually, these controllers don't need to start in the middle. They need to start appear This is gonna be the correct starting position. So when I want a blink, I should be able to go all the way down, closed all the way up open. So this one does not need a middle state. So let's go ahead and correct this eso to do that. Gonna go ahead and zero this out zero, then out. Goto attributes. So let's go ahead and let's do the, uh I need to do a freeze transformation when it's up here. Gonna turn this off for now and say so. I want this to be the default, so this should be at zero, So I need to do a freeze transformation when it's up there. So now we see it. Zero. And then as I go down, it should be all the way. Toe negative 0.7. So, Okay, that's gonna be my negative. Why limit? So let's go ahead and turn this on. So ah, should be at zero. My minimum. Nonbelievers. Negative 0.0. I believe it was. So let's try that. And it's stumps there, and it still keeps going up. So Ah, the limit for the wine is to be at zero. Because, remember, we did a freeze transformation. So at zero is gonna be our maximum that it can go up so you can see how it stops there. So, negative 0.7 and zero is our default. It's do the same thing to this side. So negative is negative. 0.7 Max is at zero, but actually no, we needed We haven't done the freeze transformation on this guy, so I need to undo that. So let's go ahead and bring this other way up. Do a modify a freeze transformation. Always remember toe, bring that up to zero control a and then now the max will be zero. It's a minimum would be negative, point seven, and then let's go ahead and test this out. So there is our blinking controller. So by setting the minimum and maximum, we set the origin of where these controllers start and doing their freeze transformation will always tell you where the beginning of that controller starts. So I'll be able to control both of the blinks together at the same time as well, or blink just her right eye or blink her left eye. So now let's go ahead and hook this up with the set driven key here. Right, So we're gonna work on one eye at a time, So the driver here is gonna be this little slighter of you. Remember, it's gonna be our right eye, which is gonna be this eyeball here. So let's go ahead and load that as our our master And remember, we're still doing with up and down access. So that's gonna be the translate. Why and then we need to load are our blend shapes. But we haven't assigned these blend shapes onto is the main ring. So let's go ahead and even do that. So select the base models, ships like that and then last one should be your target. So this is my blink, right? My blink left and let's go ahead and I'm gonna add some. So let's just say add, Specify, and I'm gonna add them to the emotions. Note now, typically, uh, gonna apply in closing. That depends on your workflow. Usually what I like to do is if I'm gonna be in a professional environment, I like to create a separate blend shape. I would create a new one for eyebrows expression. So I would throw in all my eyebrows into that I Rob Lynn shape group and then I would create one for the eyes so squinting, you know, the bottom lead, that the blinking lead that will go into its own new blend shape here. So I would actually create a new one, and then all the mouth shapes would be in another blend shape and then even the teas. Sometimes we need to do the teeth work. So that's how that's gonna work. So let's go ahead and now open our blend shape, window and notice how Now I have the left blink working and I have the right blink working , So let's go ahead and open our said driven Kino. And remember to select our blend shapes down here for the driven we need to select. Um, here. So every have other blend shaped groups. Make sure you select the correct one. So this select will select all of these. If we had another one, they would be down here, and then there will be another select button down there. So make sure you're selecting the correct blend shape. So I hit select. I'm gonna say, Load that one and then notice. Now we have that left blank, right? Blink added here. So let's go ahead and make some room here so that we can see everything we're working with . So here's what we need to worry about her right side. This eyeball is gonna be the right blink. So let's go ahead and say, That's gonna be the neutral. So I'm going to record this. So right, controller, translate. Why blend shapes right? Blink and it's set to zero. You see here says the right blink said 20 I'm gonna go ahead and record that pose. Now Let's go ahead and grab that controller slighted all the way down to 100%. And then let's go ahead and grab that correct, um, blend shape and go all the way toe 100%. Make sure connections, air still correct and say key. And so now when I move this up, if you look here in our model, you can see that as I move that this lighter over here, it's moving our blink, so that's exactly what we want. So last thing I want to do now is we're done with that Once a list. It's like this other controller for her left eye, and now we need to load this one as the master, so make sure it's not the right eye. That's the wrong controller. Slider here. Need a load that new ones you. Now it's his left eye slighter again. We're dealing with the translate. Why blend shapes under emotion? That's correct, but we are not dealing with the right blink. We are dealing now with the left blink. So this is how you assign them to the correct one. So again, neutral state neutral state neutral state on the controller hit record or a key. So now we have an interest state when it's at zero, bring it down. Go to sent. Ah, left. Blink. Bring that all the way to 100% says that Blink ALS down, make sure connections air Still good here. Emotion. Uh, I'm emotionally. Yeah. And left. Blink and then hit record. And then let's go ahead and test this out and boom, baby, we got it working. And so now I can close this. Close this and check it out. I can even select both of these and have her blinking here. So the beauty about having two separate controllers now is if, you know, I had to do some goofy or something a little more serious type of subtle animation. I can make this I b cell ouchy or whatever. You know, So I can have this start, you know, let's say she fell or whatever it is you know, your animation cause for you want to keep that I lengthen while the other eyes actually awake. You can certainly do that. So this is what you wanna have almost full control over every little aspect of your blend shapes? Uh, I do not recommend. For example, if you want to make your smile most people want actually make her smile and then we'll, you know, bring the eyebrows up, but you don't want You don't want toe group the eyebrows with the same blend shape with her smiling with the mouth You want to keep the eyebrows separate, so don't have the the mouth smiling and the eyebrows go up half separate controllers for the eyebrows so that you can give her this precise look for your animation. Maybe you want this eyebrow to come down with this eyebrow going up, so she's more puzzled and you can have this separate controller to say how much smile. So maybe I want that much smile. I want this I radical up while this I brought to go down. So you always wanna have, you know Mork controls the better. Don't be afraid of adding, like I've seen actually in video games, 80 to 100 different blend ships. So you add a you create another blend shape for just the inner eyebrow going up, and then you would have a slider for that. So you move it up and down, and then that inner eyebrows will go up and then it will go down, and then another blend shape for the mid brow here to go up and then middle and then down. And then even another one for the tip brow tickle up, middle down. So you can see you already have, like, 1236 different blend shapes just for controlling this eyebrows. So one blend ship of it up, and then another bling shape of it down another blind shape of the middle going up. So you start adding blend ships just on that one eyebrow, and then you still have to mirror the blend shapes to this eyebrow, and then you wanna have, you know, separate controllers for this cheek area. So I want this maybe to go up. That will be one blend shape. I want the cheek to go down. That will be another bling shape. And then I need to do the same thing for the other cheeks. I would use my mirror blend shape script to duplicate that over to the other side. So then you start having all these different controllers on your model. And then you wanna also rename your controller? Sure. So what? You can do very easily go to the front and again. You want to select that controller. Select that and parent, it's so that when you move that it moves it with it. Selected child. Select that Peter Parent And then to rename this you go to create text, go to the option box and I want to set these two curves, not polygons. Because if you set him two polygons when you hit render you start making a movie. Polygons will render and curves. These controllers do not surrender. That's the reason why we create the modern curves, not polygons. And then you want to come in here and say something like left, blink, blink and then say create. And then let's look for that name. So there it is. Let's go ahead and move this up to the left blink controller. I'm going to re scale this up. Move it about there. So that is how you can rename your controls and then you can do the same thing for the other side. Create text option box she exists to, right? And then you can obviously come in here and choose your own different font. Ah style and in the size of it. And they have a sample preview down here, so I'm gonna say it right. Say create eight and let's go ahead and move this over here. Re size is a little bit to match the same as this. So something like that. And then let's go ahead and select it over. So now we have names for our controllers and then this one one more Ah, for eight text option box and then say Ah, demote. Or you can say mouth or whatever you like, create and let's go ahead and grab this and move it second. Probably place it right here where I can probably put it down here. That depends on how you decide to organize this yourself. And then there we go. So as we start creating all these controllers, you can probably create a bigger square controller using our script here and then place all of these or group all of this into that bigger square so that the animator can just select that square and move all these controllers. But this is how we can start getting all that nice controlling toe our character. So in the next lesson, I'm gonna show you how to create eight. Ah, another mouth shape, for example, of the letter A which the A, um you don't need to get some mouth shapes in here other than just this simple rotate here . All right, so in the next listen, I'll show you how to create one more blend shape for the teas, and we're going to see how that works, So I won't catch one then. Next lesson, check out animation methods dot com and don't forget to savior scene. 17. Teeth Blendshapes Fixes: all right. And the last blamed ship that I'm going to show you how to create is when you need to create a blend shape. For example, the letter a the lower teeth me to come down. But that's so you don't want to use this controller because this controllers just a mouth open. It doesn't really look like she's saying the letter A. So you want to create that as a blend shape? But if you create the blame shape on the just on this skin, it's not gonna lower the teeth down with it because which is moving the blend shape. I'm gonna show you how to create a blend shape for the mouth to create the A and then the glower teeth so that they moved down automatically without using this controller here and you'll see what I mean in a bit. So there's actually some tricks to that. So what I'm gonna do here is I'm going to duplicate the upper and lower teeth as well as the skin. So let's go ahead and select the upper teas and see if I can get the lower teeth from here , hold shift and then select the mesh do a controlled D and let's go ahead and move these over to the side all the way over here. So this is one of our our latest and greatest blend shape. Make sure I have my teeth in there. Yep. So that's it. Suck it. Well, actually, no. You know what I forgot to mention? There's even ah faster way to do this. This quarter, I want to make sure that this is gonna help. Was model the letter A. So if I go ahead and cheetahs by having the mouth slightly opened already, something like that is going to get us started with modeling the pronunciation of the letter A. So you can see that the mouth is already open so we can cheat it like this. So I'm gonna select the upper teeth and then the skin and then the lower teeth as well, and can got everything control D. And then now let's go ahead and slight this over. Now you can see it's like our model shape is halfway modeled already. And then again, you always want to make sure you go back and you zero that out. And here's what we're gonna it. Oh, we still have that connection Notice? When I when it closed the mouth, the teeth were still parented. So I want to select that mash of the lower teeth into a shift p that will actually unp Arent it. Because when I duplicated it, um, from these teeth there were still parented to the these teeth right here. And then this TV is printed to that bones, So I want to go ahead and unp errant than so Now you can see if I close at the teeth, stay open. So again it isn't. Select the lower teeth and press shift p two unparalled, and then that should allow you to close the, uh, the rig mouth and keep this open here. So they're not. All you have to do now is go ahead and work and again using your reflection and then your soft selection. I'm gonna work in here. Like, for example, the letter A So again, I'm not going to spend too much time with this. I just want to feel you how this would work. So something like that. Shrink this and push that up some scrap some of this stuff down here. Push that up like that. So look in the mirror, trying to see how you you shape your lips when you say the letter. A. So, actually, so you drop a lot of this like a a Hey, what do you do it to me? A. Maybe even some of this stuff up here, like like that. Let's see what that looks like. Turn up this. So let's start off with this. Let's say this is gonna be our a shape now. It's a little bit extreme again because weaken blend from 0 to 100%. We can obviously go a little bit more, uh, with the mouth shape closed. So here's what we need to do. When I do a blend shape for this to open the mouth, it's gonna open the mouth. But the teeth are not going to bland, because if we look at our main one, so imagine me doing a blend shape with the mouth opening. The teeth are not going to move with it because we need to assign a specific blend ship that tells those teeth to move down with it. The only time the lower teeth move with it is if I move the jaw controller. But we're not going to be using this jock controller. We're going to be using a separate controller for that. So I'm gonna show you how we need to create a blend shape for that. So let's go ahead and rename this head to, like a So it's like the sound that she's making. And I'm going to show you the wrong way. What's gonna happen if we just assign this blend shape to this one? Now this is gonna be correct, but the teeth are not going to be correct. So let's go ahead and blend sheep ad. It's added to that emotion and then say, applying close. And then again, let's look over here Now that it's applied. Let's go ahead and look at our blend shape slider. We have our a shape here. Now let's see what happens. So now she's saying the letter A. But notice the lower teas. Remember what I'm telling you. They're not moving. Why? Because the lower teeth for this rigour are attached to this joint. But we're not moving that joint. We're moving Vergis ease on this model based on our blend sheep, right? So then how can I have this move like that and then have the lower teeth moved on with this ? A blend shape. Well, the way to do that is I need to create a blend shape for the lower teeth as well, so that when it's at zero, the blend shape for the faces. Zero. The blend ship for the lower teeth is zero much. And then watch this when I make the blend shape of the face 100%. I want the blend shape for the teeth to move down 100% with it. So that is how we need to fix that. So let me go ahead, and I'm gonna minimize this. Now we're going to use this lower teeth as our temple. It we cannot do anything with this one, which is going to use it as a as a guide as a template. We need to zero out our teeth because, remember, everything starts with the neutral pose, and then I'm gonna control deep duplicated, and I'm gonna shift this over all the way over here where we have this one here. Um, I'm gonna snap it to the center. So holding down eggs, or actually, V, let's try toe snapped this to that middle Vergis e. All right, so we have this Laura teas position correctly. But now I could even move this over here. Doesn't have to be in their options putting it, they're just to So you guys can see what I'm about to do. Um, remember, if I rotate this down like this, it does not work for a blank sheet. Remember, blend shapes only work because we're moving, um, under component mode. Removing points in our model under component mode. Blend shapes do not work under object mode. This is object mode. Nothing is being changed. I can rotate this. You know I can re scale it if I wanted to, but none of this will work in a blend shape because it's not being affected. Under Vertex mode, Vertex it's not being affected under face, mode or edge mode. That is component mode. So we need to effect the position of this from here down to this new a lower open job positions. So in order to do that, we need to do it under Vertex mode, or you can do it under face mode. So select all the faces doesn't really matter and then go to the side view. And here we have our teeth selected. Now, try and find the teeth trying to find these teeth here on the side v poor and was kind of hard. But let's go toe this shaded view X ray to be so I can see the teas are down here, So let's go ahead. And like I said, we're going to leave those there as a template for this. I'm gonna go ahead and grab this and then rotate this like this and I need to match this up to our template, going to rotate this back up some like that and it looks like this is actually moved further backs. Um, something like a little bit higher about there. You can see the top of it. I'm gonna try and line that up about there, So let's go ahead and look at that. That looks about right there. So I'm gonna go into object mode now and not as we started with the mouth closed. The teas were closed here, and then we had to go under of faces and then manipulated under there. So then this would be are lower teeth and then call it a so that we know these teas belonged to the blend ship. That's gonna be this A. Now we don't need the's teeth. These don't really do anything. This one was just as a template or guide so that we can We can go from from being normal teeth or the neutral post down to this need position. So it's very important that we keep the's tease. This is our new blend shape now. So again, Now we need to create a new blend ship for this is gonna be the A and then we need to create a blend shape for these teeth. So select that one first, the base selected target teeth last go to create eight Blend ship in saying lower teeth a gang matured said to one loco and say create No, let's look at this. If I open up my blend shaped window here, known is now because I created a new one for the teeth. It's set down here. So this is for my emotions is for my lower teeth blend shapes. And if I look at the x ray mode now, if I move this notice how the lower teas now blend. If I chase, if I simply rotated thumb under object mode, it would not work. And you would be likewise in this working. I rotated the whole teeth to move down. I'm telling you, because blend shapes do not work under object mode. They work under component mostly need to rotate either vergis ease or faces. It's probably the best way I typically don't work under edges either. Vergis is our faces. So now when I worked this one like this, I'm gonna need to work this one as well. C Now that makes more sense. So when I go ahead and I hook my controllers up, I'm gonna make sure that but both of these are working together. So when that one goes down, this one will go down as well. So the next lesson we're going to create another separate controller, and we're going to start adding these will be called phone, um, shapes, which, if you go ahead and join my my Facebook fan page. I have a lot of tips and tricks here, so I'm gonna show you this quick image that I pulled up here. Um, you have these lip shapes different types of very useful boning shapes that animators use all the time. So if you can create thes lip shapes in your blend shapes, you're going to be ableto have your character speak any word on almost any language just by creating these small, simple shapes. So you can see here we have the neutral we have a with the lower teeth going down with the separate blend shape. We have the E, which you know is just the lip modeling here to see you again. Teeth don't have to worry about it. Just model the U shape. This oh does require a blend ship for the lower teeth as well the F or V shape. It doesn't matter. You can just pose out your your mouth or lip shape here and beer p against just lip shaping on D. G. K and so on. Just lip shaping. And then l D or T H. For example, the you'd have to shape the lower teeth within able in shape. So I always post good tips like this if you're if you're looking into, um, some tips. So join my facebook dot com slash animation methods, and I always post uh, good tips and techniques that I use all the time, but, yep, savior scene. And in the next lesson, I'll show you how to create that controller so you can start adding all these mouth shapes and bone ums into that one controller, so I will catch you on the next listen. 18. Phonemes Shapes: all right, and this lesson is go ahead and continue and hook up our A phone. Um, sheep. So if you're not familiar with what phone homes are, Bonhams Air. Just a small group of mouth shapes, for example, like that a that I showed you. Or in the previous lesson, I showed you a new image. It's just that small group of mouth shapes that you need to create it, and it's not that many. It's about seven or eight. Sometimes I seen as much as 10 but it's just a small group of mouth shapes that was just creating those. You'll be able to have your your character pronouncing any word in almost any language. So that's what phone homes are, just a small group of lip shapes that we need to create to be able to have our characters say any word and the and almost any language. It's very simple. That's what Bonhams are. So always remember that you might be at a studio in there, like what ownership are using. You'd be like what they're just trying to say. You know what lip shape or a using It's an A P or be known so It's just a small group. So let's go ahead and connect that A. But I want this to be I'm gonna show you even a better technique for adding all those phone , um shapes into a separate control. I don't want him to be in this type of slider. I want them to be on their own channel, attribute over here and customize themselves. I'm going to create thes under a text, and I'm just going to say Gonna call it X, Keep it very simple. So I'm gonna say X for extra controllers. I'm gonna move this over here. I'm gonna re scale this now. This is actually like I said in the beginning of this lessons, uh, it's the same technique that I use when I was working on Ah, Star Wars connect the video game for Xbox, huh? So if you learn this type of ah facial set up, you will be able to work in almost any studio that uses or is looking for this type of set up. Preserve it again because, like I said, there's many setups for a facial controls, including having joints in the eyebrows and that type of stuff, which who will get into advance. Um, facial stuff If you guys, you know, leave a comment or say it on my Facebook that that's what you want to learn and I'll go ahead and and create those tutorial lessons for you. So again, I'm gonna throw in phone IMs That's how you spell it out Bonhams gonna do? Ah frieze transformation Monument Do ah delete by type. Just delete the history of them. And so now I don't need any of this stuff of we had any translate scale or visibilities. I'm gonna lock and hide all of that stuff there. So I still want to leave the translating case. I want to move this, but I want to come in here and add my own attributes for are the lip shapes. So how do I do that? You go under edit and let's take a look here. I believe it's under add attributes. I want to add my own custom, uh, think to say, here in the channel box. So for this when I wanted to say, for example, the A clips and then I'm gonna want gonna leave everything as a default and I want the minimum value to be zero, which you know there's no effect. And then maximum I want this to be 10. We're actually another. The minimum is not the same as it did you fall because sometimes I can have this gold down to a negative tense. I could be from negative 10 all the way up to positive 10 and the default will be zero. So this is just telling you. What do you want? The default, uh, starting posts For this value to be, something's going to say minimums Europe maximum 10 and default back to zero. And the miss say add So once we click on add No, this added a little a here, which is the name that we input here a little while ago. So this is what we want. We want to create our custom attributes here now to create that custom attribute again. Remember, you need to select the controller, first added and then add attributes. Or I believe you can also go Teoh modifying Add an tribute. So it's the same thing. So now that we have that a here watch, the default is set to zero and which is also our minimum valley. We cannot go negative and then just select the the text here or the name of it. And then if I do a middle mouse click and drag in the view port No one is. We changed the values here as well. So it's kind of like a quick shortcut. So notice the highest value I can go is 10. The lowest number Aiken go is zero. So that is how we set that up. If I want to add more, more, uh, boning shapes, save for example. Later on, I add like a you ah blend sheep again. I can go added and attributes say you and then minimum value of zero maximum of 10. Default of zero. Say add. And then again, we have now on a in a you if I want to delete that, you'd go to, I believe, edit ah, delete attributes and that will get rid of that you. So just select the one you want to delete. So I want to just keep that a So now let's go ahead and find how toe hook this up. So again, I'm gonna be hooking up this a shape as well as the teeth, a shape so to do that again using set driven keys. Enemy said driven Key said And then I want to bring out my blend shaped window here. So I have my a shape here, and I have my teeth down here, so I'm gonna minimize this. Now again, remember, it's gonna ask you which one is the master or the driver in this case, this ANC's contains are our driver a shape over here. So this is this little X is gonna be our driver, and then every look over here now, we no longer are dealing with translate up and down. I'm dealing with this new custom and tribute I created, so it makes sense to hook it up in here. All right. And then I was gonna ask me, I want to come in here. And first I'm gonna hook up the the mouth shape, not the teeth. So I'm gonna go up here and notice I have select for the tees or select for the emotions. So I'm dealing with this one first on a select that one. Minimize it. Now that I have it selected, Say load driven and notice, I have the A down here. So again I have this selected like I want. I have my bone ums, which is this controller, and it's gonna manipulate that A which is there. I have the emotion blink shapes active and is gonna drive that A And I want to make sure that this a set down to neutral and this a over here is set to zero, which is gonna be my neutral. So let's go ahead. And once we have those four connected, say, record that pose. And so now what I need to do here is select our controller. Now, nothing's gonna happen because this is our zero is our neutral pose, Which is that so let's now go ahead and bring out our blend shape. I need to bring the bling shape up to 100%. And then I'm gonna go and select this controller, and I need to bring this up to 100% which was 10 right? A few minimums click and wrangle all the way up to 10. Now, I know that's 100% and I know the blend shape Well, the blanche is a blink shape. 100%. I don't see it. No, it's not so the blend ship A needs to be, ah 100%. So now that's 100%. A is 100% Our connections are correct, and I'm going to say key. So remember this attribute now, since we have nothing that slide up and down, we have to do it over here. So we this is essentially the same thing, sliding from 0 to 10. It's doing the same thing. So again, zero is neutral. 100% or 10 is the maximum. So then now that's recorded. Uh, I pressed key, right? So let's just make sure now, coming in here to our eight. Let me go ahead and scroll down and notice how I can Middle mouse click and drag on this little A and that's working fine, but the teeth are still not hooked up. So now let's go ahead and worry about hooking this up. So let's go back to neutral at zero. I'm still gonna worry about this being my master control, and it's still the A that we're trying to get that teeth toe work with, so that's still of the same one. But down here, it's no longer emotions that's going to be our slave or are blend shape. It's going to be our lower teeth. So I need a openness and I'm not going to sell like this one. I need to select this one lower teeth, too Selected, selected down here. So this one select and say load driven. And so now you see you have here lower teeth. A. So now we know that we selected the correct one. So let's go ahead and make that connection. And that's connected correctly. Everything said 20 Ah, the lower teeth A set to zero And let's go ahead and record that pose. Now notice. I see over here, lower teeth and I lost my this type of controller. So I'm gonna select it again so I can get my phone arms. And then now let's go ahead and bring this up to ah, 100%. Or which is 10. Press enter so I can see my my emotion blend shape is working for the A. Now I need to bring this lower teeth to 100% as well and then minimize that. Okay, then said to 10 which is the maximum the lower teeth it set to maximum. So let's go ahead and key this. And so now if I go back to this control aluminum minimizes, let's test it out. So I'm gonna drag back down to zero and then look at that. We have both. Now the the blend shape in the tes blend shape working together. Now there are limits. Now, while working with this and this controller down here because you know, this one will still work. You know I can go past that, but you want to be careful sometimes when you close the mouth here, let's see if it does it. If not, then we have nothing to worry about. See, that sort of goes past it. Because we went, we opened the mouth and then we closed the jaw here. So you want to be careful with that sort of stuff? So you want to be ableto not going to the negative? Obviously. So again, that works fine. And this works fine. You know, you can even do that. But again, you want to make sure not to go all the way past the negative value here, So just keep it at zero. And then if you want to lower that, go back to a go back down, and that's pretty much it for that. So now we have our own custom and tributes here that we created here. You could probably even get rid of the translates. Things were not going to be moving this from here. Like I said, in the next lesson, we're going to create a little a little cube here to enclose all of these controller so that the animator can easily select in master controller and move all of these smaller controls in there. So probably don't have to worry about the translate here. So I'm gonna go ahead and lock and hide that now sometimes let's say you actually did want to move something, right? Even these, um I believe I did a lock and hide on on one of these. So how do you get your your move? Your translate, your rotate and your skill after you locked and did a hide. So to do this. Ah, I believe you go into your Let's try. Believe this Channel control and in your channel control. Yeah. This is the correct one. You see here, this is curable. And over here, you see non Keeble and then Here's his non Keeble hidden. So this is everything that's being hidden from us now, we don't need to worry about all of this. Just worry about the exact names that were being displayed here. So I need to look for road teeth Axis, which is is not pivot members rotate axis? Well, actually, no, no, that's I'm wrong. Remember, It's just rotate eggs rotate. Why rotate Z so I could select these and then move him over to the Kia ble section. So if I move them under the non cable So you have these arrows here so I could move to the right so they don't display them number because you put him under non Keeble. They're still locked, so you could actually come in here and then manually say unlock selected. So now you have those back, But let me show you another faster way. Let's say we wanted to translate back, So I want these back instead of putting putting them into the non key about displaying has put him under Kia ball. So let's move these to the left column. So I'm gonna say, sees a little arrows going to the left. Um, well, actually not. It still moves them in here, but it freezes. Um, so you gonna still need to unlock them at doctors by automatically moving them under the well, actually analysis E. I believe you cannot input. You could. That's kind of weird. I've never seen this cause this is non key able display. So I believe you cannot sit key frames on these. It's kind of strange. I've never really seen this, but it's okay. Just all mature to always move them over to the key able. So Cuba was actually the normal side that you want him to be on. But that is how you would get rid of them if you needed to get rid of them. So just move them over to the Keeble section. But I don't need these, so I'm going to lock and hide them again. And the only one I am worried about Is this a So you see how beautiful that looks? A hey, and, uh, if you want to set key frames, of course, he would set the key frames on this controller. So make sure you select this controller said key frames on this lighter controller by pressing s and you would start animating that. So in the next lesson, I'm going to show you how toe clean all of these controllers up, how to create a global controller. And I believe that's going to wrap up this entire Siri's. And again, don't forget to save your file. I've been saving minds. You can see I'm on version 13. So I'm going to say version 14 hit Enter and I will catch you on the next listen. 19. Cleaning The Rig: All right. So welcome to the last lesson for rigging the head as well as creating feature controllers on this lesson. We're simply going to finish this up, clean up the controllers, and I'm gonna show you how to save out the scene so that you can send us off to your animator and not have to worry about having all these blend shapes here. So let's go ahead and wrap this up. So we're gonna need a nice, simple controller, That's what A square around all these controllers. Now, for your model for your rig, you're gonna be adding a lot more controllers every taking this seriously, You wanna have all types of eyebrow controllers? Cheek controllers, You know, lip shape controllers. You're gonna have a ton more of these in there. So if you want to take this seriously, you will have ah, lot more controllers of you don't want to give this to an animator. And then, you know, find out that this is getting in the way for his animation or, you know, he just wants to move all of this to the sign, buddy. After do these individually and things get left behind. So it's not really that easy to do. So let's go ahead and create eight. A very simple controller that the animator can use to move. Now you can go ahead and create another square controller using the E P curve tool and then snapping this to, uh, the grid here, sort of like this. Or you can use this script which has already done for you. Turn this off and then, of course, modify center the pivot and its place this somewhere right in the middle. Now again, you can create this as custom as you like. You can make these controllers smaller. You can design them however you like, set the limits. How you want this is just give you an overview of how how to approach this to understand the concepts. You know, I'm just trying to teach you how to fish, trying to tell you this is how it's done. So once you understand this, you'll be able to start creating your own your own custom. Um, you know, blend shapes. Controllers shape them however you like, clear them however you want. So it's just what I wanted to show you Here is how to ah how to understand the concepts and how how things get hooked up. So go under shape. And I want to change the color of this. You can even make it something more vibrant because it's a main control. Or but I was like, my my little color blue is here, so I'm gonna stick to that one with him. Uh, I can't even move that, Remember, because I turned off the translation. So if I wanted to adjust that out after going to add it china control going to the translate ex moved over, unlocked this and then I'll be able to move it in the X direction Priest transformation. Oh, can do it Doesn't matter. Knocking hide. It's just the controller. And so now I can actually I could move this over, shrink it some more, make it nice and custom fairly tight around. And so now I'm done with this, something like that. And so now what I want to do is I want to clean it up even further. Um, I was going to say fe show if I can even spell facial Ah ctr else with the S A t N c t r l s facial controls Or you can call it like master like something like Master, It doesn't really matter. Master Facial control. And so now what I want to do is I don't want the animator to select this little control here. I just want him to select the slider and move this around. I don't want him to accidentally select this and move it around. So if you want to limit the animator from, you know, selecting this accidentally, he just wants to, you know, quickly come in here and say boom grabbed his little box and move it around. So what I want to do is select this little controller here the triangle and open your attributes, editor. And under the drawing overwrites just like where we change the color instead of display type being normal, you can change this to template. So we changed to template notice. It turns gray, and I can no longer selected here. But I can still select that slider here, which is it's pretty cool, because I can still work that now. If you wanna undo that template notice because he cannot selected, you're gonna need to go to your window out liner and then selected here in your outline or so left, I control. And so now you can see it. Set the template. You can change your back to normal. And again, you can select it if you wanted to. I'm gonna leave it under template. Do the same for this controller template. Do the same for this one template. So then now works is left with this very easy controller to select, uh, zero that out. So again, this one still works, and this one still works. Now, this one I do not want to create into a template, because if I do it into a template, you cannot obviously select it and axes these here. So I still want to keep that like that. And then next thing I want to do um, I don't need the animator to scale this. I don't want to give them access to scaling this. He doesn't need to rotate these like that. He doesn't need to translate on the ANC's. Remember, we limit that and he doesn't need to. Well, I'm gonna leave the translate Z because e Sometimes the animator wants to grab the controllers and move them back away from the modest I'm gonna leave that on there, but again. So, like this one select Translate what he needs to obviously move that up and down. Select all of these. Say lock and hide. So now he can on Lee move it up and down. He can move it in depth, but we'll look at that later. Same thing for these. Exactly the same locking hide. Just the translate. Why Still accessible? And then these as well. Same thing. Block and hide. So again? Yes, translate. Why over here that's still working. Sounds perfect. And so you can see now this is much cleaner. And again you can even template thes if you wanted to. Um, I typically don't work with a lot of these texts because you can see each individual One is separate from each other. So you could probably grab all of these or group Wilmore, do something like this and say control G to group all of that. But I'm gonna leave that like that for now. Um, so this is gonna be my me master controls. I'm gonna do a modified priest transformation. Ah, I don't need him to rotate it or skill. He can scale it. I'm probably gonna leave that there in case he thinks my controllers are too big. I'm gonna hide the visibility as well. So I want him to be able to move this anywhere he wants. And he also be able to scale this however he wants. So this Go ahead and and apparent thes or group home under each other's. I'm gonna open up the outline. Er gonna look for my master facial control, which is that big square. And I'm gonna start looking for these these little controller. So I want this one to be inside of the master controller. Or, in other words, I can select that. Do ah, control, select the master controller. So it's child parent P Sen. If I move this one around, that X will move with it. So that's pretty good. And I can also re scales this and then that everything inside will re skill with it. So let me go ahead and find this one, this little controller here for this, So I'm gonna grab that, and then I'm gonna select the master control and say P so let's test that out again. So I have those two moving with it. That's perfect. I can re scale that. That's perfect. Gonna grab? Ah, let's say the text right there. Select the text. Select the master controller Pressed P Let's test this out. That's working good. And I'm gonna go ahead and do the same thing over here. So that would be this one. And I like to select it here in the outline. Er, because have you selected here? Sometimes you'll select other things. Notice this isn't like, really highlighted in blue. So there that's highlighted in blue and then control shift. Select the master controller. Press P. Let's go ahead and grab this right Control selected there. Control, click the Master Control press P. It's test this out. That's working good. Ah, remote control selected there. Select the master Control press P and then the last one would be emote. Select the Master Control press P. And I believe that would be it. Now I have this texts l I don't know exactly what that is. Let's see what happens if I delete that. So nothing happened when I deleted that so I could get rid of them. Let's go ahead and test this out again. Make sure nothing is broken that's working Good. That's working Good. Bright blink is still working good. And I still have my smile and frown. So that's working good. Well, actually, and I'm gonna block and hide the translate Z. You don't need that Translate Z on these controllers, even this one. All right. So I believe I can still move this into the Z. Yep, because the master controller still has all these available, so it doesn't matter. Of the ones that are are grouped inside his master are are disabled in the translate Z, so it doesn't really matter. And I believe we are pretty much done with this. He can grab this controller and re scale everything, so that's pretty useful. He can move us away if you wanted to. Ah, and that's pretty much it. We have ah, whole rig that's working. Fine. They can move this around like that can grab this, start animating this however I like, make sure that all my controllers here are cleaned up nicely, and that's pretty much it for this rig. Now, before we hand this off to ah, the animator and he can actually start, remember, he doesn't need all these blend shapes in that scene because this is going to make this file size very large and and final side. So you want to be able to coming here, make changes if you have to. But then again, you want to be able to delete thes so you can hand it off to the animator. So very, very important you need to save your file with with all your work in here like this. So the best way to didn't to Ah save this out is you know you want your head rig or whatever. Now this one is not a version. This is gonna be like a master. So this is your master working file. Now you can choose any name you like. I prefer calling this blend shapes, actually with a capital as shapes. So head rig, blend shapes and then go ahead and save that. Now, this file will tell me that this file has the blend shapes has are the hookups, the teeth blend shapes. Everything that I need to do before I handed up to the animator is in this file. All right, so then now I need to save this out for an animator to work on it for the animator to work on it. I can actually delete all these blend shapes. Watch this. This is where it's important that you save a version with your blend shapes because we're going to delete them. All right, so go ahead. Hit delete on your keyboard. And this is what the animator should get. Just one master file. I usually like to go to show turn off joints so that the animator doesn't start picking joints in there. And then this is what the animator will get. He will be able to still work the blinks, even though we deleted the blend shapes, right? He will be able to, you know, animate this. However he wants, he has clean controls, very easy to use. Blab, blab, blab, blab. Oh, yeah, yeah, we get it right. Very simple but yet powerful rig to to use here and then that that would be it. If you want to create a controller so that when you move the head, the eyes follow, I would recommend you use a uh I believe it would be a a parent constraint because this one will ah, constraint gives you that ability to turn it on and off. But sometimes you want the ice to follow the head. Sometimes we wanted to stay put and look at something. So to do this is you would select the leader in this case is going to be the head. It's going to move the master I control. Go to Constraint. Do a parent make sure your offset is checked on and say add. So now when you move your leader here, that's gonna move your eye controller with it, right? And then you can undo that. Now, if you want to turn that off, I believe you would send a key frame here. And you see these blend shape, Parent? One will appear. So now you can turn that on. One is on. Zero would be off. So now if I move this away, notice that it's still trying to point at that controller. If I go back to this controller and turned his back on, I can now come in here and move this together. Now, the beauty of this, um I want to leave this up to you. You can come in here and curry eight. Um, I can even turn this off the scale in the visibility. Ah, say lock and hide. Remember, you want to keep things clean, I can come into this controller. Well, the attributes already there. So it's not a big deal. And then that is how now I can save this out, actually. Assure done that little trick when I still had my blank shins Because I was still working on the file. But this is OK now, this is what I'm going to give to the animators. I would say that out, and I would just call it like Hedrick head Rig is, you know, it doesn't have a version. Doesn't say like underscored 01 or 02 didn't say blend shapes. This is how you know this is your main your master file. So then you would save that out. And now that is saved as head rig file. And then this. This is your final one. This is what you give your animator. And then now he can start. I believe I have I textures here. He would start animating this, and that would be it. So hopefully you learned a lot with you know, there's a lot of lessons, but very powerful. Very very, um important as well, because now you have that knowledge to be able to follow this lesson Learning applied to your de Meriel. You can create something like this and then just record your screen of you using all these controllers like this. You know, it's just show off what your character can do and then put this on your de Meriel. Show this to a studio saying that I know how to create these controllers that do all this. You can do this. You can do that and come over here. You can turn this on and off like that. You can get the A. You have separate eyeball controllers, right? You can move this controller and the eyes will follow. You can turn this off and then the eyes stay put. You can move the jaw, and then you add this into your your DVD and a studio can hire you based on your work that you're showing here. So I would actually put something like this on my demo area. And then you're on your way to landing your job as a professional rigor. So, like I said, Thies air proven, um riel working experience that I've done what I worked on on video games. I worked on the same facial set up for two video games, which was Ice Age, um, part for and Star Wars connect for the Xbox. So again, learn these very powerful guarantee. You're gonna start making really nice rigs. And again you can check out my website. I have books for animators at animation methods dot com or, you know, send me a message. I'm willing to help you out with anything. Leave me a comment below. Check out my facebook dot com slash animation methods fan page, and I'll be more than welcome to to share anything or help you with any issues you have. All right, So I will catch you in the next less hands. Yea, catch you later, my friend. 20. Bonus Video: a ah, bonus material. I love my free stuff. Got to give him free stuff. So what am I gonna teach you here in this little bonus video? So you finally modeled your whole character, and it's fairly low. Polygon you can see here. Ah, the back of the head. How? It's very square. Now you need to leave the smooth for the very end after you're done rigging and everything has been completed and it's the last step that you're going to do. So you have all of your your phone, um, shapes. Your blinks are working your remotes. The last thing you'd want to do is add a smooth. So I went ahead and I just created this controller which you guys should know how to create already. But I want to hit, and I set a limit now on the X axis. So negative x zero. That's where I wanted to start and at ends over here on the right site. And then obviously I set a limit on the Y zero so it doesn't move up in now. So what are we gonna do with this? Uh, when were animating We want to animate at a low Polly level like this. You want to see all the little squares and everything looks very like low resolution. But when we're ready to render it and make it into a movie, you want to get rid of all the little square pointy edges. So you want to smooth it out when you want to render it. And to do that, you want to be able tohave a very easy control reaches Go low, Polly. You go all the way to the right and it's smooth. So that's what I'm gonna show you how to do here, which is the same thing we've been looking at. I'm gonna open up my channel box here and here's what I'm gonna do it. We look at the model, notice how this model is a fairly high poly motto. But let's assume that for your character is a very low polly. All right. So again we can tell because the back of the head is kind of pointy here, which nobody has a pointy head. And then here's what I'm going to do. I'm done with the model. I want to apply a smooth and notices just on the head. You can do it Teoh to other parts of the body, but you're gonna have to do them individually. So I'm going to show you for the head right now. So select the head. Make sure you're under the F three polygon, many you goat under mash. You see this one that says, smooth. Let's go ahead and apply one Smith. So notice now it made it very high poly, but also now the head is very, very smooth. It's a lot better than what we had before. So this a good detail amount that we can use to render. And if we had hair on top of this, obviously wouldn't see sort of these edges, but again weaken. Smooth it even more. But for this level, I'm happy with it. She's very, very smoothly can see around the years. It's not pointing anymore. Everything looks pretty good. So this is the level of detail that I want to use to render. All right. So, in order to find that not smooth, you go over here to your channel box. Now you can lower your layers over here. You're gonna notice this one. It says, Polly, Smooth face one. That's the smooth that we added onto the face. So if I select that under your shapes or inputs, click on it and you can see this, it says divisions and continuity. So I'm concerned about the divisions. So 50 this out impress enter notice. Now we got rid of that smooth. So now it's back to its original Low Polly, and this is what we want to control the division. So normally, the highest you want to go is a division of two. So one is sort of in the middle and too much This this is really, really high now sometimes, like for a video game, you don't want to go this high. This is probably gonna crash your game. But every just rendering this as a movie and your computer can handle it, you can use it. But I don't recommend it. I like sticking with I want because this is OK. So the question is, how do we connect this division to this controller? So I want this to be low Polly on the left as I slight this to the right all the way. I wanted to be smooth like it is right now, so let's go ahead and move this back. Let's go ahead and zero this out. So we know that sdk Zehr said driven keys allows us to connect controllers to other attributes in our model. So let's go ahead and look at sdk and I'm gonna press f two two under my enemy Shin Main menu and I'm going to go under Enemy said Driven key set so very easily I know that this controller is going to be my driven, so I'm gonna load that. I'm sorry. The driver, that's that's a mother lode, right? Remember that. This is gonna be my main one. And which acts is, um, I gonna be moving. I'm gonna be moving the not to translate. Why? I don't want it to move up and down. It's not gonna be visibility. It's not gonna be rotate or scale. It's gonna be translate X because it only moves on the X direction. So this controller will move the translate X and then what's going to be my driven? I need to do that smooth attributes. So in order to load that I need to select my model or whatever you applied thesis moved to click on that Polly smooth face one and then say load driven. Now, once he loaded, you're gonna see it right here. Says Polly. Smooth face one. Select that. And then now I have those same attributes that that police movies has and you can see here I have divisions. So that's what I'm concerned about. Now I already know that the controller is all the way to the left. I'm controlling the translate X Polly Smooth face one and divisions and I know I haven't set to You can see a pure division and set to zero. So that is my lowest original. Ah, model that I created and let's go ahead and look at it. Wire frame shaded. So this is my low Polly. You can see the back of the head, So let's go ahead. I have my four connections here and say Key. Now you can see here under divisions. I have said a key and it's set to zero. So let's go ahead and select my slider. Move it all the way to the right. Let's go to that Polly. Smooth face one. Select that. Now over here in my channel box under divisions. Go ahead and set this to one, so it's gonna be my highest. I'm not gonna go out. Wait up. Teoh too. But if you wanted to, you could and then make sure I have my connections here, Polly. Smooth face divisions said to one. Okay. And then let's go ahead and key it. And then let's go ahead and close this out and test it. So this should now by moving all the way to the left, you can see how goes from Low Polly there too high, Polly. So this is very useful when you're getting ready to render this out. So you animate and low Polly so that your character can move, you know, at riel time in your in your view port And as you're ready to render, obviously this is gonna be much heavier, and you're probably going to lose real time if you were animating at such a high poly level . So only for rendering purpose can you do this. And again if you have other different things, like, say, you have a coat or you have, like, let me show you the eyeballs again, you can do this to each individual, say you have clothing and that also needs to be smooth. So go ahead and select Now your I you have to do them individually. I cannot select two. So I would select the I I would go under Ah, modeling mash smooth. And then that's it. Notice that I have applied to smooth on it. Ah, go under. Let's see here to believe I applied it to the outside of the eye bond at the inside. Let me see if I can find that out liner under the eye. All right, so here ago, we have to go under the shape, right eye shape, and then in here, we're going to find that Polly smooth base to So you can see that division is already set to one something a zero. This out. Notice that the I went back down to a low polly. So very quickly select the controller. Go to animation. Enemy said driven key again. We're gonna make that be our driver. Translate x selectee. I make sure you're under shape again cause notice here under inputs or anything, you're not going to see that smooth Polly, So gonna right eye shape and then now down here is see Polly smooth faced number two because this is a number two ah, smooth that we've added so far. And then go ahead and load the driven their regal Polly smooth face to divisions and I'm gonna open up. Make sure that set to zero. So Division zero, that's all the way to the left for connections. Key it. And then again, let's go ahead. So like Polly, smooth face, go to divisions. Set one, known as R. I. Bis smoothed again. And then let's go ahead. Move our controller all the way to the right, and that's OK. We still have that smoothing on ahead happening and set the divisions to one in the eyeball . Notice the eyeball now smooth. I'm happy with my four connections controllers out of the way to the right and key it and close. So now notice this right II smooth and this left eyes not smooth. So let's go ahead and see what happens so you can see the eyeball also Smoothes with this just one controller very easy, very powerful, and you can add as many smooths Ah, that you have throughout your whole like say, for example, that hair, the clothing you can and as many smooths as you like, as long as you, uh, Adam onto this one controller so that it controls the entire ah, smoothing of your character. So that's it. A little bonus video on how toe at a smooth to your character and again. Once you're done with this, you can delete the blend shapes and save this over your master head rig for your animators to start using. All right. So hope you enjoyed it, and I will see you on newer and fun lessons.