Masterclass sur les effets spéciaux 3D pour l'animation de personnages dans Cinema 4D | Moy Lobito | Skillshare
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Masterclass sur les effets spéciaux 3D pour l'animation de personnages dans Cinema 4D

teacher avatar Moy Lobito

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Promo

      2:17

    • 2.

      Avant de commencer

      4:57

    • 3.

      Configurer le fichier Cinema 4D

      5:22

    • 4.

      Symétrie de personnage

      11:39

    • 5.

      Optimiser le personnage

      13:12

    • 6.

      Créer la base de la rig

      14:32

    • 7.

      Des sauvegardes C4D

      5:55

    • 8.

      Travailler avec des calques dans Cinema 4D

      8:14

    • 9.

      Ajuster l'objet de personnage - Ajuster les jambes

      9:38

    • 10.

      Ajuster l'objet de personnage - Fixer les bras

      6:35

    • 11.

      Ajuster l'objet de personnage - Fixer les doigts et les yeux

      26:54

    • 12.

      Lier le personnage

      14:20

    • 13.

      Travailler avec l'objet de la surface de tissu

      19:44

    • 14.

      Ponde du personnage - Les bases de la poids

      17:47

    • 15.

      Pondérer le personnage - Mesurer les éléments de la tête

      17:11

    • 16.

      L'Outil Poids expliquée

      21:30

    • 17.

      Les bases de la normalisation

      13:59

    • 18.

      Normalisation automatique

      12:02

    • 19.

      Pondérer le personnage - Pondérer les yeux, la bande et la ceinture

      14:59

    • 20.

      Peser le personnage - Messer les jambes

      10:07

    • 21.

      Pondérer le personnage - Pondérer le torse

      28:01

    • 22.

      Ajuster les contrôles du corps supérieur

      13:50

    • 23.

      Ajuster les contrôles de doigt

      9:25

    • 24.

      Ajuster les contrôles des bras et les jambes

      8:42

    • 25.

      expliqué Inverse Kinematics et les cinématiques de Inverse

      8:46

    • 26.

      Ajuster les contrôles de Kinematics à l'avant

      9:13

    • 27.

      Pondérer le personnage - Pondérer la main gauche

      34:09

    • 28.

      Pondérer le personnage - Mesurer la main droite

      14:50

    • 29.

      Ponde du personnage - Mesurer les bottes

      13:55

    • 30.

      Utiliser la commande de mise à jour

      9:29

    • 31.

      Pondérer le personnage - Pondérer la leston

      34:18

    • 32.

      Pondérer le personnage - Pondérer les boutons

      2:25

    • 33.

      Organiser le fichier

      8:03

    • 34.

      Rassembler des références pour poser le personnage

      6:48

    • 35.

      pose en cours - Poser les jambes et les bras

      17:47

    • 36.

      pose en cours - Poser les doigts et les yeux

      14:27

  • --
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Le niveau est déterminé par l'opinion majoritaire des apprenants qui ont évalué ce cours. La recommandation de l'enseignant est affichée jusqu'à ce qu'au moins 5 réponses d'apprenants soient collectées.

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About This Class

Créer des rigs de personnages à la fin de la personne en pleine personne. Ménage Masterclass.

Dans ce cours, vous apprendrez tout ce que vous devez savoir pour créer un personnage 3D dans Cinema 4D à l'aide de l'objet des personnages. Je vais couvrir tout de la finale, des éléments plus avancés de la finale.

Nous commencerons par en apprendre plus sur la grande importance de la symétrie des personnages et l'optimisation des personnages. Et vous apprendrez à optimiser correctement vos personnages avant de les to

Nous allons ensuite créer la plate-forme de base à l'aide de l'objet de caractère. Nous allons créer la squelette complète y compris la spline, les jambes, les membres, les doigts, la tête et les yeux. Et pour rendre la rig plus utile, il aura des contrôles de l'IK et de FK qui nous permettront de passer à l'un seul bouton.

Ensuite, vous apprendrez à ajuster l'objet de caractère, de la skeleton à la skeleton sde l'enchaînement des personnages. Ensuite, nous allons lier la Créne de personnages et la maille de personnages. Plus tard, vous apprendrez différentes techniques pour correctement poner votre personnage. Et nous poserons le personnage en bonus, en tant que bonus.

Ce sont les sujets de ce sont les principaux que nous aborderons, mais vous apprendrez également à travailler avec l'objet de surface de tissu lors de are un personnage. Comment utiliser correctement l'outil de poids. Vous apprendrez également les bases de la normalisation et de l'auto-normalisation dans Cinema 4D. Et vous apprendrez également et les autres de la connaître de la Kinematics inverse inverse (IK) et la cinématique avancée (FK.

Ce cours est rempli d'une grande quantité d'informations précieuses que vous pourrez appliquer dans n'importe quel projet de l'aménagement de personnages que vous travaillez à l'avenir.

À la fin de ce cours, vous aurez une compréhension claire de la manière de la création des personnages 3D, et vous pourrez également créer vos propres grées pour vos propres personnages.

Alors, préparez-vous à en apprendre beaucoup et je vous verrai à l'intérieur.

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Moy Lobito

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Transcripts

1. Promo: Hello, everybody, and welcome to another amazing cinema for the course. In these cars, you will learn everything you need to know to rig a character in Cinema 40 using the character object. And I'm going to cover everything from the very basics to the more advanced half. And when I say everything I mean everything, you're going to learn about character symmetry and character optimization. Then we're going to create the base rig using the current object in cinema for day. After that, I'm going to teach you how to adjust the character object so it feeds your counter. Then we're going to bind the character and the character rig together. After that, you're going to learn different techniques to properly wait your character and to finish. We're going to post our character in a running post. Now, those are the main topics that I'm going to cover. But you will also learn about how to work with the clothes surface object when rigging a character, how to properly use the way tool. You will also learn the basics of normalization and out of normalization in cinema four D. And of course I'm also going to teach you about inverse schematics, also known as I K and for working a Matics also known asked F K. So these currents is over eight hours long, and it is eight hours long because it is packed with a lot of valuable information that you will be able to apply in any character. Regan project that you work in the future. So by the end of the scars, you will have a clear understanding of how the rigging process works in cinema 40. And you will also be able to create your own rigs for your own characters. So if you want to learn how to read a character in Cinema four D, these he's the perfect chorus for you. And I know that you want to take these cars and you know that you went to take thes cursed . So what are you waiting for? I will see you inside 2. Before we start: hello, class and welcome to the course. I hope that you are doing great today. And I also hope that you are ready to learn a lot. Because, believe me, you are going to learn a lot. Now. There are a few things that I would like to discuss before we start the cars. The 1st 1 is that I usually trying to talk as clear as possible. But English is my second language. So if at some point I mispronounced a word or two are if I misuse a word, please just ignore those mistakes. And please try to concentrate on the content rather than the language. Okay, Now moving to another topic. Remember that you can download the cinema for the file from the resources section off this lesson. It comes in a safe file. So all you have to do is to download that file. I'm compress it, and then you will be able to access the cinema for the file and all of the files that you will need to follow along with the curse. Now, another very important thing is that this curse is for inter mediate students. So I assume that you already know the basics of cinema 40 including how to navigate and how to use the most basic tools, like this. Elect, move, rotate and scale tools. So if you are an absolute beginner, I recommend you to take my cinema four d from scratch course that I also have available in these platform. Or you can watch a few YouTube videos on the very basics off Cinema 40 so you can follow along with these cars now in these cars were going to rig a complex character with different elements, which makes the rigging process more time consuming. But this will help you to learn how to rig a complex character. And that means that if when you want to read your own characters, those characters are complex characters, you will know how to handle that job. And if your own characters are made off your elements, you will be able to rig those characters very easily because you don't really know how to rig more complex characters. Now, during the course, I'm going to mention two concepts that are very similar. I'm going to be talking about a character mesh and a character object. Now you have to make sure that you understand the difference between those two concepts. When I refer to the character measure, I am talking about the polygons that make the different elements off the character, the polygons that make the body off the character and the different elements that create that character. And whenever I talk about the character object, I am talking about an object that Cinema 40 has to create the skeleton off the character. And one more thing. When we started working with this skeleton off the character, you will see that I will use the word bone or bones a lot. And this is not an accurate word. When rigging a character, the Greg Ward is joined our joint. So whenever I say bone, I am actually talking about the joints, which is the correct term for the bones off a three D character rig. Also, when we work with objects in cinema, for the we can work in different moments, we have the polygon mode, the point mode, the edge mode and the model mode. Now the model mode used to be called the object mode in previous versions off Cinema four D , but they are the same. They only changed the name. And since I've been working with cinema for the for more than 10 years, I've always known it as the object mode, and that's the way I am used to calling it. But it is the same as the model moat and depending on your version, off cinema for the you may see it as the object mode or as the model mode. But again they are the exact same thing, and the same may apply toe other names off tools or commands I use. So if I tell, has a different name, don't worry about it, Okay, so now we are ready to start the cars. So I really hope that you enjoyed this course and that you learn a lot from it, so get ready and let's begin. 3. Setting up the Cinema 4D file: Hello class and welcome back. In this lesson, we're going to set up our Cinema 4D file. So let's start. Okay, So as you can see, I am at my Finder. And as you can see here, I have a new folder called character rigging. Now you can get this folder with all of its contents if you download the file from the resources section of this class. Now you're going to be able to download a zip file. So you have to download it and extract it. And you're going to get these folder. So I'm going to open up this folder. And as you can see here, we have three different elements. The first one is AC for the backups folder. Now, this is a very important folder and I use it for every single project that I work in, Cinema 4D. Now I'm going to explain all about this folder and why I use it, and also how I use it in a future lesson. For now, just keep in mind that this is a very important folder. Now, I also have another folder for my textures. So let's open it up. And as you can see here, I have the textures for the character that we're going to be rigging. I'm going to go back. And here I have also the Cinema 4D file that contains the character that we're going to be rigging. So let's open up this file. And this is the character that we are going to be rigging in this course. So as you can see, this character has different elements. And if we go to the objects manager, here we can see all of the elements that create these character. So you can see here that we have a pair of sunglasses. And if I turn off the visibility for the sunglasses by clicking on these dots here. You can see that now we can see the eyes of the character. Now, if I turn on the visibility for this other group here, you can see that now we have a monocle for our character. I'm going to turn it off again. And I'm going to turn back on the visibility for the glasses. Like so. Now we can also change the hair cell of our character. You can see that now we have a more hug hairstyle and some bird here. But if I come over here and I turn off the visibility for this object. Now you can see that our character is bald, but I'm going to turn on the visibility for these other object here, which only has the hair. You can see that we don't have the beard anymore. And if I turn this off and I turn on these other hairstyle, now we have a different hairstyle. So this character is pretty flexible. And we're going to turn off this one here. And I'm going to turn back on this one. Now you can see that this character has different elements. For example, here, this character has a ring on its right-hand. If we go to the ER, we can see that this character has to piercings here. Now inside of the mouth. It has some teeth, a tongue, and it has different elements. So as you can see, this character is a simple character but has different elements. And this is good because this way you are going to learn how to rig a character with multiple elements. Okay, now, I'm going to collapse this group here. And as you can see here, we have another group which is for our lading. Now as you can see, the visibility for the viewport of these group and all of its contents is turned off. You can see that because the top that is red. So if I click here and I turn on the visibility again, you can see the lighting setup that we have here. So I'm going to get closer here. And I'm going to make a quick render so you can see how this character looks with the textures and the lighting. So this character looks much better now. Okay, so again, these group is only for our lighting. So I'm just going to turn off the viewport visibility for these group because I don't want all of those elements getting in our way. So that's how this file is set up. And again, you can get this file if you go to the Resources section of this course and you download the zip file. And that's all for this lesson. Thanks a lot for watching. And I will see you in the following lesson. 4. Character symmetry: Hello class and welcome back. In this lesson, we're going to talk about character symmetry. So let's start. Okay, So as you can see here, we have our character. And one of the most important things about character creation, including modeling, texturing, and rigging, is that characters are usually asymmetrical. And that means that if we trace a vertical line in the middle of our character, we're going to see that what is on the left side of the character is the exact same as what is the right side of the character. So if we trace a line in the middle, it is going to be a perfect reflection on each of the sides. Now, like I said, characters are usually symmetrical, but there are exceptions. For example, if we have a pirate, it may have a normal leg, but the other leg may be a wooden leg. Or for example, if we have a futuristic character, it may have a normal arm, but the other arm could be a robotic arm. So some characters will be asymmetrical. But usually the general shape of a character is symmetrical. And the reason for this is because we humans are symmetrical. Now, we're not perfectly symmetrical, but the overall shape of our bodies and faces is symmetrical. And the same happens with animals. And since most of our characters are going to be based on humans or animals, then our characters are going to be usually symmetrical, at least In the overall shape. Now, the character that we are going to be working with is symmetrical. Now let me go to the objects manager and I'm going to turn off the visibility for the glasses. So I'm going to double-click here. And we can see that this character is symmetrical. So most of the elements are a reflection of themselves on the other side. Now, even though this character is symmetrical in the overall shape, we have some asymmetrical characteristics. For example, we can see that this character has a ring on one hand, but on the other hand, it doesn't have that ring. The same happens with these piercings here on the ear. You can see that over here, we don't have the piercings. So our character is symmetrical in general, but it has some asymmetrical characteristics. Now, symmetry is also very important when it comes to reading characters. Because when we create the skeleton or the rig of the character, usually we're going to create a symmetrical rig. And that's going to help us to save a lot of time because we will only need to work on half of the character. And then we're going to mirror the work that we did on that half, onto the other half. So we can have a fully rigged character. Now, for this to work, the elements that are supposed to be symmetrical in our character have to be perfectly symmetrical. Because if they are not, then our rig is not going to work properly. And I'm going to show you what I mean. So I'm going to go to the front view. And here you can see more clearly that our character is in fact symmetrical. Now I'm going to go to window and I'm going to go to another file, which is this one here. And you can see that here I have the rig that we're going to be creating. So I'm going to copy this rig. I'm going to go back to my character file. And I'm going to base it here. I'm going to turn off the visibility for the character for a second. And as you can see now here we have our rig. And as you can see, the rig is perfectly symmetrical. Now, if I turn back on the visibility for our character, and I'm going to make a copy of the jacket. So I'm going to come over here, select these jacket object, and I'm going to make a copy. And I'm going to hide these other jacket here just for a second. Now with this other jacket, you can see that right now it is perfectly symmetrical. But I'm going to move some of the points so the jacket is not symmetrical anymore. I'm going to select the Lasso selection tool. I'm going to select some of these different points here. And I'm going to rotate them a little bit. And I'm going to move him as well. And I'm going to rotate also these ones here. So I'm going to use the loop selection tool. And I'm going to rotate them a little bit. Just like so. Now I'm going to turn off the visibility for the rest of the character so we can focus on the jacket. So I'm going to click here to turn it off. And now you can see that this jacket is not symmetrical anymore. You can see that the shape of this arm is different from the shape of these other arm. Now, the problem is going to come when we work on this side of the jacket and we want to reflect these onto the other side. We're not going to be able to do it properly because this arm has a different shape. So the bonds will deform these arm in a different way because the polygons have a different position. And when we try to animate this character and we move this arm, this is going to be deformed in a different way and it is not going to look good. So for the elements of the character that are supposed to be symmetrical, they have to be perfectly symmetrical. Now I'm going to delete this rig because we don't need it anymore. And I'm going to show you how you can fix these kind of problems when you have a character that is not perfectly symmetrical. So I'm going to start by selecting my object. And I'm going to go to the point mode. Now, I'm going to come over here, click and hold. And I'm going to select the rectangle selection tool. And I'm going to get rid of half of the point. So you can see that this arm is okay because this is straight and this other arm is the one that is not okay. So I'm going to delete these points on the left. So I'm going to click and drag to select all of those different points. And I'm going to delete them. So just make sure that you don't delete all of these points that are in the middle. Now, I'm going to select this point in the middle here. And I'm going to make sure that all of these points are placed right in the center. So to do that, once you have all of these points selected, all you have to do is come to the coordinates manager. And you have to make sure that the size for x is set to 0. And also the position for x is said to 0. So for example, if I select some of these points and I move them around, like that, you can now clearly see that these points are not all in the center. So I'm going to select them all, including this one here. And I'm going to go to size. I'm going to set the size for x to 0. As you can see now, they are all in a straight line, but they are not in the center. So I'm going to change the position for x to 0. And now you can see that they are in a straight line and right in the center. So that's how you make sure that the points in the center are right in the center. So now that we have fixed that I'll have to do is create a new symmetry object. And we're going to select this object and place it, make it a child of the symmetry object. So we're going to have a reflection on the other side. Now, this is still only half of the object because if I turn off the symmetry object, you can see that we don't have these other part of the jacket. So I'm going to turn back on the symmetric object. I'm going to select the symmetry object. And I'm going to make it editable either by clicking here or by pressing C on my keyboard, like so. And now I can take this object, what we're outside of these null object. And I can also delete the object because I don't need it anymore. And now if I select the jacket object, you can see that now it is on the one piece and it is perfectly symmetrical. And that's how you make sure that the objects that have to be symmetrical in your character are perfectly symmetrical. Now, in animation studios, they usually have different departments. So a department is going to design the characters. Another department is going to model those characters. Another, the permanent is going to text her those characters. And another department is going to read those characters. And finally, another department is going to animate those characters. So if you're working for a studio, you don't have to worry about these kinds of staff because when they give you the model, it is going to be optimized and ready to rig. However, if you're going to work as a freelancer, this is something that you will have to do yourself. And that's the reason why I showed you how to do it. Now, the character that we are going to be using for this course has already been optimized. So for this character, you don't have to worry about anything else except for the remaining part. So now I'm just going to select this object that I don't need anymore. And I'm going to delete it. And that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 5. Optimizing the character: Hello class and welcome back. In this lesson, I'm going to show you how to optimize your character before rigging it. So, well, let's start. Okay, so this is where we left in our previous lesson. So I'm going to turn back on the visibility for our character. I'm going to zoom out. I'm going to select the live selection tool. And now I'm going to open up this group. And I'm going to turn back on the visibility for the jacket. Like so. Now, like we saw in our previous lesson, this character is made of different objects. So if I turn off the visibility for this jacket, you can see that only the jacket is non-visible. The elements are still visible because they are separate object. For example, the hands. I can turn off the visibility for the hand or for the genes. Also for the boots and the rest of the elements. So as you can see, this character is made of different objects. And this is a good idea because this is going to give us a lot of flexibility. Now, I'm going to turn back on the visibility for this element. And the only downside for working with a character that is made of different elements is that we are going to have a lot of different objects. So we're going to make sure that we only have the objects that we need. So for example, if we select the glasses, I'm going to turn back on the visibility for these glasses. And I'm going to expand these group. Now you can see that here we have two different objects making these glasses. So here we have the frame. You can see that it is a separate object from the glasses themselves. So I'm going to undo this. So these glasses go back to their position. And having two different objects for the glasses doesn't really make sense. Because whenever we want to move this angle as is, we will want to move both of these objects together. So there's no point in having these as separate objects. So what I'm going to do is select these two objects. I'm going to right-click. I'm going to go down here and I'm going to select this option, connect objects, delete. And this option is going to merge those two different objects together into one object. So now you can see that here we have only one object. I'm going to rename these two sunglasses. Now, if I move this object, you can see that the object is going to move at the same time. Now all they have to do now is go to the object mode and enable the axis option. And with this option enabled, we're going to be able to modify the position of the axis without affecting the position of the object. So I'm going to make sure that the axis position for x is set to 0. So I'm going to go to my coordinates manager and I'm going to place these add 0, like so. And I'm going to deactivate the axis option. So now the axis is at 0. And we can move now our object like so. So as you can see now instead of having two different objects for the sunglasses, we only have one. So I'm going to take this outside of this null object here. I'm going to move it outside. And I'm going to delete these null object because I don't need it anymore. Now, I'm going to turn off the visibility for the sunglasses. And I'm going to turn on the visibility for the monocle. I'm going to expand these group. And as you can see, this monocle is made of different objects. In this case, we have three different objects. So we're going to do the same. I'm just going to select all of these objects here. I'm going to right-click. And I'm going to go to the option Connect objects and the lid. So now this molecule is only one object. And I can select this object and I can move Hello object. So I'm just going to rename this to monocle. And I'm going to take it outside of these new object, and I'm going to delete it because I don't need it anymore. Now, these other elements, they are okay. They have to be separate object because for example, with the hair, we want to be able to turn off the visibility for this hairstyle and turn on the visibility for the other one. So these actually have to be as separate objects. So these are ok. Now, if we go to the piercings, I'm going to go to the perspective view so we can see this better. I'm going to zoom in. You can see that here we have two piercings and we're not going to move the position of the piercings. So it doesn't really make sense to have them as separate objects. So I'm just going to select them both. I'm going to right-click and I'm going to select the option Connect objects, delete. I'm going to rename this to piercings. Like so. I'm going to hide these monocle and I'm going to turn back on the visibility for the sunglasses. Okay. Now here we have the eyebrows. And you can see that these eyebrows are together in a single object. But for the eyebrows, we actually want the opposite. We want the eyebrows to be separate because we want to have the ability to modify the eyebrows separately. So for this, I'm going to select these eyebrow object. I'm going to make a copy. I'm just going to go Control C, Control V. I'm going to move it back inside of this group. And now I'm going to turn off the visibility for this one. And I'm going to select these other eyebrow object. And you can see that now we can go to the point mode. We can use the rectangle selection tool. And we can select these eyebrows here and the lead them like so. So now we have only the right eyebrow. So if I'm saying the right eyebrow now because it is on the right when we see it, but because it is the characters right eyebrow. Okay. Now I'm going to turn off the visibility for these eyebrow. And I'm going to turn on the visibility for these other objects, which has the two eyebrows. So this time I'm going to select this other points and I'm going to delete them. And this one is going to be the left eyebrow. So now each of the eyebrows is a separate object. And I can reset the axis for these two different items. So I'm going to select it, make sure that the axis mode is on. And I'm going to make sure that I am on the object mode. And I'm going to change the position for x to 0. And I'm going to do the same with these other object. And now our eyebrows are ready. I'm going to hide the glasses for now. And you can see that here we have the right eye. We also have the left eye. So I can turn off the visibility for the right eye. And you can see that this is a separate object from the left, I like. So I'm also going to make sure that the axis mode is on and I'm going to reset the position for x. Like so. Now the tongue has to be a separate object. I'm going to go up. And you can see that here we have some eyelids. So I have the left eyelid, the top one. Because you that this is a separate object. Also, the bottom eyelid. We cannot see these right now because it is inside of the head. But if I turn off the character's head, you can see these other eyelid here. So you can see that this is the one on the bottom. Like so. And we also have these other islands as separate objects. Like that. I'm going to turn on the visibility for the head. Now, I'm going to turn off the axis mode. And with this eyelids, we can just rotate the eyelid and our character is going to be able to blink. Like so. So that's the reason we have these different islets. I'm going to undo that. And it is very important that these islets are separate objects because we want to manipulate them by themselves. Now, the head is also a separate object. And also the teeth, the ones at the bottom and the ones I looked up. The boots are also separate objects. But as you can see, these are separate objects from the rest of the body. But they are only one object. Even if they are separated, they are only one object. And this is important because we're going to have to mirror the work that we do with this boot. And it is better if these are as only one object. I'm going to turn on the cloth object here. And we have this same with the hands. You can see that these hands are a separate object from the body. So we can turn this off and you can see that they are separated from the rest of the body, but they are together in one single object. So the right-hand and the left-hand are in one single object. Now we also have a ring. We can come over here. You can see that this is also a separate object because maybe I want to turn it off sometimes, and maybe sometimes I want to turn it on. Now I'm going to come over here to the jacket area. You can see that here we have three different buttons. So it's button one, button two, and button three. So these buttons, they could be together in one single object. So I'm going to select them all. I'm going to right-click. I'm going to go and select, Connect objects and delete. So now you can see that these buttons are one single object. Now, I'm going to rename this. Now we have the jacket and this is also separated from the rest of the body. And we also have a T-Shirt here. You can see that it is also a separate object. We already saw the genes and we have the belt buckle here, which is also a separate object. All right, so now our character is optimized and ready to rig. And we're going to do that in the following lesson. So that's all for this lesson. Thanks a lot for watching, and I will see you in the next one. 6. Creating the rig base: Hello class and welcome back. In this lesson, we're going to start creating the rig for our character. So let's start. Okay, so this is where we left in our previous lesson. And if you remember, now our character is completely optimized and ready to be rigged. So I can collapse now this group here. So we have more space here in our objects manager. And to create the rig for this character, I'm going to use the character module in Cinema 4D. So I'm going to go to the menus, and I'm going to go to the character menu. And here I'm going to select the character object. So I'm going to click here. And now you can see that we have a new character object. Now to be able to see better what we're going to be doing, I'm going to turn off the characters mesh. So that way we're going to be able to see only the character object and the bones that we're going to be creating with the character object. So I'm going to double-click here. So we don't see our character anymore. So now we're going to be able to see only the elements of these character object. Now, if I select the character object here at the bottom, at the Attributes Manager, we can see different elements and different tabs. So the basic tab is going to give us just some basic information. And we're not going to use this tab too much. Now the Coordinates tab is going to help us to position our character within the Canvas so we can change the position, the scale, and the rotation of these character. So we're going to use this later on, but for now, we're not going to use it. Now if we go to the Object tab, this is where most of the work is going to happen. Now, you can see that within the object tab, we have other sub-tabs. So we have the Build tab, the adjust tab, the binding tab, and the Animate tab. So we're going to start with the Build tab, which we're going to use to build the different elements of the character or the different bones that create these character or the character rig. Then we're going to go to the adjustable to adjust the size and position of those bones to match with our character mesh. And then we're going to use the binding tab to bind those elements together. The character rig with the character mesh. And finally, we're going to go to the Animate tab to be able to animate our character. Okay, so let's go back to the build Arjun. Now here in the build option, you can see that we have an option to select which template we want our rig to be based on. Right now it is set to a mixing or control rig, which is used for bipeds. And our character is a by bit. So we can use this option. But if I click here, you can see that we have additional options. Like I said, our character is a bi-lipid. And when it comes to bipeds, we have three main options. This one is the advanced Bypass option. We also have a simple BIPAP Archean and the maximum control rig. Now, we also have the mockup, which is for motion capture, but we're not going to be using that. So we have these three options, a mix them, a control rig, the advanced bipeds option, and this symbol by bit Arjun. Now the one that is going to give us the most flexibility and the most control our, our characters is advanced by better option. So this is the one that we're going to be using. So I'm going to select it here. And now we can go ahead and create a route for these character. So I'm going to click on route. And now you can see that here we have new elements. So these are the elements of the root. So now that we have the root, we can create this pine of our character. Now you can see that this spine is said to IK and FK blend. Now, IK stands for inverse kinematics and FK stands for forward kinematics. Now I'm going to explain a little bit more about IK and FK in a future lesson. But for now, just click on spine. Now you can see that when we create a spine here in our Canvas, we have new elements. And these elements are the spine. So you can see that here we have different bones that were created automatically. And this is great because this is going to help us to save a lot of time. So now we don't have to do everything manually. With this template. We can create all of these different elements with just one click. So that's great. Okay, now, if we select the spine, you can see that here we have other options. Now we can create an arm, a leg, a jar, and also an I. So the arm and the leg have the same options. Ik, FK only, which again, IK stands for inverse kinematics, and FK stands for forward kinematics. But if I click here, you can see that I have another option, which is the IK FK bandy option. But the option that we're going to be using is this one here, IK FK only. So make sure that you select this one. And if I want to create an arm, I can just click here. And that is going to create the arm. Now you can see that here we have the different bones that create these arm. However, this is not what I want to do because I want to have two different arms and I want these two arms to be symmetrical. Remember, in a previous lesson, we discussed the importance of symmetry when it comes to reading characters. So I'm going to undo that. And if I want to create two arms at the same time, what I have to do is press and hold the Command or Control key on my keyboard, and then press the arm button. And now you can see that both of the arms God created at the same time. Now, if I create a hand by clicking on hand, it is going to create both hands at the same time because you can see that both of our arms are selected. So this time, I don't need to press the command or the Control key on my keyboard because these two arms are selected. So I'm just going to click on hand. Now you can see that when I pressed on hand, the hand God created for both of these arms. And just notice that both of these hands are still selected. And then I can start creating the fingers. So if I create a new thump by clicking here, the thumb is going to be graded for both of these hand. I'm going to rotate. These are little, just a view. So we can see these better. So with these two different hand selected, I'm going to click on the thump. And again, you have the option to create an FK term or an EFC finger. But I'm just going to click on thumb like that. And you can see that now we have the bones for these farm in both hands. Now you can see that we don't have any additional arguments now because there are no options to create other bones inside of these firms. So what I have to do is select the hand, go back. And you can see that when I select the hand, I have these options. Again. If I select the thumb, I don't have the objects, so I have to select the hand. And I can continue creating more fingers. Now to be able to create the fingers for both hands at the same time, I have to select both hands. So I'm going to click here to select this hand. I'm going to press the Command or Control Option. And I'm going to click on these other hand here. Now both of these hands are selected. And now I'm going to click here and I'm going to change these two fingers. I'm going to select this. And you can see that now I have an additional finger on each of these hands. Now you can see that again, we'll have the options to create anything because we are selecting these fingers. So I'm going to have to select the hands again. So I'm going to click here to select this hand, press Command or Control, and select these other hand. So both hands are selected at the same time. And I'm going to create a new finger like that. Now you can see that now we have a thumb and two fingers. Now we need to check how many fingers our character has, because that's the number of fingers that we want to have in this rig. So I'm going to click here to turn on the visibility for the character. And I'm just going to check how many fingers this has. So it has a thumb and four fingers. I'm going to turn off the visibility again. And now we have one thumb and two fingers. So we still need to additional fingers. So again, I'm going to select this hand, press and hold Control or Command. Select these other hand and click on finger. Now we have three fingers and a thumb on each hand. So we need another one. I'm going to click on hand. I'm going to press and hold the Command or Control key and click on these other hand. And I'm going to create another finger. So now you can see that we have one firm and four fingers for each of these hands. One firm and four fingers. Okay. So this is done, the arms are done. So if we want to create the legs, we have to go back to the spine because we cannot create the leg starting from the finger because their finger is over here and we cannot have a leg growing out of this finger. We cannot create the leg from the hand for the same reason. And we cannot create the leg from the arm, prompt the same reason. So we have to go all the way back to the spine. Okay? So now that we have our spine selected again, you can see that here we have the Archean to create the leg again. So I'm just going to do the same that we did before. Press and hold the Command or Control key and click on leg. Now you can see that we have the two legs that we need. And here in these legs, you can see that I have an option to create the toes. But since our character is using Boot, we don't really need to create a toast. So we're not going to make them. So the legs are going to stay there like that. And I'm going to go back to the spine. And I'm going to create an AI, or in this case two eyes. So I'm going to press and hold the Command or Control key. And I'm going to click on AI. So because you now that our rig is almost complete, because now we have the spine of the character. The spine has the neck of the character over here. This one is the bone for the head. And we have the arms with all of the fingers that we need. And we also have the legs. So our character is basically complete. The creation of the bones is basically complete. And what we have to do next is to adjust these different bones so they fit with the proportions of our character. So before doing that, I'm just going to check that everything is okay. We're going to get closer, make sure that we don't miss anything. And it looks like we are okay to continue. I'm just going to go back to the spine and we don't need a jar. And we have the arm, the leg, and the eyes. So this is complete. All I have to do is save my file. So I'm going to go to File and I'm going to click on Save Project. And now the bones for this character are complete. And that's all for this lesson. Thanks a lot for watching. And I will see you in the next lesson. 7. C4D backups: Hello class and welcome back. In this lesson, I'm going to show you how I do my C for the backups. So let's start. Okay, So as you can see, this is where we left in our previous lesson. And we have done a lot of work. And this is the perfect time to do one of the safer the backups that we are going to be doing in this project. So the first thing that I do when I do MYC4, the backups is to save my file. So I'm going to go to File and I'm going to select Save Project. Or I can use the shortcut Command S. So I'm going to click here. And now I'm going to close down this project. So I'm going to go to File and I'm going to select close. Or I can use the shortcut. So I'm going to close it down. And now I'm going to go back to my Finder. And here you can see that I have these folders we've talked about before. And I have this file, which is the file that we're working on. So this is the file that we're going to be backing up. So I'm going to select this file. I'm going to go to Edit, and I'm going to select Copy. I can also use the shortcut here. And now that I have copied this file, I'm going to go inside of these C4D backups folder. And here I'm going to paste the file. So I'm going to go to Edit, and I'm going to paste it here. Okay? So as you can see here, we have a copy of our original file. Now, why do I do these copies? Well, the thing is that we work with computers and computers sometimes fail. Now when computers fail or when you program that you're using, for example, cinema 4 D in this case, sometimes when that program fails, the file that you're working on is going to get corrupted and then it will not open up anymore. So if that happens to you, you're going to lose all of the progress that you had done. Now, if you had done just a little progress, let's say you had work two or three hours on your project, then it is not a big deal. You can always go back to the beginning and start over. Now, the real problem is when you have been working on a big project, let's say you have been working on this file for two or three weeks, and then out of nothing, you lose all of that progress. And if you are working for a client, then you have to deliver that project in a particular date. So transmitted. You don't want that happening to you. I had to learn these the Haraway and it's better if you don't have to learn it the Haraway. So just make sure that you do you receive for the backups. Now let's go back inside of the sea from the backups folder. And since we are going to be adding different files at different stages of the project, I'm going to rename this file. So I'm going to select it and I'm going to rename it. And I'm going to do here is to add WIP, which stands for work in progress. And I'm going to add a number. In this case, I'm going to add 0, 1. So now this backup is complete. Now I can go back to my main folder and I can reopen this file. So I'm going to double-click on it to open it again. Okay, so let's say that we are going to continue working on this project. And we have done a lot of progress again, then it is time to do another C4D backup. So when you have the more progress, you're going to do the same. So you're going to go to File. We're going to save your project. Then you're going to go to file again, close this project. Gone back to the Finder. Select the file, the original file. Go to edit, copy this file. Go inside of these C4D backups folder and paste it here. So Edit and Paste. And now all we have to do is rename this file. So I'm going to add WIP and I'm going to add 0, 2 because This is our second copy. And when we're done making these backup, we can go back to our main folder up in the main file again and continue working on this project. Now, like I said, this is very, very important. And trust me, this is going to save you a lot of time if anything wrong ever happens to any of your main files. Okay. Now I'm going to go back to my Finder and I'm going to get inside of the C4H10 backups folder. And I'm going to select the second file that we made a copy of. And I'm going to delete it because we didn't make any real changes a file. So I'm going to delete this one. And I'm just going to keep the first backup. I'm going to go back again here. And I will continue making different backups are different stages of the project. Now when I do that, I'm not going to record it and show it every single time I do it because it would be a waste of your time. But I'm going to let you know that I'm going to make a backup and you will know how to do it. So that's all for this lesson. Thanks a lot for watching. And I will see you in another lesson. 8. Working with layers in Cinema 4D: Hello class and welcome back. In this lesson, we're going to talk about layers in cinema 4 D. So let's start. Okay, so this is where we left in our previous lesson. Now, you can see that our skeleton is complete, but we still need to work on the skeleton to be able to apply it to our character mesh. But before doing that, I want to show you what layers are and how we can use it when Reagan characters in Cinema 4D. Now, to make things easier, I'm going to collapse this group. And I'm going to turn off the visibility for our character object. And I'm going to turn back on the visibility for our character mesh. So this is the character mesh that we had. And right now, this character is organized here in our objects manager. So you can see that here we have a subdivision surface object. If we expand these, you can see that we have different elements inside of these subdivision surface. Now we have a group. You can see that we have a new object that is acting as a group. And inside of this group, we have other groups like this head group. You can see that this head group has different elements inside. And we have other elements here. Now, this is an easy way to organize our different elements in the object manager. However, there is a much more powerful way to organize our different elements in cinema 4 D. And it is by using layers. Now, to use layers, all we have to do is add the different elements to a new layer. And that's where we are going to be doing here. So I'm going to select the subdivision surface and I'm going to right-click on it. And I'm going to select these Command, Select Children. And that's going to select all of the elements inside of these subdivision surface. So you can see that all of the different elements are now selected. Now I'm going to right-click again. I'm going to go down here. I'm going to select this option, add two new layer. I'm going to click here. And as you can see, now we have a square to the right of each of these different elements in our objects monolayer. And that means that all of these different elements belong to the same layer. Now how can we take advantage of these layer? It's very simple. All we have to do is go to the layer stack. So I'm going to come all the way down here. And you can see that here we are at the attributes tab. So this window is showing us the different attributes of the elements that we have selected. But if I change the tab, if I click here on the layers tab, you can see that now we can see the different layers that we have in this file. Now, at the very bottom, we have a new layer. And this is the layer that we just created. You can see the color is the same of these color that we have here. So I can double-click here. And that's going to allow me to rename this layer. So I'm going to call it character mesh. Now, we have here different options that we can turn on and off. And that's going to affect what happens with the elements within this layer. So for example, I can turn on and off the view the elements within this layer by clicking on this icon here. So if I click here, you can see that now the view for these elements is AF, and we cannot see the elements anymore. I can turn it back on by clicking here. And we can see the elements again. Now, we can also turn off the view for the elements within our objects manager. So if our objects manure is too crowded and we have to get rid of some of these elements. I can just come over here and I can click this option here. And this is going to turn off the view for all of the elements within this layer on the objects monolayer. So you can see that these elements are still visible here in our project. But they are not visible in our objects manager. If I want to see them again in our objects manager, I can click again here, and now I can see them again. Now I'm going to use the selection tool and I'm going to make sure that I am in the object mode. And I'm going to select these elements. You can see that I can select all of these different elements inside of this group here. Now, if I want to lock the selection of the alleles, I can do it by clicking on this lock icon. So if I turn this on, now, this is going to lock these elements. So I still can see them here. I still can't see them also here in the object manager, but they are grayed out. But I cannot select these elements, neither here nor here in the Archaic smile Europe. So this is going to help us a lot because when we work with characters, especially when we're reading characters, sometimes we want to turn off the selection abilities for the mesh of the character that we are working on. And we only want the ability to select the elements of the skeleton. So if I want to be able to select these elements again, all I have to do is turn off this lock icon. And you can see that now I can select and modify these different elements again. Now we have other options when using layers. For example, here, if I turn off these options, when we make a render, the elements within this layer, I'm not going to render because this is going to stop all of the elements from rendering. And we have additional options. But the ones I showed you are the ones that we're going to be using when rigging. Now, another thing that we can do is double-click on this square. And you can see that now we can select the color for this layer. So now the square has a different color and I'm going to change the color for this one. Like so. So that's the basic of layers and those are the different options that we are going to be using when rigging our characters in cinema 4 D. Like I said, there are other options that we can use when using layers, but the ones I showed you are the most essential ones that we're going to be using. And that's all for this lesson. Thanks a lot for watching. And I will see you in the next lesson. 9. Adjusting the character object - Fitting the Legs: Hello class and welcome back. In this lesson, we're going to adjust the character object so it matches with the character mesh. So let's start. Okay, So as you can see, this is where we left in our previous lesson. And here we have the character mesh. And I'm going to close this down. If I turn on these character object, you can see that here we have the different bonds that create the skeleton for these character. Now you can see that there is a problem. And the problem is that peloton is much smaller than the character mesh. So we have to make the skeleton the same size as the character mesh. So to do that, we're going to adjust these different bones. Now I'm going to select my character and I want to see the properties of this character. So I'm going to go back to the Attributes tab here. And now, selecting these character object, make sure you are on the Object tab. And here you can see that right now we are on the Build tab. Now let me get closer here because something is going to happen with these bones. Now to make it easier to see, I'm going to turn off the visibility for the character mesh just for a second. And you can see that now here we have the bones. Now let's see what happens when we change to the adjust tab. Now it changes. Now We don't have the bond. We have some small circles here. And with this year guns, we are going to be able to adjust the size and position of the bones. Now, just make sure that you have selected the adjust tab. So I'm going to turn back on the visibility for the mesh. And now we're going to move these different points around so they match with the structure of our character mesh. So to make it easier, I'm going to go to the front view. And I'm going to start modifying these skeleton. So I'm going to use the scale tool. I'm going to select it. And just make sure that the three axes are turned on. They have to look blue. So if one is not looking blue, just click on it and it is going to look blue. Now, make sure that the character object is selected, the one with the skeleton. And using these cultural, I'm going to scale this out. And you can see that we can scale it out as big as we needed. Or we can scale it down as small as we nailed it. And I'm just going to try to scale it. So it's similar in size to the character mesh. Maybe it is too much. I'm going to undo that. I'm going to scroll up again. Like this. This is going to look better. I'm going to get closer here. And now I can select the individual dots here. You can see that we have some dots or circles. I can select them and manipulate them one by one. So I'm going to do that. I'm going to use the selection tool. And I'm going to select this one here at the top. Now you can see that when I tried to select this dot here, I selected the character mesh by accident. So now if I tried to move anything, I'm going to be moving the character mesh. I'm going to undo that. So to prevent that, I'm going to lock the layer of this character mesh. So remember we talked about layers in the previous lesson. So I'm going to go to the Layers tab. And here I'm going to lock this layer that contains all of the elements of this character mesh. So now even if we try, we cannot select these elements of the character mesh. Okay? Now let's go back to the legs here. And I'm going to select the character object. And I'm going to select this dot here. And I'm going to move it to the right because this that has to be in the middle of this leg. So I'm going to move it like this. And you can see that when I move this one here, the other one on the other side is going to move as well. Because like I said in a previous lesson, when working with characters, symmetry is really important. So Cinema 4D knows that. And it is going to move the other side according to what we do on this other side. So now this point is on the correct place. And I have to move these other point. So I'm going to select this. Now you can see that when I tried to select this point, this other area gets selected. So I'm going to select my selection tool. I'm going to go back to the Attributes tab, and I'm going to reduce the radius. So I'm going to use a smaller radius, maybe a radius of two. And now you can see that the radius is smaller. So when I tried to select this one, it's going to be much easier to select. Now, I'm not going to be selecting this line here by accident. So now I'm going to move this one to the right, just a little bit like this. Because you can see that legs come this way here. And the legs were straight down, but these legs are in this shape here. So now I'm going to select this other data here. Let me get closer. I'm going to select this one here. And I'm going to move it to the right for the same reason. Now you can see that this leg is going in this direction and the bones are now going in the same direction. So all we have to do here is follow the characters shape. So this three that are okay now, and I'm going to go to the right view. And now I'm going to the same bad from this other perspective. So I'm going to change the display mode so we can see the character better. And I'm going to make sure that I select the one that I need. This case is this one here. I'm going to go back to the right view. I'm going to move it a little bit to the front like that because the goal is to have it about in the middle of these mesh. So I'm going to select this other one here. And I'm going to move it back just a little bit. For the same reason. This has to be at about the middle of the mesh. So this one, I'm gonna get closer here. And I'm going to move it back just a little bit, like so. And then I'm going to select the last one, this one at the end. And I'm going to move it all the way. We can have it a little bit outside of the mesh like that. Okay, so let's go back to the front view to see how this looks. Let's say that what we modified on the other perspective doesn't affect these perspective here. So you can see that we still have these straight line here in this angle. So everything is okay. Now let me go back to the perspective view. And now you can see that the legs of the character now match the character perfectly. And if we go to the character, we select it and we go back to the Build tab. You can see that now the bones of this character match the character perfectly. I'm talking about the bones of the legs because we haven't modified the other bones yet. But the bones of the legs match the character perfectly. So that's all we have to do. Just adjust the position and size of these different bones with our character. I'm just going to zoom out a little bit and see how this looks. And as you can see, this looks really good. In the next lesson, we're going to continue adjusting the size and position of the bones so they match. The character is mesh. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next one. 10. Adjusting the character object - Fitting the arms: Hello class and welcome back. In this lesson, we're going to continue adjusting the character object so it matches with the character mesh. So let's start. Okay, so this is where we left in our previous lesson. And as you remember, in the previous lesson, we finished adjusting the legs. So now the legs are okay. And now we have to work on the spine, the head, and the arms of this character. So we're going to do that. And to make it easier, I'm going to go to the front view. And now I'm going to select the character object. And I'm going to change through the adjust tap. Perfect. Now I'm going to start with the spine. And these two that seem to be okay. Because as you can see, this one is for the hips and we have the hips here. And this one is for the pelvis. And we have the pelvis here. So these two are okay. They are in the right place. Now this one is for the chest. And you can see that this is a little bit too low. So I'm going to select this one here. And I'm going to move it up. Like so. Perfect. Now the spine is okay. And I'm going to work on the arms. So I'm going to select this one here. But this one looks like it is in the right place. So I think that the one that I have to move is this other one because this one is for the shoulder. So we have to move this one. I'm going to move it over here. So you can see that here we have the shoulder and I'm going to place it around there. Now you can see that this arm is pointing this way, but the arm of our character mesh is pointing these other way. So I'm going to rotate this point here. So I'm going to use the Rotate tool. And I'm going to rotate all of these points at the same time, like this. Now, I'm going to use the scale tool because you can see that this one here is for the wrist. And the rest of our character mesh is around here. And this one is for the elbow. And the elbow of our character mesh is around here. So we have to make these larger. So I'm going to use the scale tool for this. And I'm going to scale this out like that. So now we have the rest of these skeleton here, and it now matches with the rest of the character mesh and also the elbow. Now we have the elbow here, and the elbow of the character mesh is around here. So now this is better. Okay? Now what I'm going to do is to go to the top view. I'm going to come over here. I'm going to zoom in just to see this better. I'm going to change the display mode so I can see this character. Now you can see that this is not where it has to be. So I have to move it just a little. I'm going to go to the right view as well. Because I wanted to see what I have to place this point. So I'm going to move this to the back, like so. And now you can see that this bone is at the center of the shoulder. And also here, you can see that the bone is at the center of the shoulder. Now I'm going to select this other one here, which is for the elbow. And this one has to be at the center as well. So here on the top view, we can see that this is what it has to be. I'm just going to move it a little bit. Like so. Now the wrist is what it has to be. We don't have to modify that one. And here it is also where it has to be. So now the arms are also complete. Now I'm just going to modify this one here. This one is for the neck. So I'm going to modify this just a little bit. I'm going to move it down. I want this one to be where the neck starts. So it should be around here. And this other point here should be where the neck ends, which is around here. You can see here the neck ends here, and this is where the head begins. Okay. Now I'm going to select this last one. And this is the one that is going to control the head. So I'm going to move it all the way up. Like so. Maybe not too much. Like so. Perfect. So now let's go back to the perspective view. And I'm going to select the character again. And I'm going to go back to the Build tab so we can see the bones. Now let's see. And the spine bones look to be okay. Also the neck and the head bone. You can see that they are where they are supposed to be and also the arm bones. So I think that we did a good job. So this looks really, really good. We did a good job. Now, the fingers are going to be a little bit harder because they are really small bones and we have different bones for each finger. So we're going to do that in the next lesson. And that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 11. Adjusting the character object - Fitting the fingers and eyes: Hello class and welcome back. In this lesson, we're going to continue adjusting the character object so it feeds with the character mesh. So let's start. Okay, so this is where we left in our previous lesson and we have adjusted most of the character. So all we need to do now is to adjust the hand. So since we have done a lot of progress, this is a really good time to make another C4D backup. Now, you can do it if you want. I'm not going to do it on screen because it's going to be a waste of time since you already know how to do it. So you can do your C4D backup if you want. And now I'm just going to continue. Okay, So I'm going to select the character object. And I'm going to make sure that I am in the adjust tab so we can adjust these different bones here. So I'm going to go to the adjust up. And now we can manipulate these fingers. So I'm going to start with any of the fingers. Doesn't really matter. But to make things easier, I'm going to go to the top view. And I think I'm going to start with the pinky. I'm going to select this first here. And I'm going to move it over here like this. Now, the first, this one here, it is not going to be part of the finger. It has to be in the palm area. So this is, this circle here is where the fingers starts. So if we place this like this, the fingers going to start bending over here and not here. So we have to place this like this because this is the first, the first bone that is going to bend. So this finger, this point here has to be in the palm area. Now this one over here is where the fingers starts. So I'm going to select this one here. And this looks like it is in the right place. But as you can see, this other points are not separate enough. So they are too close together. So I can move this one by one, or I can select this one here. And I can scale this out. So they separate evenly like that. And then I can move this back into place. But first I'm going to change the coordinate system. So right now it is set to world, but I want it to be set to object. So I'm going to click here, and now it is set to object. So the difference is that you can see that if I click here and set it to world, it is going to take the world coordinates of this file. So this is x and this is c, and y is up and down. So if I have an object, it doesn't matter if I rotate this object. This arrows will be pointing always to these different sites. But if I click here and I turn on the object mode on the coordinate system. Now, it is going to take into account the orientation of the object I'm modifying. So you can see that now this arrow is aligned with these different bones that I have here. So that's basically the difference between the world mode and the object mode. So anyways, let's continue. I'm going to come over here and I'm going to make sure that these bones are inside of this finger. In fact, they have to be about at the center of these finger. So I'm going to move them down. So right now you can see that they are in the center. I'm just going to rotate this a little bit like that. Maybe a little bit less like so. So now you can see that they are in the center. And if we look at this other view, you can see that here they also seem to be in the center. Now let's just make sure by going to the right view and make sure that these look, they are in the center as well. And it looked like they are. So this looks to be okay now. Perfect. Now I'm just going to select this one here. And I'm going to move it back a little bit like this. Because I want this finger to bend over here. Now, this other one is okay here. And the last one. I'm going to move it out. Like so. Perfect. Now, just to check how this is coming out, I'm going to go back to the build mode. And now you can see the fingers and the bones of the fingers here. So this is set properly now. And when we bend the finger, it is going to bend our here or here and over here. Okay? So now we have to do the same with the rest of the fingers. So select the character object. Let's go back to the adjust mode. And let's do the same. This time with these other fingers. I'm going to select them all. This one. This one, and this one here. I'm going to move them into place. And I'm going to scale them out just a little bit. Okay. That's going to work. I'm going to move him like that. So I'm going to select this one. And I'm going to move it into place, has to be around here. I'm going to rotate it. And we have to move it down like this. And this is not pointing the right way. So I'm going to rotate it maybe less. And I'm going to move it into place. Like so. Now I'm just going to go to the top view here just to make sure that this is the right way. So again, this one here has to be part of the palm. This one here is where the fingers start. So I'm going to move this back inside. Like so. So this is where the fingers starts. This one is where their fingers going to start bending like this. This other one is where the other part of the finger is going to bend. And this one is for the tip of the finger. Like so. Let's go back to the perspective view and make sure that this is at the center of the finger because these are the bones. They have to be at the center. We're going to move this back inside a little. And this looks like it is. Okay. Perfect. That's going to work. Now let's do the same with these other ones. So I'm going to select this one here. I'm going to go to the w. I'm going to move these. I'm going to rotate it like this. And I'm going to move it just a little bit and rotate it back. Like so. So again, this has to be part of the palm. This is what the fingers starts. And these ones are a word. The finger is going to bend. And the last one is where finger ends. So now let's go to the front view to make sure that this is in the right place. I'm going to rotate it a little bit like this. Remember these are the bones so they have to be at the center of the finger. Like so. And now I'm going to go back to the perspective view. And here I'm going to make sure that the different points are where they have to be. So this one is where the finger is going to bend, I think is in the right place. This one is also in the right place. And I'm just going to have to move this one a little bit. Like so. I think I have to rotate it just a little bit. Like so. Okay, that's going to look much better. And now we're going to have to do the same with the other finger. Before that, I'm going to move this a little bit more, just a little bit because I want this fingers to start at the same place. So this one was up here. And this one, they have to be at the same place where the finger starts. The same with this one. And now all I have to do is work with these other finger here. So let's do it again. Let's go back to the top view here. Let's make sure that this is at the center. Let's rotate it a little bit. So it has the same angle as this finger. Let's move it to the center. Like that. And let's go to the front view. And I'm going to change the view from the front view to the back view. So I'm going to go to cameras and I'm going to change to the back view. Okay. So now we can see this finger better. Let's see. This is this finger here. So it's going to be this finger right here. So I'm going to move it down. And I'm going to rotate it a little bit. Like so. Make sure it is at the center of the finger like that. And then I'm going to make sure that these other points are where they have to be. So again, this one here is where the fingers starts. So that one looks like if it's okay. This one here is where the finger is going to bend. It also looks like it is in the right place. I'm just going to move it a little bit like this. I'm going to move this one also a little bit, just a little bit. Maybe not too much. And this one, I'm going to move it outside of the finger. Like so. Perfect. Now, all we have to do is adjust the thumb. So I'm going to do the same. I'm going to select this one here, which is going to be part of the palm. I'm going to go to the top view. I'm going to move these into place. And I'm going to rotate it. So it has the same direction as this finger. And I'm going to go this time, I'm going to go back to the front view. So I'm going to go to camera and front. I'm going to zoom in a little bit. And you can see that I have to rotate this down like this. And I'm going to make sure that this is in the right place. So if I come to the right view, you can see that this is the finger. So we have to rotate it a little. I'm going to move it up just a little. Okay. Looks like I have to scale out. I'm going to rotate it again. So sometimes this is a little bit tricky. But we can do it. We're just going to scale this out a little bit like this. I'm going to move it into place. Remember this is where the fingers starts. Now you can see that there is a difference between the thumb and the fingers. So you can see that here we have 12345 different circles for each of these different fingers. But for the thumb, we only have four because the thumb is going to bend only here. And also here, but it's going to bend on here. And these fingers are going to have two places where they are going to bend. Besides this here where the fingers starts. So these are different. And since they have less less bones, these ones are easier. I'm just going to select it, make sure that these are at the center of this finger. And I'm just going to select this circle here. And I'm going to move it like so. Okay? Now, this circles don't really need to be outside of the finger and just place them like that because I don't know, I got used to doing it that way, but they can be inside of this of the skin. Okay, so now these are complete. But before finishing it, I'm going to test these fingers so I know that they are going to bend in the right way. So I'm going to select the character. I'm going to switch tabs. So right now we're at the adjust up. I'm just going to change to the Animate tab. Here you can see the different bones. And if I turn off the visibility for the mesh, I'm going to go to my layers. Here is my character mesh. I'm going to turn off the view. You can see that here we have the controllers. Remember, we are in the animate animate tap within our character object. So if I now select this circle here, and I rotate it. You can see that now this is going to rotate this way. I'm going to turn back on the view for this character. And I need to make sure that these are going to bend in the right way. So you can see that this is going to bend the right way like this. So as you can see, it's going to start bending from here. This other section is this one here. So it's going to bend here as well. And this one here is going to bend right about here. Okay. Perfect. So I think this is okay. But you can see that this is not bending properly because the finger should bend in this direction and it is bending like in this other direction. So you can see that it is not bending properly. These fingers should then to the center, which is right here. And there is bending sideways. So I'm going to fix that. I'm going to select the character object. I'm going to go back to the attributes tab. And here I'm going to go back to the adjust tap. But before doing that, I'm going to select the character, go to Object, and reset the post. So I'm going to click on Reset pose. So these fingers go back to their position. I'm going to go back to adjust. I'm going to select this finger here. And now what I'm going to do, since this finger is bending sideways, I'm going to rotate this finger a little bit like this. Okay, and now let's go back to the character. Go back to animate. Let's select the controller for this finger. When I get closer here. So this is the controller here. And now let's bend. Oh, I didn't select the right one, so I'm going to turn off the character. I'm going to go back to layers, and I'm going to turn off the character. Read, select this finger here. I'm going to turn back on the mu for the character. And now let's try to bend this finger again. And now you can see that this finger is bending to the center. Now. It is not bending sideways anymore. So this one is fixed. And I'm going to do the same with the rest of these fingers. So I'm going to turn off the view so we can see the skeleton. And I'm going to do the same here. I'm going to select this circle. I'm going to rotate it, so it bends. The same with these ones. I'm doing this just to make sure that this fingers are going to bend the right way. When we animate them. I'm going to turn back on the view for this character. And you can see that these fingers are okay. They are all bending to the center. So the pinky is okay. We're just going to make sure that the rest are okay as well. So I'm going to bend them a little bit more just to make sure that they are bending into the circle. Ok. And you can see that all of these fingers are now pointing the right direction, including the thumb. I'm just going to make sure that the thumb is okay. So I'm going to select this controller here. And I'm going to bend it even more. And I'm going to turn on the view for the character mesh. Now, maybe I can rotate this thumb so it bends into the center. So I'm going to select the character object. I'm going to go to the attributes and making sure that I am at the Object tab. I'm going to reset the post by clicking here. And I'm going to change from the unmade tab to the adjust tap. I'm going to select this one here. And I have to rotate it. So it was bending this way. So I'm going to rotate it this way a little bit like so. I'm going to select the character again, go back to the Animate tab, select the controller and bend it again. And you can see that now this is pointing to the center. And it's going to look better. Okay? I'm just going to select the character, making sure that I am in the Object tab and reset the pose by clicking here. So now these fingers are the way they should be. You can see that now all of the bones are in the right place for this hand. And all I'm going to do now is make sure that they are also okay in these other hand. So since we're mirroring the work that we do on one hand, into the other hand. All of these should be okay. So this is what I said in our previous lesson when I said that working with a symmetrical character is going to help us to reduce our working time in half. You can see that now we don't have to do the same over here because we did all the job on this hand. And it was replicated automatically on these other hand. So you can see that all of these bones are okay now, for this hand, also for these other hand, for the arms, the spine, the legs, the neck, and the head. Okay. So our character is complete. We have completed adjusting our character. I'm just going to select the character. I'm going to go back to adjust just for a second. And this is the way you adjust the bones so they can feed your character mesh. So now only have to do is to adjust the eyes. So I'm going to go to the front view and I'm going to get closer to the face. And these are the bones that we're going to adjust for the eyes. So I'm going to select them. Or in fact, I'm just going to select this one. And I'm going to move it over here to the center of the eye. Now to be able to see the center better, I'm just going to change the display mode for this one. And I'm going to unlock the character layer. So I can turn out the subdivision surface. And this way I'm going to be able to see better where the center of the eye is. So it is going to be right here. Perfect. Now I'm going to go to the side view. I'm going to get closer to the head. And you can see that I have to modify the position of the eye. Now to make it easier to see, I'm going to turn off the visibility for this character, like so. And I'm just going to turn on the visibility for one of the eyes. So I'm going to turn off the visibility for this one. And I'm going to change the display mode again for this window. And you can see that the center of this eye is right here. So I'm going to move this one right here. I'm just going to get closer to make sure that this is at the very center. Like so. All right, let's go back to the front view just to make sure that this is okay in this view as well. I'm going to turn on the view for this one. And you can see that this is set up properly now. So I'm just going to turn back on the visibility for the rest of the character. I'm going to turn back on also the subdivision surface. And now I'm just going to go back to the perspective view. And since we did a lot of work, you can do another C4D backup if you want. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 12. Binding the character: Hello class and welcome back. In this lesson, we are going to bind the character object or a skeleton with the character mesh. So let's start. Okay, so this is where we left in our previous lesson. Now, as you can see, the character skeleton is complete. Now we have all of the bonds that we need for these character. And all of those bones are in the place where they need to be at. So this character skeleton is complete. Now I'm going to select the character object, and I'm going to go to the Animate tab because I want to show you something. Now I'm going to use the selection tool and I'm going to change the radius back to ten. And now I'm going to get closer to the leg here. And I'm going to make sure that I am in the object mode. So I can select this object here, which is the controller for this leg. And now I'm going to move these controller. And you can see that this controller is going to help me to move the leg of these character. So this is really good because we can see that the skeleton is working. Now the only problem is that even though I'm moving the leg of the skeleton, you can see that the leg of the character is not moving with it. And the reason is because we still need to bind the characters color tone with the character mesh. So after we do that and we move this leg of the skeleton, the leg of the character is going to move with the skeleton. So let's bind the character object and the character mesh. And before doing that, I'm going to select the character object and I'm going to reset the pose of these leg. So I'm going to click on Reset pose. And now I'm going to go to the binding tab. And this is where we are going to bind the character object power skeleton with the character mesh. Now here we have the different elements of the character mesh. And I'm going to organize all of these elements better. So I'm going to select all of these elements and I'm going to take him outside of these group because I don't want to have too many groups inside of other groups. So I'm going to select this object. And since I don't need it anymore, I'm going to delete it. Now. I'm going to collapse these two different objects here. And I'm going to move them together like so. And I'm going to select these other objects. And I'm going to move him like so. So now you can see that here we have all of our objects and these other additional objects down here. Perfect. So now let's go back to the binding window. So I'm going to select the character object. And remember, you have to be unbinding tab. Now to bind the skeleton and the character mesh together, all we have to do is to drag the elements of the character mesh inside of this window here. Now, that's why I'm going to do, but I want you to pay attention to what happens when I do that, because they are going to be some changes around here. So just pay attention. I'm going to start with the sunglasses. So I'm going to click and drag him over here. I'm going to drop them here. And you can see that two things happened. So the first one is that we have a new object here. It is a skin object. And the skin object is the one that is going to help us to bind the skeleton with the mesh. So this one is very important. So make sure that you don't modify it or deleted by accident because like I said, this one is very important. Now the other thing that happened is that for these sunglasses object that we just dropped our hear, a new tag was created, which is this tag here, which is a weight tag. Now this way tag is going to help us to tell cinema 4 D how much we want each of these different bones affect our mesh. And we're going to do that by assigning different weights to each of the bonds. Now, I'm going to explain more about this tag and what wastes are in a future lesson because this is very important. But for now, just keep in mind that whenever we drop a new item here, a new weight tag is going to be created for that item. Now, we're not going to get a new skin tag because we only need one skin tag for our character. So I'm going to do that. I'm going to click and drag these monocle object into the binding window. And you will see that a new weight tag is going to be added to this object. And like I said, we only need one skin tag, so we have only one. Now, I'm going to do the same with the rest of the objects that create this character. So I'm going to do the same with these other object here. I'm going to drag it over here. And you can see again that now we have a new way tag. Now, since we have different elements, different objects here, we can just select them all at once and drop them here. But now, let me show you what happens if I tried to do that. So I'm going to click here to select this object. And you can see that now our binding window disappeared because the attributes window is going to show us the attributes of the elements that we have selected. So when I select a new element, the attributes of that element are going to appear here. Now let me go back to the character object here. Now, if I don't want this window to disappear, I can just click and drag. And you can see that the window doesn't disappear. It only disappears if I select the object. You can see that now I am looking at the attributes for this object. But there is an easy way to keep this window if I want it over here. And it is by locking this one into place, by clicking on the lock icon. So if I select this object, so I can see this window here, the binding window, and I click here. This window is going to be locked in place. And now it doesn't matter if I select any other of these objects or any other object, un, light or any object. This window is going to stay here. So that's the way we can do it. Now, I can select different objects at once. So I'm going to click here, press Shift, and click over here. Now you can see that I have all of these different objects selected. I'm going to expand this to different objects. And I'm going to press the Command or Control key on my keyboard and click here and also here. So now I have all of these objects selected. I'm going to click and drag him over here. And you can see that now all of these different elements have a weight tag assigned to them, including these ones over here. Now, these objects here are children of what we call a closed object. So I'm going to show you what a closed object is later on because this is also important. But for now, all you have to know is that when you have a closed object or in this case, a subdivision surface object, and you have another object inside. When you are going to bind objects to your skeleton, you don't need to add these objects in these binding window. All you have to add are the measures. So this one is a modifier and this one is a mesh. So you don't want to add any modifiers in here, only the measures. So that's why I didn't drop these over here. Just the meshes. That's also important. Okay? So let's go back over here. You can see that now all of these different objects that create the mesh of my character, all of them have a weight tag, including these two objects that are children of a closed object. Okay, so now let's go back to the Animate tab. And now I'm going to get closer to the leg area here again. And I'm going to use the selection tool again, make sure that you are on the object mode. And again, I'm going to select the controller. And now see what happens when we move this leg. You can see that now the bones are moving, but also the leg of the character is moving. And that is exactly what we want. Now, the only problem is that even though I'm moving the leg, you can see that the boots are not moving. And I'm going to explain why. But before that, I'm going to select the other controller here, which is a controller for the spine or the torso. And I'm going to move this one up and down. So you can see that I am moving these up and down. And you can see that the head is moving, also the hair, the hands are also moving. And basically all of the different elements that create the character are moving, except for the boots and the jacket. You can see that the jacket is not moving either. All of the elements are moving, except for the jacket and the birds. And there is a reason for that. And you can see that the objects that are moving are the birds and the jacket. And if we look here, you can see that the birds and the jacket are the objects that are children of a closed object. So when you have a modifier like this one, you have to do an additional step for this to work. Now, I'm going to go to the character object and I'm going to reset the pose before doing anything. Perfect. Now, I'm going to select the skin, our object here. But you can see that we cannot see the attributes of this object because this binding window is still locked. So I have to unlock it by clicking on this lock icon. And now I'm going to be able to see the attributes of any of the objects that I select. So I'm going to select the skin object. And now I can see the attributes of the skin object. Now with this game object selected, I'm going to go to the include tag. And here I'm going to turn on this option here, Forests option. So I'm going to click here. And this is going to force all of the objects that have a weight tag and that are assigned to the skin object to be modified by the skeleton. So I'm going to go back to the character object. I'm going to go back to Object and I'm going to make sure that I am in the Animate tab. And now I'm going to go back over here to the leg area. I'm going to make sure that I am on the object mode. And I'm going to select this object. And now I'm going to move this controller. And you can see that now the boot moving with the leg. And now this should work for these other leg as well. You can see that now the boot is moving with the leg. I'm going to select these other controller. And now if I move this up and down, you can see that now the jacket is also moving. So that's where you have to do if one of your objects is not responding to the bones. So again, I'm going to select this object here, the character object, and I'm going to reset the pose. Perfect. So again, when you have a closed object like this one here, and it is not allowing for some of your objects to be modified by the skeletal. All you have to do is to go to the Skin object, go to include, and turn on the fourth option. Perfect. So now the binding process is complete. And that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 13. Working with the cloth surface object: Hello class and welcome back. In this lesson, we're going to talk about the closed surface object in cinema 4 D. So let's start. Okay, so this is where we left in our previous lesson. And before we continue rigging these character, I want to talk about something that is really important because you may want to use it in other Reagan project. And I'm talking about the closed surface object, which you can see that we have one here and another one here. Now, in a previous lesson, we discussed how this is going to affect the binding process of our character and the character object. So we covered that in a previous lesson. But now I want to go in depth about the object. And the reason why I used it for this character, and the reason why you may want to use it for other characters in the future. So to start, I'm going to show you what this object does. So you can see that we have applied one of these objects to the boot of the character and the other one to the jacket of these character. So I'm going to get closer here to the jacket. And I'm going to come to this area here because we can see this effect better over here. Now, you can see that this jacket has some thickness here. But the object that creates this jacket doesn't have any thickness. And the thickness is coming from the closed surface object. So if we go over here, we can select this jacket object. And if I turn off these objects by clicking on these green arrow here, you can see that now these polygons do not have any thickness at all. They are regular polygons. So that is all that these object is doing. It is giving thickness to this object. So if I turn on these object again, you can see that the thickness is back. Okay? So that's what this object is doing. And the same is happening with the boot. If we come down here to the boot, you can see that these birds have thickness. But if I turn of the cloth object, you can see that the object doesn't have any thickness. So the thickness is coming from this object. So I'm going to turn this on again, like so. And to explain this better, I'm going to create a new document. So I'm going to go to file. And here I'm going to select New Project. Okay? So here we have a new project. And I'm going to create a sphere like so. And I'm going to duplicate it. I'm going to make a copy of this one. And I'm going to move it to the side. Okay? So here we have a sphere, or in this case two spheres. And I'm going to select them both. And I'm going to make them editable by clicking here. Perfect. Now I'm going to go to the polygon mode, and I'm going to select the sphere here. I'm going to select some of these polygons, and I'm going to delete them like so. So now you can see that the difference between these two spheres is that this one is an open sphere and we can see the inside. This fear as well as the outside of the sphere. And in this case, this other sphere is a closed sphere because we can only see the outside. There is no way that we can see the inside of this fear. So that's the main difference between these two spheres. Now, when we have an AP, an object like this. And if this object doesn't have any thickness, this object is not going to look realistic. And even if we are working with a cartoon character, it doesn't look realistic and it doesn't look appealing. So we need to add some thickness to this kind of objects that have halls or that are open. And let's come back to our main file. And you can see that this is the case for this jacket. You can see that it is an AP, an object. So we can see the inside. And also over here, we can see these other part. And if we don't have that thickness, let me turn this off again. You can see that this doesn't look appealing. And it looks like a very cheap model. So if we add the thickness, this suddenly looks much more appealing and much more realistic. The same is going to happen with the boot. Here we have the boots. And you can see that even if this is not an AP, an object, we have this part here that is coming out. And if we turn off the scope object, we can see that these polygons that create these objects are very thin. So if it doesn't have thickness, it is not going to look appealing. So it is always good to add some thickness because in real life nothing is like this that is really thin. So if we add some thickness, this looks much, much better. Now, the reason why I didn't add the same effect modifier to the other elements is because we don't need the same effect to those elements. So for example, here in the hand, we cannot see the inside of the hand. So we don't need to add any thickness because there's no way that we can tell if this has thickness or not. In this objects. We can tell if they have thickness or not. Same with the boots. But for this other objects, we don't really need that the same with the eyes. We have only a sphere and we cannot tell if this has thickness or not, because we cannot see the interior of the sphere. I hope this makes sense. So that is the reason why I used the closed surface object on the jacket and the boots of this character. Now let's go back to our other file so I can explain how this closed surface object works. So I'm going to go to the menu, Simulate. I'm going to go too close. And here I'm going to select this object, the closed surface object. Perfect. Now to apply this effect to these objects or to one of these objects, only have to do is take the object and make it a child of this closed surface object. So right now I'm going to hide the visibility for this one because I don't want you to get confused. Now, I'm going to take this sphere and I'm going to move it back to the center. So I'm going to reset the value for x. I'm going to input 0 here, like so. And this one, I'm going to move it to the left, Like that. Okay? Now I'm going to hide it again. And now I'm going to take this sphere. Remember this is an open sphere. And I'm going to make it a child of this closed surface object like that. Now you can see that right now, the only thing that this closed surface object is doing is to smooth this object. So if I turn this off, you can see that we can see the different polygons here. If I turn it back on, this is going to look smoother. Now, if I select this closed surface object, I'm going to be able to see the attributes here. So if I want to add more subdivisions to this object here, I can increase the number of subdivisions here. And now this is going to look even smoother or more rounded. So this is one of the things that we can do with the closed surface object. Now, this is going to act similar to what we can do with the subdivision surface object. So I'm going to create one here. And now I'm going to take this outside of this cloth surface object and I'm going to place it inside or make it a child of the subdivision surface object. Now you can see that the effect is basically the same. We can see the different attributes. And here we can also see the subdivision levels that we are going to give to the object that is a child of the subdivision surface object. So this is going to add similarly. So I'm going to delete this one because we don't need it. And I'm going to take these inside and make it a child of these closed surface object again. And I'm going to select it so we can see the attributes here. So like I said, we can add subdivisions, like with a subdivision surface object. But that is not what I want to do with these one. So I'm going to set this subdivision level to 0. So now this is not going to add any subdivisions. So I'm going to turn it off. You can see that nothing changes now if I turn it on enough. Because now this is adding no subdivisions to our object. But what I want to do with this object is to add thickness to these other object. So I'm going to come over here and you can see that here we have a thickness option. And right now it is set to 0. So if I increase this, you can see that now this has some thickness here. And I can increase it as much as I want. And this is going to get thicker and thicker. Now, if I add subdivisions, this is going to get thickness and subdivisions. So I'm going to reset this back to 0. And I'm going to reduce the thickness because right now it is too thick. So you can see that this is a great way to add thickness to our object. Now, the advantage of doing it this way, instead of using the extra tool and making an extrusion of polygons is that with this cloth surface object, we can turn on and off these effect. So if we wanted to have the thickness, we can leave it on. And if we don't want the thickness anymore, we can turn it off. Now, another advantage of using these instead of getting the thickness using an extrusion is that we can manipulate these points much more easily than if we have an object with an extrusion of polygons. So I'm going to show you the difference really quickly. So I'm going to make a copy of the sphere and I'm going to move it to the right. Like so. Okay? And now I'm going to select all of the polygons that create the sphere. So I'm going to go Command a or Control a to select all of these polygons. And I'm going to press D on my keyboard to bring the extra tool. And now I'm going to click and drag bad. Before doing that, I'm going to turn on the Create caps option. So I'm going to click here. I'm going to click and drag. Now you can see that we are getting a similar effect. Now we have some thickness here. And if I turn on these surface object, we also have some thickness here. So this is going to give us a similar effect. Now, the difference is that if I deselect these polygons and I keep working on my file. And then if I want to come back to this object and I want to change the thickness of these object here. It is going to be much harder for me to do it than if I do it with the closed surface object because here, well, I have to do is select the object and modify the thickness so I can make it thicker or I can make it thinner just by decreasing or increasing the thickness value here. And with the polygons here, it is going to be a little bit harder to do it. Especially if we are working with an object that is much more complex than a simple sphere. So right now this is a very simple object. But when we're working with characters, our objects are going to be much more complex. And that's going to make it much harder to modify the thickness of these objects. Now, the other disadvantage of using a regular extrusion, like we're using on this sphere here, is that if I want to modify the shape of this object, is going to be much easier to do that if I have only one layer of polygons. So you can see that here I have only one layer of polygons. We don't have any thickness. And with this other object, you can see that I have two layers of polygons. These ones that are selected that are in yellow color, and these ones that are in the inside, the ones that are in gray color. So if I want to modify this fear, let's say I want to take some of the points like these ones here. And I want to move them like this. You can see that with this cloth object, the closed surface object, it is going to be much easier to modify these polygons. And I only have to modify the outside polygons because we have only one layer of polygons. And these closed surface object is going to maintain the same thickness all around in the whole object. So I'm going to add a subdivision surface object. So we can see this a subdivision. I'm going to place a null object inside. And I'm going to add both of these two objects as children of these null object. So now we can see these with a subdivision. So let me go back to this object. And as you can see, I can select the different points. I'm going to turn off the cloth surface objects so we can see their point. I can select some of these points if I want to. And I can move them. And the thickness is going to move accordingly to what we moved in our original polygons. Now the same is going to happen if I want to add more polygons. So I'm going to select these two polygons here. I'm going to turn this on. And I'm going to use the extra tool again. I'm going to bring it by pressing the D key on my keyboard. And this time I don't want to have caps. So I'm going to turn off these create gaps option. So if I make an extrusion here, you can see that this object is going to have the same thickness in these area that we extruded. Because again, if I turn this off, all we have here is a layer of polygons. And these close object is going to give the thickness. So it doesn't matter what we modify in our original model, the closed surface object is going to do the rest of the work. Now, if I want to add some polygons in this other object, I'm going to select this one here. And I'm going to do something similar. So I'm going to select these polygons here. I'm going to use the extra tool. Again, make sure that the create gaps option is off. And I'm going to drag. So you can see that now we have something similar that we have over here. But if we look in the inside, we don't have the same effect. Because this layer of polygons are independent from these other polygons here. So those are some of the reasons why I used a closed surface object. Instead of giving the jacket and the boots thickness by using the extra tool. Now, when it comes to reading, there is an even bigger disadvantage of using these kind of objects instead of using an object with only one layer of polygons. But I'm going to explain that in another lesson because it is going to be much easier to see when we are doing the actual whaling process. So now I'm just going to go back to my main file and I'm going to select the selection tool again. And now you know, the reason why I used this closed surface object on both of these two different objects, the boots and the jacket. And I know that this lesson was a little bit long and also maybe a little bit off topic. But I consider this to be really, really important information for you to know. Because it is very likely that you will need to be using these in your reagan projects. So thanks a lot for watching. And I will see you in the next lesson. 14. Weighting the character - Weighting basics: Hello class and welcome back. In this lesson, we're going to start the waiting process. So let's start. Okay, so this is where we left in our previous lesson. And as you can see, the skeleton for this character is complete. So now we have all of the bones that we need for the skeleton. And all of those bones are in the place where they need to be. And we also found the skeleton with the meshes that create the character. So in theory, this character should be ready to animate. However, there is still something that we need to do in order to animate our character. And it is to make sure that the weights that are assigned to our character are set properly. So I'm going to show you what I mean. And for that, I'm going to select the character object. And I'm going to make sure that we are in the Animate tab so we can animate the character. And now I'm going to go to the back of the character. And I'm going to select this controller, which is the controller for the spine. Now, if you don't see this controller right now, maybe it is inside of the character and you cannot see it here. You can come to the objects manager and you can find this controller over here. So all you have to do is select the spine object. And that's going to select the controller. Alright? So now with the controller selected, all I'm going to do is move it up and down. And our character is going to move. So as you can see, the spine of the character is connected to basically every single bone in the skeleton. So you can see that the spine is connected to the legs. It is also connected to the arms, and it is also connected to the neck, which is connected to the head. So if we move the spine, The whole character should move. So let's do that. I'm just going to move it up and down. Now, as you can see, this is working perfectly. You can see that the whole character is moving. Now, there is a really big problem that we have. As you can see, the face and head of the character are deforming in a really bad way. But don't worry about that. We're going to fix that by adjusting the weights that are being assigned to the meshes in relation to the bones of the skeleton. So for now, don't worry about that. Now, before doing anything else, I'm going to select the character and I'm going to reset the pose. And now to adjust the weight, we have to change the layout because in this layout, we don't have some of the tools that we need to work with our character. So I'm going to go to layout. And here I'm going to select these layout here, the rigging layout. So I'm going to click here. And as you can see, this is a different layout. And here we have some tools that are going to help us to work with our character, including the weight tool, which is the one that we're going to use to adjust the weights and fix the problem that we have with our character. Now, this layout here is perfect when we're reading characters. Now the question is, why didn't I use this layout from the beginning? And it is because these layout, as you can see, takes a lot of space. And it is good to have all of these different windows am tools here. But in the previous steps, we didn't really need all of these different windows and they just take a lot of space. So that's the reason why I didn't use this layout from the beginning. But for this steps that we are going to be doing now, this layout is necessary. So weights are basically the amount of influence that each bone is going to have over a specific mesh. And I'm going to show you how it works. So I'm going to collapse this group here. So we have more space here. And now to make it easier to see, we're going to do it one object at a time. So I'm going to start with the genes. So I'm going to come over here and I'm going to select these genes. And to make it easier, I'm going to turn off the visibility for all of these different objects. So I'm going to double-click here until this turn red. And now to be able to see the jeans, I'm going to click here once until this that turn green. So now you can see that the only visible elements are the genes and. That's what we need. Now, I'm going to get closer here. And again, I'm going to make sure that these genes are selected. And now I'm going to select the Weight Tool, which is this one here. Now, when we use the weight tool, we're going to be able to see different colors in our objects. And those colors represent the weight of the bones over the object. But we cannot see those colors right now. And the reason is because this object is being influenced by a subdivision surface object, which is this one here. So we have to turn this off in order to see the different colors. So I'm going to turn this off. And now you can see that these genes have different colors assigned to them. Now, each of the colors, like I said, represents a bone. So as you can see, the bones of the spine are red. And here we have some red colors. And that means that this part of the genes is being affected by some of the bones of the spine because they share the same color. Now over here we can see that some of these other bones, in this case, we have some green bonds here, which are the bones of the leg. And we can see that this part of the genes is green. And over here we have some orange or yellow colors which represent these bones of the leg here. So in this way, just by looking at the different colors of the mesh, we can tell which bones are affecting the different parts of that mesh. Now, when we do the binding process, cinema for the, assign some weights to our meshes automatically. And that's why we can see some of these colors assigned to these mesh. Because cinema 4 D assign them automatically. And cinema 4 D usually does a great job at assigning weights automatically. But sometimes it doesn't assign them properly. And when that happens, we're going to have some problems. And the mesh is not going to deform the way that it is supposed to. And that's what happened with the face and the hair of our character. But don't worry, we can fix those problems by reassigning the weights on our measures. And that's what we're going to do now. So I'm going to turn off the view for the genes because we're not going to start with genes. And I'm going to select the glasses, sunglasses. And I'm going to turn on the view for these ones. I'm going to come to the top because the sunglasses are at the top. Okay. So as you can see, these sunglasses are not being influenced by the head bone because you can see that the head bone is a different color from the sunglasses. And you can see that the sunglasses are being influenced by these two bonds here, which are the bones that are assigned to the eyes. So this is not going to work properly. So just to show you, I'm going to select the live selection tool. And I'm going to select the head controller. And now I'm going to use the Rotate tool. And I'm going to rotate the head. And you can see that this is not working properly. And when we rotate the head, the sunglasses are not rotating with the head. They are following the movement of the eyes. And that is not what we want. So I'm going to select the character object and I'm going to reset the pose. And now I'm going to select the sunglasses object again. And here you can see that we have a window with different tabs. And this is where we're going to be able to assign the weights to our meshes. So right now we're looking at the commands tab and also at the options tab. But we're going to be able to see the bones that create the skeleton if we go to the joints tab. So I'm going to click here. And here we see a list of all of the bonds that create our skeleton. And we're going to be able to see the same list of bonds if we select another of the objects that are assigned to the same skeleton. So I'm going to select the sunglasses again. And now if I come to this window and I select each of these different bones, it is going to tell me if they have any weight assigned to them. For example, I can select this pine. And as you can see, the sunglasses turn black. And that means that none of these bonds have any weight assigned to the sunglasses. In other words, the movement of the spine bonds is not going to affect the movement of the sunglasses. And I can do the same for the rest of the bones. So if I select this other set of bones, you can see that the sunglasses are still black. And that means that none of these bonds is affecting the movement of the sunglasses. And I can do the same for the rest of the bonds. And you can see that none of these bones are affecting the movement of the sunglasses because the sunglasses are still black. So when we see some color popping up, that means that those bonds are the ones that are affecting the movement of the sunglasses. So we can see that none of these bombs are affecting the movement. Now, I'm going to have to scroll these window down so we can see the rest of the bones. And now here we have the bonds for the eye. And you can see that when I select this one here, this one is going to turn green. And that means that these bone here is affecting the movement of this side of the sunglasses. Now if I select this other one here, you can see that this is going to affect the movement of this other side of the sunglasses. Now, I'm going to make this window a little bit smaller, so it feeds into space that we have available. Now, if I want to modify the weights, I can do it in different ways. So one is by using the Weight Tool, which is this one here. And the other one is by using the command tab, which is this one here. And you can see that here we have different commands that we can use to assign the weight to our measures. So I want to see both of these tabs at the same time because I want to use the command, but I also want to see the different bones of the skeleton. So to see these two tabs at the same time, or they have to do is select one of the paths, press and hold Shift. And then click here on this other tab. And you can see that now we have both of these tabs at the same time. So as you can see here, we have a list of different commands. We have applied all 0, normalized, crappy, mirror plus 2 minus, replace, and leap Z. Now the most important thing about these commands is that these commands will apply only to the bone or bonds that we have currently selected. So I'm going to scroll down and I'm going to shrink this window so we can see both of the windows at the same time. And now I'm going to scroll down and you can see that I have these bone selected. Now, if I apply one of these different commands, these commands will apply only to the US bone. So for example, if I apply this 0 command, this is going to get rid of all of the influence that this bone is having on the sunglasses. So I'm going to do that. I'm going to click on 0. And as you can see, now, this bone has no influence on the sunglasses. Now, if I go to the other bone, this one here, you can see that this bond still has influence on the sunglasses. Specifically on this part of the sunglasses. But this one doesn't have it anymore. So like I said before, these commands are going to be applied only to the bones, are bones that we have currently selected. Now, if I want to do the same with this one, I have to select it. And I have to apply this 0 command. So I can do it by clicking here. And as you can see, now, this bone here doesn't have any influence on the sunglasses object. And since these were the bones that had all the influence on the sunglasses object, now, none of these different bones have any influence on the sunglasses. So I can select this weight tag here. And as you can see, they are still black. And that means that none of the bones have any influence on these sunglasses. Now just to prove it, I'm going to select the lab selection tool. And I'm going to select the spine controller. And I'm going to move the spine. So now you can see that I'm moving the whole skeleton, but the sunglasses are not moving at all. Because now none of the bonds have any influence on the sunglasses. I'm going to select the character object. And I'm going to reset the pose. And I'm going to select the sunglasses object again so I can see the different bonds again. So the bone that should be controlling the movement of the sunglasses is the head bone, which is this one here. So I'm going to select it. And this time I'm going to apply another command, which is this one here, the apply command. So if I click here, you can see that this is going to apply the influence of this bone to the whole object. And if I select the selection tool again, and I select again the spine controller and I move the spine. You can see that now the spine is going to move the head and the head is going to move the sunglasses. And now just to show you that the head is the one moving their sunglasses and none of the other bonds. I'm going to select the head controller. And now I'm going to use the rotate tool to rotate these head. And you can see that now the sunglasses are following the movement of the head. And now we don't have all of those really bad deformations that we were having previously. So as you can see now, the head bone is the one controlling the movement of this sunglasses. And that is exactly what we want. So I'm going to select the character object again. I'm going to reset the pose, like so. And now I'm going to select the sunglasses again. And since now the weights are set appropriately and I don't want them to be modified by accident. What I'm going to do is to lock all of these bonds. So I'm just going to click on this lock icon. And I'm going to do the same for the rest of these bones. And to make it easier, I'm just going to click and drag. And you can see that this lock icon is going to turn on for all of these different bones. And number 2, the same for the rest of the bones, including these ones at the very bottom. Perfect. So now the weight for the sunglasses is properly set. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 15. Weighting the character - Weighting the head elements: Hello class and welcome back. In this lesson, we're going to continue with the whaling process. So let's start. Okay, so this is where we left in our previous lesson. And since we have made some progress in our project, you can do another C for the backup at this point if you want to. And I'm just going to continue. But if you want to, you can go ahead and make your C4D backup. So usually when I work with a character that has different objects like this one, I tried to keep things organized. And one way to do that is by selecting the skin object and dragging it to the very bottom of the hierarchy. So I'm going to place it here. And then when I finish adjusting the weights for one of the objects, I take this object and I move it below this game object. So at this point, I know that the elements that are above the skin object are the elements that I asked you all need to work on. And the elements that are below the skin object are the elements that are set and ready to go. And like I said, this is just to keep things organized. But you can skip this if you want to. Now, let's continue adjusting the weights of the other objects. So the sunglasses are done. So I'm going to turn off the visibility for the sunglasses. And now I'm going to continue with these other object, the monocle. So I'm going to turn on the visibility for this one. Remember, there are two that have to be green. So we can see them here. And now you can see that we have the same problem that we had in the previous object. You can see that the weights are assigned to this bone here, which is the bone for the eye. But we want to assign the weight to the bone of the head. So I'm going to select this object, and I'm going to select the weight tag. When I select the weight tag, all of the different bones are going to be selected. You can see if I select another bone, only these bone is selected. But if I select the weight tag, all of these bones are selected. So this is an easy way to select all of the bones of the skeleton. So once I have the weight tag selected, I'm going to click on 0. And now I'm going to log all of these different bones. Remember, you can do it by clicking and dragging like this. And now I'm going to go back to that tab. And I'm going to select the head bone. I'm going to unlock it because if I have it lacked, I will not be able to modify anything. So I have to unlock it first. And then I'm going to click on Apply All. And now you can see that the head bone is going to control the movement of these monocle. So once this is set up properly, I'm going to lag this one again. So now I know that all of these different bones are loved and that these weights are going to stay the way that I said them. So now this one is also finished. And just to make sure that this is set up properly, I'm going to use the selection tool. I'm going to make sure that I am on the object mode. And I'm going to select the head controller. And I'm going to use the Rotate tool. And I'm going to rotate this object. And you can see that now this molecule is going to follow the movement of the head. Okay? I'm just going to select the character and I'm going to reset the pose. Just make sure. And now these monocle object is complete. So I'm going to drag it to the bottom, below the skin object. And now I know that these two objects are complete. So I'm going to turn off the view for these monocular object. And I'm going to do the same with the next object, which is the hair simple object, this one here. So I'm going to turn on the view for this one, and I'm going to select it. Now you can see that this object has a lot of different colors. So that means that this object is being affected by different bones. Here we can see that we have some blue colors which belong to this arm. Over here. We have some green colors here which belong to this other arm. We also have some orange colors which belong to the head bone. And we also have some green colors which belong to the eyes. So as you can imagine, this is not set up properly. And if we try to move the head, this is going to get deformed in a really bad way. So let's do that just to see how it looks. I'm going to select the Selection Tool and I'm going to select the head controller. And I'm going to use the Rotate tool. And I'm going to rotate this head. And you can see that this is behaving in a really crazy way. So and this is not what we want, but we can fix it really, really easily. So I'm going to select this object. And again, I'm going to make sure that the weight tag is selected. So all of these bones are selected. And now I'm going to click on 0. So now none of the bones are affecting these hair. And now I'm going to lock all of these different bones. Remember, all we have to do is click and drag. So we can lock all of these different bones at the same time, like so. And now I'm just going to select the head bone again. I'm going to unlock it and I'm going to click on Apply all. I'm going to lock it again. And now I'm going to test it again. So I'm going to use the selection tool. I'm going to select the head controller. And I'm going to use the Rotate tool. And I'm going to rotate the head bone. And as you can see, now, this is working properly. This is the way that we want this object to behave. So we can rotate the head and as you can see, now will have all of those by deformations that we were having before. We can do it this way or rotate it in any direction that we want. Okay? So I'm just going to select the character. I'm going to reset the pose. And I'm going to select these hair object. I'm going to make sure that all of the bonds are locked. And I'm going to select the object and drag it to the bottom. Because now it is ready. I'm going to drag it all the way to the bottom. And I'm going to turn off the view. Like so. Now we're going to do the same for these other objects because all of these objects are going to be affected by the head bone. So I'm going to turn on the view for this one here. You can see that this is the other hair. And here we have another version of the hair. But this also has to be affected only by the head bone. The same with the piercings and the eyebrows as well. And also the two eyes. While the eyes are going to be affected by the AI bones. Because remember we have some bones for the eyes. So these ones, I'm going to move him down here, like so. I'm going to turn off the view for these ones. Okay. Now, the tongue also has to be affected by the head bone, also the eyelids. So I'm going to turn on the view for all of the eyelids and also the head. And we have the teeth and the bottom, the ones at the top. And these are all of the objects that we have to assign to the head bone. So when we have different objects like this one that have to be assigned to the same bone. We can select them all at once, like this. And I'm just going to collapse all of these different objects so we can see them all at once. Like so. And I can select all of the objects at once. So I'm going to click here, press Shift, and click here. And now with all of these objects selected, I can click on 0. So as you can see, we did the same for all of the objects at once. So I'm going to open all of these again because we have to lock the different bones. So now here we have the whole list of bones of all of these objects. So I'm going to lock them up. Remember all we have to do is click and drag. Again, click and drag. And I'm going to do this for all of these different bones. Now remember the reason we are lacking these different bones is so we don't modify the weights later on by accident because that may happen sometimes if your bones are set appropriately and then you work on some animation, sometimes these weights are going to be modified by accident. So this is just a way to prevent that from happening. And I tell you that because it has happened to me. And I'm just going to make sure that I lock all of those different bones. So now that we have locked all of these different bones, we can continue with the other part of the process. So I'm going to select. Head bone here. I'm going to unlock it and I'm going to click on Apply All. And now you can see that the phase is now being affected by the head bone. So I'm going to lock this one. And now to make some room, I'm going to collapse these object by clicking here. And now we can see the next object. So I'm going to select the head bone. I'm going to unlock it. And I'm going to click on Apply all. I'm going to lack it again. And I'm going to collapse these object. I'm going to do the same with the rest of the objects. So select the head bone, unlucky. Click on Apply all. Lucky it again, and collapse it. Same with this one. Select the head bone, unlucky it. Click on Apply all lucky again, and collapse these object. Okay, So we're going to continue doing the same for the rest of the objects. So I'm going to select it, make sure it's unlocked, click on Apply all like it and collapse these group. The same here. Select it and lock it. Click on a play all. Lucky it again, and collapse the group. So I'm going to continue doing the same with the rest of the objects. And I know that this part of the process could be a little boring. But it was going to help us to save some time because we are making all of these different objects at the same time. So it is actually going to help us to save some time. I'm just going to continue with these ones and with the rest of these objects. So select the head bone and lock it. Click on Apply all lucky again and collapse it. Same here. Unlike it, apply all lucky and collapse. Okay, so now we have all of these different objects ready. And now I'm just going to make sure that they work properly. So I'm going to select the Selection Tool and I'm going to select the head controller. And I'm going to rotate this head using the Rotate tool. And you can see now all of these objects are working the way they should. So we can see the earrings, they're the piercings. We can see the teeth, the tongue, the eyelids, the eyebrows, and the hair. You can see that all of these objects are now following the movement of the head. So that's perfect. That's what we needed. Okay. I'm going to select the character object and I'm going to reset the pose. And now I'm going to select all of these objects that are now ready. And I'm going to move him over here. So I'm going to grab them and move them to the bottom of the list. Because now they are ready. It was a little boring. But we've finished adjusting the weights of a lot of different objects very quickly. So now I'm just going to make sure that all of these objects are off. Like so. Now I did all of these different objects at once. But if you prefer, you can do them one by one. So now I'm going to select the head object. I'm going to turn back on the view for these abject. And even though this one is working properly, because remember, if we select the head controller and we rotate it, this is following the movement of the head. But we still have to modify this one because we can see that we have to adjust the neck. So right now, when we move the head, the neck is moving a lot and it shouldn't be moving that way because the neck area should be assigned to the neck bone. And right now, the neck area is assigned to the head bone. So this is not going to work properly. So I'm going to select this head object and I'm going to move it back tab because we are going to have to modify it a little bit more. So this can work properly. But we're going to do that in the next lesson because to do that, we're going to have to use the Weight Tool. And I'm going to have to explain it in detail. Now in this lesson, I did things a little bit faster than in the previous lesson. So if you want to get a more detailed explanation on how to do this process, please go back to the previous lesson, because in that lesson, I showed you how to do this process step-by-step. And I explain a lot of things that I didn't explain in this lesson. So if you felt like these lesson was kind of fast, please go back to the previous lesson. And there you will see how to do this process step-by-step. And after you watch that lesson, you're going to be able to understand what we just did in this lesson. Alright, so that's all for this lesson. I hope that you'll learn a lot and I will see you in the following lesson. 16. The Weight Tool explained: Hello class and welcome back. In this lesson, I'm going to teach you how to use the weight tool. So let's start. All right, so in the previous lesson, we'll learn how to properly assign weights to our measures using commands. Now we used only two commands, the 0 command and the apply command. Now, these commands are great when we want to apply or remove the weight from a hot object. So I'm going to show you quickly how it works. So I'm going to select the head object. I'm going to click here to expand and see all of the bones. And I'm going to unlock the head bone. I'm going to make sure that the head bone is selected. So if we use the 0 command, the weight of the bone is going to be removed from the whole object. And if we use the apply all command, the weight is going to be applied to the whole object. Now what happens if I want to apply the weight of a bone to only a specific part of an object. Well, for that, we can use the Weight Tool, which is this one over here. So I'm going to click here to select the weight tool. And now I'm going to click on the 0 command. So now none of the bones, of the skeleton are having an influence on these head object. Now, I'm going to zoom out a little so we can see the whole object. And I'm going to rotate it. And you can see that these head is rotated. So I'm going to select the character object, and I'm going to click on Reset both. Now, I'm going to go back and select the head object so we can see all of the bones again. And again. I'm going to select the head bone and again, make sure that the head bone is unlocked. Now, I'm going to select the way to login. So I can see the different properties of this tool here. And here you can see that we have different options. So I'm going to leave them the way they are. I'm just going to make sure that the mode is set to absolute and that the visible only option is on. And for the rest of the options, we're going to leave them the way they are. So I'm going to get closer here. And with this still selected, I can click and drag over these mesh or this object. So I'm going to do that. I'm going to click and drag. And as you can see, this way, I can paint the areas where I want these particular bone that I have selected to have influence over these mesh. Now that part is actually important. This tool is going to work similarly to the commands. And this tool is going to apply the influence or the weight of the bones are bones that we have currently selected. So make sure that you have the correct been selected. So you can start painting the weight or influence that this bone is going to have over these mesh. Now, another very important thing is that when we work with weights, the weights that we are going to be painting are going to be pain it based on the points that create that mesh. So right now you can see that I have the object mode selected. But if I go to the points mode, here we can see the different points that create these mesh. Now I'm going to get closer here. And you can see that this tool is going to be working based on the points. So if I tried to click here on this polygon, here in the middle of the polygon. The tool is not going to work because weights are based on points. So I have to click on one of the points like this one. And you can see that now it is going to apply the weight to this point. But at the same time, it is going to read some of these other areas. So if I click on this other point, you can see that now it is going to apply the weight to this point, which is going to also reach these other areas. So that is something important as well. And when we use the wave tool, we can have the object mode selected if we want to. The only problem is that we're not going to be able to see the different points that create these mesh. We can also work in the Point mode. And this way we can see a different polygons and the different points that create the mesh. We can also work in the edge mode. And we are going to be able to see the different edges. But the way tool is going to still working using the different points or the intersections between the edges. Like this intersection here, where a point is, I can click here. And that's going to paint this area. You can see that I cannot apply the weight by using these weights tool. If I click on the polygon and I cannot apply it if I click on any of these different edges that create this mesh. Only if I click on the point or intersections of edges like this one here. And I can also work with the weight tool if I have the polygon mode selected. So in the polygon mode, again, I can see the different polygons, but I can only work if I click on the intersections where the points are, like this. And so on. Now, you can see that here. I have some orange areas here. You can see that that is going to represent the influence that the head bone is going to have on these mesh. And also here. But you can see that in-between these two orange areas, we have a black area right around here. And that's because these areas here are being painted by using these point here and also this one here. And this area here is created by painting this point here and this point here. So we have this black area in-between, which means that the bone is not going to have an influence our domains in this area because these points here are not painted. So if I paint this point here, or this one here, or this other one here, this black area is going to start disappearing. So I can click here on this one. And you can see that we don't have that black area anymore. Now, if we go to the Weight Tool Properties and remember if you don't see the properties here, all you have to do is select the way tool again. And here in the properties of this tool, we can change the radius of the tool. So I'm going to zoom out. And to make it easier, I'm going to click on this 0 command, like so. And I'm going to go back to the object mode. So we don't get distracted by the different edges that create this object. Okay? So you can see that now the radius of this tool is kind of small. But if I want to make it bigger, I can come over here. But before that I'm just going to click here. So you can see the influence that this tool is having right now. And now I'm going to go to the properties of the tool and I'm going to increase the radius. I'm going to use 100. And now you can see that this tool is going to have a much bigger radius. And because of that, it is going to affect more points at the same time. So I can click here. And as you can see, now we painted different points at once. Now let's go to the point mode. And you can see that here. With the smaller radius, we painted only 1. And with a bigger radius were painted different points at once. So this is very simple to use. All you have to do is increase or decrease the radius of the tool. And you're going to have more influence over these different points, are less influence depending on the size of the tool. Okay, let me click on 0 again, and let's go back to the object mode. And another thing that we can change is the strength of the tool. So right now the strength set to 100%. So let's come over here and let's just click and drag. And now, to be able to explain what strength does, I'm going to come over here and I'm going to reduce the strength to only, let's say 25 percent, like so. And I'm going to click and drag. Now you can see that there is no difference between these two ones, even though this one has a smaller strength. But the reason that this didn't change is because when we want to use a different strength besides reducing the strength of the tool, we also have to make sure that the auto normalize option is turned off. Now I'm going to explain a little bit more about these outer normalized option in a future lesson. But for now, all you have to know is that when you reduce the strength of the tool, you have to turn off the auto normalized option for these to work. So now I'm going to undo this. I'm going to undo it. And now with the auto normalized turn off and the strength reduced to 25 percent, I'm going to click and drag. And now we can see a big difference between this one here and these one over here. So when we use the strength at 100%, the influence of this bone over this part of the mass is going to be 100%. So when we move this bone, this part of the mass is going to move at a 100% influence. And over here, the influence that this bone is going to have on this part of the mesh is going to be only 25 percent. So when we move this bone, this part of the maze is going to be affected at only 25 percent. So it is going to move with the bone, but it is not going to move as much as these other area because this other area is being affected at 100%, while these other area is being affected at only 25 percent. And we can change the strength to any percentage that we want. And in this way, we can have more control over the influence or weight that each bone is going to have over our mesh. Okay, I'm going to click on 0. And I'm going to increase the strength again to 100%. And I'm also going to turn back on the auto normalized option. Now, let's come over here and I'm going to increase the radius a little bit. And now I'm going to paint like this. Now you can see that when I paint like that, we're going to be able to paint only the polygons that we can see here. If we come to the other side, you can see that nothing got painted here. Even though those polygons are right behind the polygons are we just paint it. So I'm going to click on 0 again. That's what these option does. The visible only option. So since this is on, whenever I paint, it is going to paint only the polygons that I can't see. I'm going to come to the other side again. And you can see that none of these polygons were painted. So if I turn this option off, I'm going to click on 0 again. And if I turn these visible only option of and now I paint again like this. And I can come to the other side. You can see that now I painted also these other polygons are these other points because they were right behind these points that I painted. So if we have these visible only option off, we're going to be able to paint not only the polygons that we can see, but also the polygons that are behind the polygons that we can see. And usually we are going to have these option on the visible only option. So I'm going to turn it back on. And I'm going to click on 0. Now, like I said, usually we're going to have this, but in some situations we are going to turn it off. So this is what this tool does. Now, the selected only option is going to do something similar, but it's going to work with the selection that we have. So if I go to the polygon mode, here, you can see that some of these polygons are selected. The ones that look yellow, and the other ones, the ones that look blue, are not selected. So if I turn on the selected only option, I'm going to be able to paint only the points within the selected area. So you can see that here, I can paint these different points. But if I come over here where this polygons are not selected, you can see that I cannot paint any of these different points. So I'm going to trace a line. So you can see this much more easily. I'm going to trace a line. And you can see that the line stops where the selection stops like this. So you can see that I'm going over to the other side. But the selection is not going to happen over here. Only in this other side where the polygons are selected. Okay? So that's what this action does, the selected only option. And usually we're going to have these options. But sometimes just like with the visible only option, sometimes we're going to turn it on depending on the situation. Okay? I'm going to zoom out and I'm going to click on 0. And I'm going to go back to the object mode, like so. And now. There is another very important option that we can use. And for that option, I'm going to have to switch to the symmetry tab. So I'm going to click here on symmetry. And now I'm going to click on Enable. And now you can see that this is going to enable the symmetry. And it is going to work only with objects that have a perfect symmetry. Remember, in a previous lesson, we discussed the importance of symmetry in character production, including rigging. So this is an option that is going to help us to mirror what we paint on one side, onto the other side. You can see here, I'm painting on the right side. And what I paint is going to be reflected on the other side. And I can do the same. If I paint on the left side, I can paint here. And you can see that what I paint here is going to be reflected on the other side. So these symmetry option is also a very important option. And we're going to use it a lot when we use the wave tool. So I'm just going to do it again here. And you can see that this is going to work perfectly because our character has perfect symmetry. Okay, So I'm going to click on sera again. And for now, I'm just going to leave the symmetry on. And I'm going to go back to the first step, the Options tab. Okay? Now I'm going to come back to the front. And you can see that now if I click and drag, I'm going to be painting or adding weight to this object. But I can also use this tool to remove weight. So I'm going to come over here and here on mode, you can see that we have it set to absolute. But I can click here and I can select Subtract. Now, if I select substract, you can see that nothing is going to happen. And the reason for this is because again, I'm going to explain it in detail in a future lesson. But for this to work, we have to turn off the auto normalized option. So I'm going to turn it off. And now you can see that we can use the wave tool to remove the weight that we added before. Like this. And as you can see, it is working with our symmetry. And it is also going to work with the other options that we covered before. So again, if I want to add some weight, I have to select the absolute option. And I can add some weight. And if I want to subtract, I can come here and click add, subtract. And I can erase or subtract the weight that we painted before. Now, there is another option. And before that, I'm going to select the absolute option. I'm going to paint some weight like this. Maybe a little bit more like this. Now I'm going to come over here to the remote options, and I'm going to click, and I'm going to select this option. So I'm going to select this one. And I'm going to increase the radius so you can see the effect better. I'm going to get closer. And I want you to pay attention to what happens to this area. So I'm going to click and drag. And you can see that this is going to help us to smooth the transition between the different weights. So where we have black, we have a weight of 0%. And where we have these orange color, we have a weight of 100%. So we can add a transition between these two different percentages of weight by using this smooth tool. So you can see that this is going to make the transition smoother like this. And also for this to work, you have to make sure that the outer normalized option is turned off. Okay, so I'm just going to click on 0 again. And I'm going to change the settings for the weight tool to what we had at the beginning. So I'm going to change the mode. I'm going to change it back to absolute. And I'm going to turn back on the outer normalized option. So those are the most important elements of the way tool. So I encourage you to practice using this tool because we're going to use it in the future lessons to complete waiting the rest of the meshes that create our character. So that's all for this lesson. I hope that you learned a lot and I will see you in the following lesson. 17. Normalization basics: Hello class and welcome back. In this lesson, we're going to cover the basics of normalization. So let's start. So in previous lessons, we discussed the importance of weight when it comes to reading. So weight is going to define how the skeleton is going to affect the meshes that create our character. So in this case, we have the head objects selected. So it is this one here. And here we have the head bone selected, which is this bone here at the top. So now anything we do, you're seeing these commands are using the weight tool is going to affect only this head object. And the way that we add is going to give influence to this head bone to move the head object. So again, I have the head object selected, and I have these head bone selected and the head bone is unlocked. Now in the previous lesson, we discussed the way tool. So I'm going to select it so we can see the different attributes of this tool. And remember that here we can change the different parameters of the stool. And those parameters are going to define how this tool is going to behave. So one of these parameters that we can change is the strength. Now, at this moment, it is set to 100%. So if I paint over these objects, we had object. You can see that I'm going to be able to paint at a 100 percent. Now, this means that these bone of the head, this one over here is going to affect this part of the mesh at 100%. And that means that if we move the head bone, this part of the mesh here is going to move at the same ratio. So if we rotate these head bone 90 degrees clockwise, this part of the mesh is going to rotate 90 degrees clockwise because the weight is set to 100%. Now, if I go back to the way tool settings and I reduce this to, let's say, 50 percent. And I turn off the auto normalized option. So this one has to be up. And I click and drag. I'm going to do that here. Like so. Now this bone, the head bone, is going to affect this part of the mass at only 50 percent. So if we rotate the head bone at 90 degrees clockwise, this part of the head is not going to move at the same ratio. It is going to move less because this part of the mesh is being affected by the head bone at only 50 percent. So in this way, we can have different bones are affecting the same area because one bond could affect this area at, let's say 50 percent. And another bone can affect the same area. Add another 50 percent. And when we add those two bones, they are going to affect the area at a 100 percent, 50% from one bone and 50 percent from the other bone. Now, that is actually really important when we weight our different objects or meshes. The final weight of the whole object has to be 100% for each of the different points that create that object. If we have less than 100% or more than 100%. When we move the skeleton, the areas that have more or less than 100% weight are not going to deform properly. And I'm going to show you that. So right now, I'm going to paint over the whole head. Remember, the way tool is set at a strength or 50 percent. And I'm going to make sure that I paint all of these different areas of the head like this. And now this area is being affected at 100%. These other area is being affected at only 50 percent. And I'm going to change the strength. I'm going to use 70 percent. And I'm going to paint the rest of the mesh. Like so. Perfect. And now you can see that we even have some other areas of these mesh inside. So you can see here we have other areas. That we didn't paint. And I'm going to leave them like that on purpose. So the black areas have 0%. This area here is going to have 70 percent because that's what I said here. This darker area is going to have only 50 percent and this area is going to have a 100 percent influence. So that influence is going to belong to these bones. So you can see that now this bone is affecting this mesh, but it is affecting it at different strengths in different parts of the mesh, including some parts where it is not affecting it at all, which are the parts that are black. Okay? Now I'm going to select the Selection Tool, and I'm going to select the head controller, this one here. And now I'm going to use the Rotate tool. And I'm going to rotate these head. And you can already see that there is a big, big problem. And the problem is that some areas are moving properly, like this part of the head. Remember this part of the head is the one that has a 100% influence. So if we go back to the head object and we select again the head bone, you can see that this part has a 100% influence. I mean, this bone here has a 100% influence on this area. So this area is going to move properly. So I'm going to go back to the selection tool. I'm going to select again the head controller and I'm going to rotate it again. So you can see that this part here is moving properly. It is following the movement of the head bone at a one-to-one ratio. So if I rotate this 90 degrees like this, you can see that this part is going to move 90 degrees as well following these bone. But some of the areas where they have less influence are not going to move properly. So you can see that here we have some of the areas of the interior of the mouth where the influence is set to 0. Remember, those are the areas that are black. So if I select the head again and I select the head bone again, you can see that these areas are black. So these areas are black and then are not being influenced by the movement or rotation of this bone. So they are going to stay in place. The areas that have a 100% influence are going to move according to the movement of the head at a one-to-one ratio. And the areas that have less than a 100 percent, like these areas here, which have a 50 percent influence are going to move less. And those areas here that have a 70 percent influence are going to move a little bit more than the areas that have 50%. But I'm not going to move enough. So they follow the bone to a one-to-one ratio. So what this means is that whenever we're weighting our different objects, we have to make sure that the final weight for every single one of the points that create the mesh is set to 100%. Now, it could be set to 100% to only one bone. So one bone can have a 100% influence over the whole mess, or it could have some influence over the mesh. And another bone can have also influenced. But the important thing is that at the end of the day, the weight of all of the points of the mesh have to have an influence at a 100 percent. And again, this could be by only one bone or by a combination of bones. And when I say points, I'm talking about these different points. So I'm going to go to the point mode. Remember, our measures are made by polygons, edges, and points. And remember that when we are going to weight our characters, we're going to be using the different points that create this mesh to add the proper weight to the bones. So again, this area here, all of these different points have an influence of 100% and the rest have less. So now let's select again the head bone. And I'm going to click on Apply all bad. Before doing that, I'm going to go to the object mode. And now I'm going to click on Apply all. And as we can see, now, all of the different points that create this mesh have a weight of 100%, and we can tell that by the color of the mesh. So now everything is orange and you can see that we have a different tones of orange anymore. The whole mesh is a bright orange. So that means that all of these points are set to 100% influence. Now, if I select the selection tool again and I rotate this head again, you can see that now the whole head is moving at a one-to-one ratio when we rotate these head bone. Now I'm going to undo this because I want to show you something else. I'm going to undo it until we get this mesh here that is completely formed. And now if I have this mesh like this, and I tried to fix it using the weight tool. So I'm going to use the wave tool and I'm going to set it to 100% black. So now with the way tool at 100%, If I click on any of the areas that are at less than a 100 percent, this is going to start to get fixed. So I'm going to start painting here. You can see that now this is set to 100%. And when I release, this area is going to go all the way over here following the head bone to a one-to-one ratio. And if I continue painting these different weights to a 100 percent, it is going to start fixing little by little. So I campaigned all of these areas like so. And I'm going to get this fixed eventually, like this. And when I have only one bone, we can do it this way, but it is going to take a lot of time. So it is not the recommended way to do it. And like I said, it's going to take a lot of time and it's going to be really hard to do it. So this process that I'm doing here is normalizing the weights. So I am making sure that all of the different points that create this mesh have a tunnel influence of 100%. And I'm doing it manually. Now the problem is going to come when we have different bones that are affecting one mesh and each of the bonds has a weight assigned to them. So a, we have that it's going to be really hard to fix these kind of problems. So I'm going to select this character object. I'm going to reset the pose. So I'm going to go to the Object tab and I'm going to click on Reset both. So those are the basics of normalization. Now, I know that this is a lot of information to process. So if you want to, you can go back to the beginning of this lesson and rewatch it in case that you didn't get the whole thing. So you can go back, re-watch it, and once you have understood it, you can go to the next lesson. Because in the next lesson, I'm going to teach you how to use the auto normalized Arjun. And if you don't understand normalization, it is going to be harder to understand the outer normalized option. And that's all for this lesson. I hope that you learned something useful and I will see you in the next lesson. 18. Auto Normalization: Hello class and welcome back. In this lesson, we're going to talk about the auto normalized option in cinema 4D. So let's start. All right, so in this lesson we're going to cover a really important topic which is using the auto normalize option. Now, this topic may be a little bit complex at the beginning, but I really recommend you to watch this lesson over and over again until you understand it, because this is a very important topic when it comes to reading in cinema 4 D. And not only in Cinema 4D, but in 3D in general. Okay, so let's begin. I'm going to select the head object and I'm going to select the head bone. And I'm going to click on Apply All. And now I'm going to show you what the auto normalize option does. So I'm going to select the way to again so I can see the attributes. And now I'm going to change the mode from absolute to subtract. So I'm going to click on substract. I'm going to go to the back of the character. And I'm going to subtract sum of the weight from the head. Like that. Here, I'm going to add a smooth transition from the orange areas to the black areas. So I'm going to change the mode to smooth. And I'm going to smooth this transition here. You can see that now the transition is very smooth here. And the transition over here is a very sharp. Okay? Now I'm going to lock these head bone and I'm going to select the neck bone. You can see that this bone is affecting nothing on this mesh. So I'm going to unlock it. And now I'm going to select the Weight Tool and I'm going to change the mode to absolute. Okay? And now I'm going to start painting and just know that the outer normalized option is turned off. So if I paint now, you can see that I can paint wherever I want, even in some areas where they are being affected already by the headphone. So we can select the head bump and we can see that these areas are already being affected by this bone at a strength of 100%. If I select the neck bone, you can see that we have our lapping weight. And if we add the amount of weight in these areas, we are going to have a strength of more than 100%, and that is going to cause some bad deformations when we animate this character. So we want to prevent that from happening. Remember, the weights have to be 100%. So I'm going to select the neck bone again, and I'm going to click on 0. And now I'm going to the same, but this time I'm going to turn on the auto normalize option. So I'm going to click here. And I'm going to start painting again. And you can see already that even if I tried to paint the neck area, it is not going to let me because neck area is being affected already by the headband you can see here. So if I select this bone and I tried to paint that area, the outer normalized option is not going to let me do it. Now, if I paint over here, you can see that in these areas, we have a smooth transition between the orange area and the black area. Even though we haven't changed the strength of this tool. And this is all being done by the outer normalized option. So this option is going to ensure that the weights add up to a maximum of 100%. And that's what this is doing here. So the neck area is already being influenced by the head bone at 100%. And that's why it is not allowing me to paint this area. And these areas here have a smooth transition in the headband. And that's what it is creating, a smooth transition in the neck bone. So this smooth transition plus the other smooth transition of the head bone are going to add up to 100%. So if I select both of these bones at the same time, the weights of these two bones are going to add up to 100% strength. So that's basically what the auto normalize option does. And when it comes to rigging, this is very important. So I'm going to click on Ciro. I'm going to make sure that the neck bone is selected and I'm going to click on 0. And I just want to show you that the auto normalized Arjun is going to work also with our commands. So here we can see that we have our commands here. And by default, the auto normalized option is to earn. But I'm going to turn it off just to see what happens if we use the apply command. So I'm going to click on Apply All. And you can see that now the weight was applied to the whole object. If I select the head bone, you can see that the weight is still there. And now we have overlapping weight. And this is going to cause by deformations when we animate our character. So I'm going to click on 0 again. And now I'm going to turn on the outer normalized option. And I'm going to click on the apply command again. And as you can see, now, it applied the weight to the whole object, but only in the areas that were available, including the areas where we have a smooth transition. And again, if we select the two bones that are affecting the head object, you can see that now this object has a weight that is normalized and that's what we need. So that's what the auto normalize option does. Now, I'm going to select the neck bone. I'm going to click on 0. And I'm going to lock it. And I'm going to select the head bone. I'm going to unlock it and I'm going to click on Apply all. I'm going to get closer. And I'm going to go to the polygon mode because I want to see the polygons. And now I'm going to change the mode to subtract because this head bone has to be affecting the whole head except for the neck area. So I'm going to subtract the influence of the head bone on the neck. But to be able to do that, I have to turn off the auto normalize option because right now is not going to lead me. So I have to turn it off. And now you can see that I can subtract the weight. Like so. I'm going to reduce the radius. So it's easier. And I'm going to continue to do this around the whole head. So I'm doing here is subtracting the influence or the weight of the head bone from the neck area. And now you can see that here we have some black areas. So I'm going to change the mode back to absolute. And I'm going to paint this area like so. And now I'm going to lock behead bone and I'm going to unlock the neck bone. And here I'm going to click on Apply all making sure that the auto normalize our chin is on. So it is applied only to the available areas, which in this case is the neck area. And now you can see that if we select both objects, now this is going to work perfectly. Now, I'm going to select the object mode, and I'm going to select the head controller. So I'm going to use the selection tool. I'm going to select this head controller and I'm going to start rotating this head. Now you can see that now the neck is not moving all over the place, like it was moving before. But you can see that here we have some problems because the transition between the head bone and the neck bone is really sharp. So if I select the head object and I select this bone, you can see that the transition is very sharp also here. So to solve that, I'm going to select the character object and I'm going to reset the pose. And now I'm going to select the head object again. And now I'm going to select both of these bones. I'm going to make sure that they are unlocked. And now I'm going to use the wave tool. And I'm going to change the mode to smooth. And I'm going to make sure that the auto normalized option is on. This is very important. And I'm going to increase the radius. So I'm going to smooth this transition here. I'm going to smooth it just by clicking and dragging like that. And I'm going to continue with the rest of the neck like this. And now, if I select only one of the bones, you can see that now the transition is smooth and the same is going to apply to the other bond. So now I'm going to lock them both. I'm going to select again the head controller. So I'm going to use the selection tool, make sure you are on the object mode. Select the head controller. And now I can rotate it again. And you can see that now this neck is deforming properly. Because now the transition between the weight of the head bone and the neck bone is smooth. Okay. I'm just going to zoom out because now this object is complete. I'm going to select this character object. I'm going to reset the pose. And now I'm going to select the head object. And I'm going to make sure that all of the bones are locked. And now these head object is complete. So I'm going to move it below the skin object, like so. And I'm going to turn off the view. So that's how we use the waiting commands in combination with the weight tool and using the auto normalized option to properly weight the meshes of our character. And like I said at the beginning of this lesson, this lesson and the previous one are a little bit complex. So if you want to go back and watch them again, please go ahead and do it. Because the information that we covered in those lessons is really important and you're going to use it in all of your future Reagan projects. So you're going to be using the different weighting commands, the way tool, and the different arguments that we used, including the auto normalized option in all of your future project. So make sure that you really understand all of the concepts that we covered in these lessons. All right, so that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 19. Weighting the character - Weighting the eyes, ring and belt: Hello class and welcome back. In this lesson, we're going to continue adjusting the weights to our different measures that create our character. So let's start. Okay, so this is where we left in our previous lesson. Now remember in our objects manager, here we have a list of the different elements are meshes that create our character. And remember that we have divided these elements into different sections. The objects that are below the skin object, which are these ones here, are the objects for which we have completed adjusting the weights. So these objects here are set and ready to animate. Now, the objects that are above the skin object are the objects that we still have to work on. So these are objects that I have selected. Here are the objects that we still need to adjust the weights too. Now some of these objects are going to be assigned to only one bone, like the left eye, for example. The left eye object is going to be assigned to only the left eye bone and nothing else. The same happens to the right. I object. It is going to be assigned to their right eye bone and nothing else. Now, the same is going to happen to the ring object. The ring object is going to be assigned to only one bone and nothing else. Now, on the other hand, we have objects that are going to be assigned to multiple bonds, like the jacket, the boots, the genes, and the hands. Now the objects that are going to be assigned to only one bone are going to be much easier to wait. Because like we saw in the previous objects that we have already waited, all we have to do is to make sure that the weight is set to 0 for every single bone, except for the bone that has to be assigned to modify that object. In the majority of these objects, the head bone is they own the one that is going to control the deformation or movement of these objects. And when I have a character that is made of different measures, what I tried to do is to get the easiest ones first. So I can have only a few left, which are going to be the ones that are going to take me the most time. But I can see that I made a lot of progress and that's what I did here. You can see that I started with the different measures that had to be assigned to only one bone. And that's what we're going to continue doing. So I'm going to continue with the two eyes. So I'm going to move them up. And then I'm going to continue with the ring and also the belt buckle and the buttons. So now I'm going to continue with the right eye. So I'm going to turn on the view for this object. And I'm going to click here to select all of the bones. I'm going to click on 0. I'm going to lock all of these different bones, like so. And now, since this is the right I, I have to assign it to the right thigh bone, which is this one here. So I'm going to unlock it. And now I'm going to click on Apply All. And I'm going to select the Selection Tool. I'm going to select the character object. I'm going to expand it. And I'm going to select the right object here. And now, you can see that if I move this object, the eye is going to follow the movement of the controller like this. So this way we can control where our character is looking. Pretty cool, right? Okay. I'm going to select the character object and I'm going to reset the pose. And now I'm going to do the same for the other eye. So I'm going to collapse these one here for a second. And I'm going to turn on the view for the left eye. And again, I'm going to make sure that this object is selected. I'm going to select all of the different bones. And I'm going to click on 0. And now I'm going to lock all of these bones so we don't modify them by accident later on. And now that I have all of these bones locked, I'm going to unlock the bone for the left eye, which is this one here. I'm going to select this bone and I'm going to click on Apply All. And I'm going to lock it. I think I forgot to luck. One for this one here. So I'm going to select it again. I'm going to make sure that these bone is locked. So I'm going to click here. Okay, I'm going to select this object again. And I'm going to go to my character object. And now I'm going to select the left eye controller by clicking here. And now I'm going to move these controller. And you can see that now I can control the movement of the eye with these controller. And I'm going to select the character object. I'm going to reset the pose. And I'm going to select both of these controllers at the same time. I'm going to move them at the same time. So you can see that this way. We can make our character look in any direction that we want. And that's what we want. And this is going to give us a lot of flexibility when animating our character. Okay? So I'm going to select these character object. I'm going to reset the pose. And now I'm going to collapse this one. And since these are complete, I'm just going to make sure that all of the bones are lock. This one is okay. I'm going to select this other one. It is also, okay. So I'm going to select those two objects and I'm going to move him down below the skin object at the very bottom of the hierarchy. Like so. And now I'm just going to turn off the view for these objects. And you can see that now we have less objects here. So this list of objects that we have to work on is getting smaller and smaller and that's what we want. So now I'm going to do the same with the ring object. I'm going to select this object. I'm going to turn on the view for this object, and I'm going to get closer here. You can see that this ring is already being affected by these bone. So I'm going to identify which bone is this one. So remember, we can do that by selecting the different sets of bones. And when these changes color, that's where we have the bone that is affecting the movement of this object. So you can see that I'm selecting the different sets of bones. And I'm going to continue doing that until now. You can see that when I selected this group, this changes colors. So this is where we have the bone that is affecting these object. So I'm going to collapse the rest of the different groups. Except for this one, I'm going to continue collapsing the rest of the groups, like so. And now I'm going to select all of these different groups and I'm going to click on 0, like so. You can see that we were having a problem because some of these other bones were also affecting the movement of this ring. And that would cause some problems. So let me undo that. And you can see that here we have some pink color. So that means that one of these fingers, this finger here, is affecting also these object. So you can see that this is a finger. And if I select some of these bones like this one, this is affecting the movement of this object. And that is not what we want. Because if we leave it like this, when we move this finger, this ring is going to be the formed and that is not what we want. So that's why I have to select all of these different sets of bones. And I have to click on 0, like so. And now I can lock of these bones. So I'm going to do that. I'm going to expand this again. I'm going to start locking all of these bones like this. Perfect. And now I'm going to collapse these again. And I'm going to select also these other sets of bones. And I'm going to click on 0 again. So now none of these bones are going to affect the movement of these ring. So I'm going to expand these groups. And I'm going to make sure that all of these different bones are locked. Like so except for these ones because these are the ones that are going to have to modify the movement of the ring. So I'm going to collapse these ones that are said. And now all I have to do is to identify which one is this bone here, because this is the bone that has to modify these ring. So you can see that these bones that I have selected here is this one here because you can see that when I select it, it changes colors. If I click here, you can see that this is the bone that we have to apply. The way too. Now if I select this other one, you can see that it is this one. And this one is this one over here. So this is the amount that we need to apply the way to. I'm going to select all of these different bones. I'm going to click on 0 and I'm going to login. And I'm going to do the same for this one. I'm going to click on 0. I'm going to lock it. And now I can select these one. I'm going to click on Apply All, and I'm going to lock it. So now these bones alone is going to modify these objects when we rotate it or move it. And now I'm going to collapse this. And these ring object is now ready. So I'm going to move it down in the hierarchy. And I'm going to turn off the view. Like so. Now let's continue with the belt buckle. So I'm going to zoom out. And I'm going to turn the view for these one on like this. And this has to be modified only by this area, which is the pelvis area. So if we select these here, the spine group, you can see that the seas where we have the bone that is going to modify these belt buckle. So none of the other bones have to be able to modify it. So I'm going to select all of these bones all the way to the bottom. I'm going to click on 0. And I'm going to lock all of these different bones. Like so. I'm going to make sure that I know which is the bond that is modifying these belt buckle object. And you can see that if I select the head, of course it is not going to modify it because the head is all the way up here and the belt buckle is down here. So this has to be set to 0. Now I'm going to lock it. Also, this other head bone, the neck, the chest. These bone of this bind. These other one here and also this one. So none of these bonds have to affect the belt buckle. So I'm going to select them all. I'm going to click on 0 just to make sure that they are not affecting me in any way. And I'm going to login. Now if I select the pelvis bone, which is the pelvis and bone, you can see that it is not affecting it either. So I'm going to click on 0 and I'm going to lock it. And now, if I select the pelvis vase, which is this one here, you can see that it is not affecting it either. So I'm going to click on 0 and I'm going to lock it. And if I select these one, which is the base of this B9, these area here, you can see that this is the one that is going to affect it. So I'm going to make sure that I select these bone. I'm going to click on Apply all. I'm going to lock it. And now I'm going to test it. I'm going to select the spine controller. And now I'm going to move the spine. And you can see that the belt buckle is moving with the spine. Like so. If I rotate this B9, you guys see that it is going to rotate with the pelvis like that. And also if I rotate it. So now this object is properly set. And I'm going to select these character object. I'm going to reset the pose like so. And now these belt buckle object is complete. So I'm going to select it and I'm going to move it to the very bottom of the hierarchy. And I'm going to turn off visibility. So as you can see, now we have completed for different objects in very little time. Okay, So that's all for this lesson. I hope that you learned something useful and I will see you in the following lesson. 20. Weighting the character - Weighting the legs: Hello class and welcome back. In this lesson, we're going to continue with the waiting process. So let's start. Okay, so this is where we left in our previous lesson. Now as you can see, now we have only six different objects that we still have to work on. So I'm going to select the genes and I'm going to move him up in the hierarchy. And I'm going to turn on the view for these genes. And I'm going to get closer to the genes here. And as you can see, this genes already have some weights assigned to them. So just to see how these are working right now, I'm going to select the Selection Tool, and I'm going to make sure that I have the object mode selected here. And I'm going to select these leg controller. And I'm going to start moving it. And as you can see, now, the leg is moving like so. Now, to see this better, I'm going to turn on the subdivision surface object, which is this one. I'm going to click here to turn it on. So we can see these with a subdivision. And now I'm going to continue moving these lead controller. And all I'm trying to do here is to see if the weights that are already assigned to these objects are properly set. So all I'm trying to do here is looking at the areas where this mesh is bending, especially this area here and the back of the knee, Arthur, and also the front of the knee. So what I'm trying to do here is just to see these areas that are bending and make sure that they are bending properly. So I'm going to continue moving these lag controller. And I think that these are moving properly. But just to make sure I'm going to bend or move these controller from a different angle just to see that this is working properly from all angles. And as you can see, this is working really well. Now I'm going to go to the back and I'm going to move this as well. Like I said, I'm just making sure that this object is deforming properly. And it looks like it is. So I'm going to do the same with these other controller. I'm going to move it up and down. And like I said before, I'm paying close attention to the areas where the object is bending, like this area here. You can see that this is bending properly. And we have to look at this from different angles. Just make sure that this is working properly. And also paying attention to the back of the knee. So this area here is also very important because this is where these leg is going to bend. So I'm just going to continue just making sure that this is working properly. And like I said, I have to do this from different angles. And as you can see, I am moving also this leg from side-to-side just to make sure that this is going to work properly when we animate it. And it looks like it is going to work really nicely. I'm going to select these again. And I'm going to move this from side to side. And you can see that this is working really well. Okay, now I'm going to select this object, the character object, and I'm going to reset the pose. And now I'm going to select the spine controller, which is this one here. So remember if you cannot see it here, you can select it by coming to the character object, expand it, and select it from here using the spine controller here. And now, we can move the spine up and down like this just to make sure that the weights are properly assign. And again, we have to do this from different angles like this. And this is working really, really well. I'm going to move it from side to side as well, just to make sure that this is bending properly. And I'm going to do it also from the front. And we're going to move it from side to side. Looking at this one from the front. And I'm just looking at the areas that this object is going to bend. And this looks like it is working properly. So I'm going to rotate it using the Rotate tool. And as you can see, this is working perfectly. I'm going to go from this other angle and I'm going to rotate it as well. Like this. And it looks like it is working perfectly. So I'm going to select the character object again, and I'm going to reset the pose. Like so. Now I'm going to select this other controller here that we have here inside. So I'm going to get closer here. I'm going to look at this from, from below. So I can select this without selecting anything else. And now I'm going to be the same. This time I'm going to rotate it. And as you can see, if we use this one, only the hips are going to be affected. So you can see that now the legs are not moving because we are selecting a different controller. And that's the way that this controller is going to work. So this is going to work properly. You can see that this is the forming only the hips like this and the legs are not moving. So this is going to work really well. I'm going to select the character object again, and I'm going to reset the post again. Now I'm going to make another test, and it is going to be by selecting this other controller here. And this other controllers shouldn't modify these genes. So I'm going to rotate it. And as you can see, it is not modifying anything these genes. So this means that this is properly set. And the same is going to happen if I rotate these other controller. So I'm going to select the character object again. I'm going to reset the post again. And as you can see, this is working really, really well. I'm just going to make another test. So I'm going to select the leg controller again. And I'm going to move it this way. And now I'm just going to test these other controller. So I'm going to select this one. I'm going to move it from side to side. And you can see that this is also working properly, especially on these areas here. You can see that this is going to work properly. So we have to do all these tests so we can make sure that this character is going to behave properly when we animate it. So I'm going to the same test here. And you can see that this is working the way it should. So I'm going to select these character object again, and I'm going to reset the pose. So as you can see, Cinema 4D, the sometimes does a great job at outer weighting our elements. In this case, it did a great job at our weighting these genes. Now, if for some reason, when you do this to your own characters, this doesn't work properly. Then all you have to do is fix the weights. And I'm going to show you how to do that in the next lesson. But for now, I'm just going to leave this one the way it is. So Ali have to do is select the genes. And since all of the weights are properly said, oh, I'm going to do is lock these different bones so we don't modify them by accident later on. So I'm just going to lock all of these different bones. Like so. I'm going to collapse this. And I'm going to select the character again. And I'm going to reset the both. And now I'm going to select these genes object and I'm going to move it down in the hierarchy because now these are finished. I'm going to turn off the view for these genes. Now, like I said, if your genes are not working properly, don't worry because in the next lesson, I'm going to show you how to adjust the weight, two objects that are being affected by multiple bones. So in this lesson, I just wanted to show you that sometimes cinema 4 D does a really good job at outer weighting our characters. And when that happens, we'll have to do anything else, only lacking the bones. And that's what we did in these lesson. All right, so now the genes are properly weight. And since we have done a lot of progress, this is a great time to do another C for the backup. So if you want to, please go ahead and do it. And that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 21. Weighting the character - Weighting the torso: Hello class and welcome back. In this lesson, we're going to continue with the waiting process. So let's start. Okay, so this is where we left in our previous lesson. And as you can see, now we only have five different elements that we have to adjust the weights too. So you can see that this list is getting smaller and smaller. So we are almost finished. Now, I'm going to continue with the T-Shirt object. So I'm going to move it up. And I'm going to turn on the view for this object on my canvas. And this is the object that we're going to add just the weights to. So to be able to see the weight that are applied to this object, I have to turn off the subdivision surface object. So I'm going to do that. I'm going to click here. So I can see now the weight. Now you can see that this object is being affected by different bones, and we can tell that because of the different colors. So you can see that here we have some green colors which belong to these arm, which is also in green color. Here we have some blue color which belongs to this arm. So these areas are going to be affected by this arm. We have also some red colors here, which belong to the spine bones. And we even have some orange color here, which belongs to the head bone. So as you can see, this object is going to be affected by multiple bones. So now I'm just going to make sure that these weights are set appropriately. So to do that, I'm going to use the selection tool. I'm going to make sure that I have the object mode selected. And I'm going to select the arm controller, which is this one here. So I'm going to select this controller and I'm going to move it up. And you can see that there is some deformation going on here. And this shouldn't be happening because when we move the arm, it shouldn't deform this area of the t-shirt. So that means that some of the weights that are assigned to this arm are not assigned properly. So to see the weights that are assigned to this arm, I'm going to select or object again. And I'm going to scroll down to find this arm in this list. So this is the left arm, and we have it here. So if I select this left arm here, you can see that now we only see the different areas that are affected by the bones within this group. And some of these areas are these ones here. And to fix this problem, we have to erase these areas. So when we move the arm, these areas are not modified. So if I select this bone, you can see that this is affecting this here. But it is not affecting this area. So this bone could be okay. And if I select this other one, you can see that here we have a problem because this bone here is affecting this area. So this is going to make some problems. Let's like this other one. And you can see that this is also affecting this area which it shouldn't. So this is also going to cause some problems. And if we select this other bone, which is this one, you can see that this one is not affecting anything. So this one is okay. Also this one and these other ones. So below the arm we have the bones for the hand. You can see these bones are here. And this of course, shouldn't affect anything from the t-shirt. And we have also the bones for the different fingers. And at the bottom we have the bones for the eyes, which shouldn't affect the tissue either. So I'm going to select the bones of the hand all the way down to the bones of the eyes. So I have selected the hand and the different fingers for this arm and the eyes. So these bones shouldn't have any influence on this t-shirt. So I'm going to click on this 0 command. And then I'm going to lock all of these bones because they shouldn't affect this object. And now they are not affecting the object. So these bonds are set and ready. So I'm going to collapse these ones. So now the only bone stuff I have to work on are the bones that are not collapse. The different groups that are not collapse, which are all of these. And I'm going to do the same with the other arm. So you can see that here we have the arm, which is this part here. So this one is going to have to have some influence on these desert. So I'm going to leave it the way it is for now. And I'm going to select the hand group, which is this one here. And you can see that here we have also the fingers. So this finger, this is another finger and these other fingers here. So I'm going to select all of these different sets of bones and they don't have to have an influence on this T-Shirt. So I'm going to the same that we did before. I'm going to click on 0 just to make sure that they don't have an influence on this T-Shirt. And I'm going to lock these groups are bonds. And now I'm going to collapse these groups. So now the only bonds that I have to work on are the bones within the groups that are not collapse. And now we can see that here we have the bones of the leg. And this bone shouldn't have any influence on the T-shirt either. So I can select them, click the 0 command and log them. And I'm going to collapse this group. And I'm going to do the same with these other leg because this leg shouldn't have any influence on this T-Shirt either. So I'm going to select all of those bones. I'm going to click on 0. And I'm going to login, and I'm going to collapse this group. So now I'm going to start fixing this problem that we have here. I'm going to get closer and I'm going to select these bones that create the arm. So I'm going to scroll down. And here you can see that here we have the arm. So I'm going to select it. And here we can see the different weights that are assigned to these bones. So you can see that if I select these bones at the bottom, they don't have any weight assigned to these mesh. So I'm going to start with these ones. I'm going to select these ones. I'm going to click on 0 and I'm going to lock them like so. Now I'm going to select this other one, which is this bone here. And you can see that this is the bone that is causing the problems. Because you can see that this is part of the arm. And when we move the arm, this is going to move this part of the T-shirt and it shouldn't be that way. So I'm going to select this bone and I'm going to click on 0. And as you can see, this is going to fix our problem. Now we don't have that problem anymore. So I'm going to lock this bone and I'm going to select these other bones. And you can see that these bones have some influence. But these are not affecting this area because these bones are the ones that are right here. So when we move the arm, these bones will not move. So you can see that if I move the arm, this bone here stays in place. So it doesn't matter if I move the arm. This bone is not going to move and therefore, it's not going to affect the t-shirt. So these two bones here, they are actually okay. So for now, I'm just going to select them both. And I'm going to lock him like so. And I'm going to do the same on these other arm. So I'm going to select these bones and I'm going to start with the ones at the bottom. So I'm going to select these ones. I'm going to click on 0. And I'm going to login. And I'm going to select these one, which remember, is the one that is going to cause the problems. So if I select this controller and I move it, you can see that we still have those protons on this other side of the body. So I'm going to select a T-Shirt object again. And I'm going to select this bone which is causing the problems. And I'm going to click on 0. And as you can see, now we don't have that problem anymore. So I'm going to lock this down and I'm going to select these other ones. And like I explained before, these are not going to move when we move the arm. So even though these bones, these ones here have some weight assigned to them on this part of the mesh. They are not going to modify anything because they will not move. Even if we move the arm, you can see that I'm moving the arm, but this bone is staying in place. So I'm going to select the Dischord object again. And I'm going to just lock these two bonds as well. Like so. Okay. Now I'm going to collapse the two arms so we can concentrate only on this other bones. And now I'm going to select the fissured object here. So you can see that now the weights have been modified. But now we have a small problem. And the problem that we have here is that now we have some dark areas here. And remember, when we have dark areas, that means that those areas do not have any weight assigned to them or that they have some weight assigned to them. But the weight has a strength of less than 100%. So we cannot have areas like this because that's going to cause some deformations when we modify or move these controllers. So I'm going to select the spine controller and I'm going to move it. Just to show you. You can see that when I move it, scenes, these areas here do not have a weight assigned to them to 100%. They are going to stay behind and they are not going to move with the rest of the t-shirt. So we have to fix that. So I'm going to leave these object like this so we can see the deformation better and we can fix it more easily. And I'm going to select the t-shirt object again. And I'm going to select the spine group. And I'm just going to see which one of these bonds has to be affecting these areas. It cannot be this one because this one is for the head. Also. This one is for the head. This one is for the neck. So it cannot be this one either. And this one is for the test. And you can see that I'm just looking to see which one of these different bones has to affect it. And I think that it has to be either this one or this one or a combination of both. So I'm going to select these ones here because like I said, these ones are not the ones that have to affect this area. So these ones are okay. I'm just going to lock him like that. And I'm going to select these other ones. And I think that the problem is not within these bones, but the problem may be within the bones of the arm. So I'm going to select this arm, which is the left arm. So I'm going to expand it here. And as you can see, this is where the problem is. So I'm going to assign the weight that we're missing to one of these bones. And I think that it has to be assigned to this one. So I'm going to lock all of these other bones so we don't modify them when we modify this one. And now I'm going to unlock this one. And now that this is unlocked, I'm going to click on Apply All. And as you can see, now, these gut fixed. Now we have a problem here because these also got applied to this other side. So what I have to do is to use the width tool. I'm going to change the mode to subtract. And I'm going to subtract these weight. Now before doing that, I have to turn off the symmetry option. Because if I don't do it, when I subtract these weight from this side, it is also going to be subtracted from the other side. So I'm going to have to do that. I'm going to come to the weight tool options. I'm going to go to Symmetry and I'm going to turn off the enable option. So now the symmetry is off and I'm going to start subtracting. Now you can see that I cannot subtract anything. And the reason for that is because I have to go back to the Options tab of the way tool and I have to turn of the outro normalize option. And now you can see that I can subtract that weight like so. And now that this is complete, I'm going to lack these bone and I'm going to have to do the same with the other arm. So I'm going to expand this other arm. And I'm going to select this bone. You can see that this is where we have to add the weight. So I'm going to unlock it. And I'm going to click the Apply all command, like so. And now as you can see, we don't have that problem that we had before because now this area has been field with these other bone. So now I'm going to lock it again and I'm going to make a quick test just to see if this is going to work the way we want. So I'm going to use the selection tool. I'm going to select the object mode. And I'm going to select these controller, this one here. And I'm going to rotate it. So as you can see, now, this is working much better. And we don't have these deformation that we were having before when we moved these from side to side. So I'm going to select this controller again because I'm going to show you something. So if I rotate this controller. You can see that this is working nicely, but if I rotate it too much, you can see here that we're going to start having some problems. Now, at this point, I cannot see these problems very easily because this object has a material applied to it and the material is a dark color material. So I have to turn off the material for this object so I can see these deformation better. Now an easy way to do it is by using a circuit. So I have to press the Enter key on my keyboard and then the Q key on my keyboard. So you can see that by pressing N q, I can turn on and off textures of my objects. So I'm going to turn off the textures. Again. I can do it by pressing N q. And now we can see these without any textures. And this way it's going to be much easier to see the problems that we have with these mesh. Now, I'm going to select the desert object again so I can see the different weights. And the problem is that the transition between the different weights is too sharp. So we have to smooth this out. And I'm going to do that. But before doing that, I'm going to add a keyframe. So I'm going to select this controller here. This one here. I'm going to rotate it to an extreme like this. And I'm going to come to my timeline here at the bottom. I'm going to go to the 10th frame, and I'm going to add a keyframe here. Then I'm going to go back to the 0 frame. And I'm going to reset the rotation value for the controller. So you can see that when I rotate it, you can see that this number here is moving. You can see that if I rotate it, this number is moving. So this value has to be 0. So this controller can go back to its original position. And now I'm going to create another keyframe. So what I did is to have one keyframe with this rotation value and another keyframe without any rotation value. And this way, we can move from keyframes to keyframe. So we can start fixing this problem. And this technique is used a lot when rigging characters. So I'm going to go to something in-between, two, a keyframe in-between, maybe even less like this. And then I'm going to select this T-Shirt object again. And I'm going to select the weight tag so I can see all of the weights. And here we can see the transition between the green color and the red color. So I'm going to go to another keyframe like this one. And I'm going to use the wave tool. And I'm going to start smoothing this transition. And to do that, I'm going to unlock all of these bones. You can see that these are the bones that are affecting these abject, also these ones and these ones. So I'm going to select all of these different bones, like so. And now with the way tool selected, I'm going to change the mode to smooth. And now I'm going to start smoothing these transitions. You can see that this is looking smoother. And I'm going to do the same here in the back. Now, let's see what happens if we change to another keyframe. And you can see that now the transition is much cleaner. So I'm going to turn back on the subdivision surface so we can see this. Like so. And I'm going to continue smoothing this area just a little bit like so. And also here a little bit like so. And now I'm going to scroll from one keyframe to the other so I can see this is going to deform. I'm going to see this from this other angle. And remember this is a very extreme position. So we will usually not have a position like this when we animate our character. But we could have something like this maybe. As you can see that in this position, these deformation is looking really nice. So this looks really good. I'm just going to make sure that this is looking nice. And I think that this is going to do it. Okay, I'm just going to go to another keyframe. And I'm going to smooth this area just a little bit more. I'm going to see how this looks now. Okay? I like these better. And you can see that we have a problem here. So I'm going to smooth this area here. And remember, this is a very extreme position. We will usually not have a position like this when we animate our character. But this is going to look nice. Okay? So how I'm going to select these again? And I'm going to turn off the subdivision surface object so we can see the weights. And now you can see that there is a huge difference between the transitions from this green color to this red color and the transition from this blue color and these red color. You can see that the transition here is really smooth and also here in the back. Okay? So now what we have to do once that this is fixed is to apply the changes that we made here. Apply them to this other side. And we're going to do that by using the mirror command. Now, there are a few things that I have to do before using these mirror command. So the first thing that I have to do is to reset the pose of the skeleton. Because as you can see right now, the pose is not the original pose. We have modified the pose. And this way, the mirror command is not going to work properly. So I'm going to select the character object, and I'm going to reset the pose. And now the mirror command is going to work properly. So I'm going to select the desert object again. And I'm going to start by mirroring the different bones of the spine group. So I'm going to select this buying group and I'm going to select the mirror glass to minus option. You can see that here we have other options, but the one that I'm going to use is the mirror plus two minus. Now before clicking here, makes sure that the auto normalized Arjun is turned on. And I'm going to select all of these different bones. And I'm going to click on these command. Now, just pay attention to what's going to happen to these weights. Because you can see here that we have a smooth transition over here and a very sharp transition here. And when I apply this command, this smooth transition is going to appear here as well. So I'm going to do that. I'm going to click on this command. And as you can see, now we have this same smooth transition. You can see that. And the same is going to happen here in the back. I'm going to undo this. So you can see how it was before. And you can see that the transition here is really sharp and here is really smooth. So when we apply the mirror plus 2 minus command, I'm going to go forward. You can see that this transition GAD really smooth and the same happened here in the front. Okay? So now all of these bones are fixed, so I'm going to lock them all like so. And now you can see that this is the arm that we fixed. So you can't see the transition here is really small compared to this one here. You can see that there is a really big difference between this transition and these other transition. So what we have to do is to copy the weights of these different bones into these other bones. So I'm going to select both of these groups like so. And I'm going to use the same command, mirror plus to minus. And again, make sure that the auto normalized option is turned on. So I'm going to click here and pay attention to what happens over here. So I'm going to click. And as you can see now, we have a smooth transition here as well. And if we go to the back, we can see that the transition is also smooth over here. I'm going to undo it so you can see how it was before. So I'm going to undo it. You can see that difference. And I'm going to redo it. You can see that now this is really smooth. Okay? So now if I select this object, you can see that now the transition between the different weights is really, really small. And now all I have to do is to lock all of these bones. So and I'm going to use the selection tool to select these controller here. And I'm going to delete these two keyframes because we don't need them anymore. So I'm going to delete that one. And also this one here. Like so. And I'm just going to zoom out to see these T-Shirt object. I'm going to select it. And as you can see, these is complete. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 22. Adjusting the upper body controllers: Hello class and welcome back. In this lesson, I'm going to show you how to modify the character controllers. So let's start. Okay, so this is where we left in our previous lesson. And These T-Shirt object is complete. So I'm going to move it down. And I'm going to turn off the view like so. And now you can see that here we have our skeleton, and this skeleton has different controllers. So I'm going to select the Selection Tool and I'm going to make sure that the object mode is selected. And now you can see that if I select this cube here, I'm going to be selecting the controller for this arm. So I can move this controller and the arm is going to move. So this is a controller. Down here, we have another controller, these triangle here. And this is the controller for the spine. So if I select it, I can move this controller and the spine of the character is going to move. I can also rotate this controller. And the character is going to move as well. And we have other controllers like this one. I can also select it and rotate it, and also this other one. And here we have the controller for the head. And we also have different controllers for the fingers of this hand. So you can see that here we have different controllers. Each of these circles is a controller. So if I select this circle at the top, I can select it. And if I rotate this controller, these finger is going to bend. So I can rotate it. And you can see that the finger is bending. And I can do this with any finger. So I can select this one and I can rotate it to bend these finger, like so. Now you can see that fingers have different controllers. So they have this controller which is going to affect all of these different bones at the same time. But we also have individual controllers. So if I only want to rotate this bone, I can select this controller. And I'm going to rotate this bone. Now you can see that this other bond is also rotating because it is connected to this other bond. But I am only rotating this one, like so. And if I want to rotate only this bone, I can do it by selecting this controller and rotating these bone. And I can do the same with any of these different controllers, including this one over here. Okay? But the one that we're going to use the most is this one here. So I'm going to select it. And remember these controller is going to rotate all of these different bones at the same time. So the house finger is going to bend. Okay. So the reason I'm showing you the different controllers that we have, because when we want to animate our character, we're going to do it by animating these controllers. So these controllers are the ones that are going to give us the ability to move our character and animated. Now, I'm going to reset the pose. So I'm going to select the character object and I'm going to click on Reset pose. And now I'm going to turn back on the view for this character. So I'm going to click here. And I'm going to turn back on the view for the genes as well. We have them down here. And also the, the shirt and also the head. So the other objects, I'm going to leave him because I just want to show you something. And it is that at this point, you can see that the whole character is visible now. But now, if I want to select the controller for the fingers, you can see that I'm not able to select this controller because the controller is inside of the finger. So if I get closer and I go inside of these finger, you can see that the controllers for this finger are actually inside of the mesh. So I'm going to zoom out. And that means that if I want to manipulate that controller, I will not be able to do it because I cannot see these controller. And the same is going to happen if I tried to manipulate the controllers of the spine. So you can see that here in the back. We have this triangle controller, which is the one for the spine. So I can select it and I can manipulate it if I want to. But I cannot see the other controllers of the spine. So if I want to see the other controllers, I'm going to need to go inside of the character. So I'm going to get inside. And you can see that here we have those controllers, but they are inside. So this is going to prevent me from being able to manipulate my character and animated. Now, there is a way in which we can actually modify the shape of the controller. So we can either move it or scale it, or just modify it in general. And that is not going to affect our rigging or our character object or our mesh. So just to show you very quickly what I mean, I'm going to turn off the view for all of these measures. So I'm going to double-click here. And now, before doing anything, I'm going to make sure that the pose for this character is reset. So I'm going to select it and I'm going to reset the pose. Like so. That's very important. And now I'm going to use the selection tool. And I'm going to select this controller. And if you remember, we cannot see these controller. If the character is visible, it is inside of the character. So I'm going to turn this off again. And now I'm going to select these controller. Now we're going to go to the point mode. And as you can see now, we can select the different points that create this shape or this plane because this is a spline. So now that I have all of these points selected, I can select them manually if I want to like this. Or I can select one and then go Command a to select them all. But now that I have them all selected, I'm going to scale them out. So I'm going to use the scale tool. And now I'm going to scale this out. And you can see that I'm selling only the controller. I am not affecting the bones. So that's what we need. So if I now turn on the visibility for these measures and I continuous carrying these controller. Now we can see this controller even when the character is visible. And now I can come back again to the object mode. And now I can deselect it. And I'm going to use the selection tool. And now I can select it again. So now this is going to be much easier for me because now this controller is visible and now I can select it whenever I want. And as you can see, if I select it, I can rotate it like this. And this is going to help me because now the controller is going to be visible at all times. So that's what we have to do for all of the different controllers that are inside of the measures. Now, I'm going to undo everything I did until this point before I modified it. And I'm going to make sure that the character object is reset. So I'm going to select the character object and I'm going to click on Reset pose. And now I'm going to modify all of these other controllers. But I'm going to do it in a different way because the way I showed you is one way to do it, but there is a better way to do it. So to do it, I'm going to select the character object. And then I'm going to go back to the adjust tab, this one here. And here we can adjust the different bones of our character. But there's something else that we can adjust. And you can see that here in the adjust tab, we have this option. So you can see that right now it is showing us the different components of the character object. So it is showing us basically the position of the bones. But if I click here, you can see that I have another option, which is the Controllers option. So if I click here, this time is going to show me the different controllers. And since I have the adjust tab selected, this means that we can adjust these controllers. So I'm going to start adjusting these controllers. So let's adjust the same controller that we adjusted before. But this time I'm going to select this point here. Is that like so? And I'm going to scale it out. Going to use the skeletal and I'm going to scale it out. And you can see that I can scale it out to 300 percent, like so. And if I turn back on the visibility for our character, you can see that this is going to be basically the same that we did. But this time we're doing it the right way. Now, I'm going to undo this. Like so because I had to scale it out to 400%, not a 100 percent. So I'm going to do it again. I'm just going to scale it out to 400%. Like so. Now I'm going to turn on the visibility of the character again. And you can see that this is basically the same that we did before, but now we're doing it the right way. So now I'm going to go back and select the character object. And I'm going to go back to the Animate tab because if we have the adjust tab selected, we're not going to be able to move these character. So I'm going to go back to the Animate tab, and I'm going to select the selection tool, make sure that the object mode is selected. And I'm going to select this controller. And as you can see, this is still working the way it should. So this is the right way to do it. Now, we can adjust the size and position of the controllers before we adjust the weights. So if you want to in your future projects, you can adjust these controllers before you adjust the weights. And it's going to be basically the same. It's just the way you like it. Okay, so I'm going to select the character object again. I'm going to go back to the ad, just tap. And I'm going to turn off the visibility for these meshes. And I'm going to adjust these other controllers. So I'm going to select this one and I'm going to scale it out to 400%, like so. And also this other one, I'm going to scale it as well too for a 100 percent like so. And I'm going to scale also these one out. But this is not the one that I want. So I'm going to undo this. And for the spine controller, we can do it by using the selection tool, selecting this bank controller. That, for that, we have to go back to the Animate tab. So we can select this controller. We can select the points, make sure that all of these three points are selected. And we can use the scale tool like this. I'm going to make this even bigger because controller is one of the most important ones. So I want to be able to select it very easily whenever I want to. And that's how we can adjust the scale and position of the controllers of the skeleton. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next one. 23. Adjusting the finger controllers: Hello class and welcome back. In this lesson, we're going to continue adjusting the skeleton controllers. So let's start. Okay, so this is where we left in our previous lesson. And in this lesson I'm going to continue adjusting the controllers. So I'm going to start by selecting the character object, and I'm going to switch back to the adjust tab. Now this time I'm going to adjust all of these different controllers for the hand. And you can see that here we have a lot of different controllers. So I'm going to show you how they work. So I'm going to go to the character object. I'm going to go back to the Animate tab. I'm going to show you really quickly how this works. I'm going to use this selection tool and I'm going to make sure that the object mode is selected. And as you can see here, we have different controllers for each finger. We have this one here. We have this other one here, and more controllers here. So one of the most important ones is this one here. You can see that all of these controllers, these are facing in one direction and this one is facing in another direction. So this one that is facing a different direction is one of the most important ones. I'm going to select it. And I'm going to use the rotate tool to rotate it. And as you can see with this controller, we can bend the finger. So you can see that we are affecting all of these bones at once just by using this controller. So in this way, we can close the finger. We can bend it very easily. But if you want to control each of the bones individually, you can do it as well. So to control each of the bones individually, you can select one of these controllers. So this controller is going to control this bone. This other controller is going to control these other bone. And these other controller is going to control these other bone. So if I want to only bend this part of the finger, I can do it very easily by selecting this controller and rotating it like so. Or if I want to bend this bone here, I can select this one. And I can rotate it. And you can see that this one is going to move also these other bone, because these bones are connected. But as you can see, the only one that is rotating is this one. So you can see that this one is rotating and this one is just following these bone. On the other hand, if we use this other controller, you can see that every single one of these bones is going to rotate a little bit. You can see that all of them are rotating at the same time. Let me rotate back. And if we use this other controller, we're going to rotate only one bone. And the others are just going to follow the rotation of that bone, but they are not going to rotate. Okay. So that's why we have different controllers on each of the fingers. But like I said, the one that is facing to the other direction is the most important one. Okay? So now I'm going to select the character object and I'm going to reset the pose. And now I'm going to go back to the adjust tap. And I'm going to select all of these different controllers. Now, you can see that if I select this one, I can move it. And it's going to move only this controller. I'm going to undo that. And if I select this other controller, this is going to move the whole group. So that's what we have to do. And what I'm going to do is select all of these different controllers. The main ones, including the one for the thumb, which is this one here, this is the main one. And I'm going to select all of those controllers on these other hand as well. So let me get to these other hand. I am going to select all of these controllers. Remember, we're selecting only the main controllers. And when we move these main controllers, the rest of the controllers are going to move. So now I'm just going to test to make sure that all of these are selected. I'm going to move him all the way up and you can see that they are moving. Okay. So I'm going to go to the front view and I'm just going to make sure that I move him. And I'm going to get closer here and I'm going to move. Controllers, I'm going to turn on the visibility for our character so I can see how much I have to move these ones. So I'm going to undo these just so you can see the before and the after. So this is where we started. And I'm going to turn back on divisibility for the character. And these controllers are inside of the hand. We cannot see them. And if I move this app, now, they are going to come out like so. Okay, so that's going to be good. I'm going to go back to the perspective view. And I'm just going to make sure that all of these are word they have to be. And now I'm going to select only these controllers, the ones that are facing in a different direction. And seen as these ones are the most important ones, I'm going to scale these out. So I'm going to use the scale tool. And I'm going to scale them out, maybe 250%. Something like that. It's going to work. And I'm going to do the same with these other ones. I'm going to select it and I'm going to call it to 250%. I'm going to do the same with this one. I'm going to select it. And I'm going to scale it out to 250%. And the same with this one. Selected and skeletal, 250%. Like so. And I'm going to do the same with these other one, the one for the thumb. I'm going to select it. Skelly out, 250%, like so. So you can see that now we can select these very easily if we want to. And if we want to manipulate only one of the bones of this finger, we can use these other controllers. Now I'm going to go through the other hand. And as you can see, these ones are already modified. And that happened because if you remember, we had the symmetry option turned on for the skeleton. So anything we do on this side is going to be reflected on the other side. So as you can see, now, this controllers are also bigger than these other controllers. Okay? So before continuing, I'm just going to make sure that all of these controllers are still working properly. I'm going to select the character object. I'm going to go back to the Animate tab. And I'm going to use the selection tool, make sure that the object mode is selected. And I'm going to come closer here to the hand. I'm going to select these controller. Can, I'm going to use the Rotate tool. And I'm going to rotate these finger. And as you can see, this is working very well. I'm going to do the same with this one. I'm just going to rotate it also with this one. And this is working properly. So I'm just going to try with the thumb. Let's rotate it. Perfect. And we can do the same with the soda controllers. So I can select the triangle one, which is the 14, despite I can move it around like this. And I can also rotate it if I want to. Also the one for the head like this. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 24. Adjusting the arms and legs controllers: Hello class and welcome back. In this lesson, we're going to continue adjusting the character controllers. So let's start. Okay, so this is where we left in our previous lesson. Now to continue adjusting the controllers, I'm going to first reset the post. So I'm going to select the character and I'm going to click on Reset, both like so. And now I'm going to turn off the visibility of the meshes so I can see which of the different controllers I still have to modify. And you can see right now that we have to make these controller bigger, one for the arm. So I'm going to turn it back on the visibility of the character mesh. And as you can see, these controller is not visible now. So I'm going to turn off the different measures again. And now I'm going to increase the size for this controller. So I'm going to use the selection tool and I'm going to select the character object, and I'm going to make sure that the adjust tab is selected so we can see the different controllers. And remember that here in the adjust up, we have to have the controllers option selected here. Remember we can click here and we have two options. But in order to adjust the controllers, we have to have the controllers option selected. And now I'm going to select this controller and I'm going to scale it out like so. And I'm going to turn back on the visibility of the character mesh. And I think that I have to make it even bigger. Like so. And now I'm going to check on the other side just to make sure that this also got bigger. Perfect. Now, this is almost the way that I wanted to be, but I'm going to modify it even more. So I'm going to shrink it down on this other axis. Like so. But before doing that, I'm going to explain something else. So I'm going to undo this. And as you can see, the axis of this object is pointing in the same direction as this object is pointing. So you can see that this axis is pointing in this direction, and the cube is pointing in this direction as well. And these are axis here is pointing in this direction, and the cube is also pointing in this direction. Now, Iran, now you are seeing something similar to this, where the axis is pointing up, but your cube is pointing in a different direction. That is because you have to change these options. So you have to click on this icon. So you can switch between coordinate modes. So you can see that this one is set to object. So the axis orientation is going to be based on the object orientation. And if we click again, the axis is going to be based on the world orientation. In this case, the orientation is this one that we have bound here. You can see that now this axis is pointing in the same direction as this axis over here. And also these x axis. You can see that it is pointing in the same direction that this axis here. So if your axis looks like this, all you have to do is click here. So your axis is oriented in the correct direction. And I'm going to show you why this is important. So I'm going to switch to the other coordinate mode. And I'm going to scale this down in this direction. And you can see that the cube is going to be deformed and we will not have a cube anymore. So you can see that this is a completely different shape. I'm going to undo that and I'm going to switch back to the other coordinate mode, like so. And as you can see now, this axis is pointing in the correct direction and I can shrink it down like so. And as you can see, now, these is continued to having a rectangular shape. And this is the way we have to do it. So I'm going to undo this because I want to see how much I have to shrink it down. So I'm going to shrink it down to maybe 25 percent. Like so. I'm going to go to this other side. As you can see, this one also get modified because remember we have the symmetry option on. So I'm going to select the character object. Again. I'm going to go back to the Animate tab. And I'm going to use the selection tool on the object mode. And now you can see that it's going to be really easy to select these controller like this. And it is not going to get in the way of these other controllers, like it was before. So now this is going to look much better and it's going to work better when we animate our character. Okay, So I have to modify also these other controller. So I'm going to turn off the view of the character. And you can see that here we have the lead controller. So I'm going to select it as well. But first I have to change to the adjust app. So I'm going to make sure that the character object is selected. And I'm going to select the adjust tab. And now I'm going to select this controller. And I'm going to use this council to scale this out. Like so. I'm going to turn on the view of the character. So we can see this controller. And I'm going to adjust it even more. I'm going to make it thicker. And I'm going to make it larger as well. Like so. So now it's going to be much easier for me to select this controller. And for these controllers you can have them in the size that you want them. I just think that it's much easier if these controllers are a little bigger. And that's why I make them bigger. But you can have them in the size that you want. Okay, so now I'm going to hide the different meshes again, just to see which of these controllers we still have to modify. And we have this controller. This is the one for the color. So I'm going to select it. And I'm going to turn back on the view for our character. And as you can see right now, this controller is hidden inside of the head. But I'm going to move it. I'm going to use the move tool. And I'm going to move it like so. But as you can see, it is going to move the whole thing. And that's not what I want. So I'm going to undo this. And for this one, I'm going to move it in a different way. So I'm going to select the character object. I'm going to go back to the Animate tab. I'm going to reset the pose first. And I'm going to turn off the view of this character mesh. And I'm going to select this controller, and I'm going to select all of these points. So now I'm going to move this one to the right, about 80 centimeters. And I'm going to turn this on so we can see what it is. That should work. I'm going to do the same with the other one. So I'm going to turn this off. I'm going to select controller. I'm going to go to the point mode so I can select the points and I'm going to move it to the left. This case, also 80 centimeters. And I'm going to turn back on the view for the character mesh. And as you can see, now, all of our controllers are visible, which is what we want. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 25. Inverse Kinematics and Forward Kinematics explained: Hello class and welcome back. In this lesson, we're going to learn the difference between the inverse kinematics option and the forward kinematics option. So let's start. All right, so this is where we left in our previous lesson. Now I'm going to turn off the view of these meshes so we can see the skeleton and the different controllers better. And as you can see, we have modified almost every single controller of the skeleton. We modified the legs controllers. We also modified the arms controllers, and we also modified the different spine controllers and also all of the different controllers of the fingers. So we have modified almost every single controller on this character. However, there are some controllers that we haven't modified yet. And the reason we haven't modified them is because we cannot see them. And we cannot see them because they are hidden. So if you remember in a previous lesson, I told you that we can manipulate our character in two different ways using the forward kinematics option and also the inverse kinematics option. So right now we're looking at the inverse kinematics option. And that means that if I select this controller and I move it, the whole arm is going to move. So I'm going to show you that really quickly. I'm just going to select the character object and I'm going to make sure that the Animate tab is selected. And I'm going to select the object mode. So I can select this controller and I can move it. So if I move this controller, you can see that just by moving one controller, I am moving to bones. So I'm moving these bone and also these bone. So to manipulate or move this whole arm, all I have to do is move only one controller. Of course by can also rotate this controller if I want to rotate the hand like this. And I can move it again if I want to move the arm. But the key here is that we have to move only one controller to be able to manipulate the whole arm. So this is how the inverse kinematics option works. We have to modify only one controller to be able to manipulate the whole arm. Now, let me select the character object again, and I'm going to reset the post. And now I'm going to show you the other option, the forward kinematics assumption. So to show you that option, I have to expand this character object and I have to select these arm. Now, I'm going to go to the different settings of this character object. And I'm going to change to the controls tab, this one right here. So I'm going to click here. And now you can see that here we have different options. But the option that we are going to work with right now is this one over here. The option to change from the IK option to the FK option. Remember, IK stands for inverse kinematics and FK stands for forward kinematics. Now you can see that right now it is set to inverse kinematics. But if I take this all the way to the right, now, it is said to forward kinematics. Now, if we look over here, you can see that something changed. I'm going to turn this back to 0. And you can see that here we have one controller which is going to control the whole arm. If I change this back to forward kinematics. Now we don't have that single controller, but we have three different controllers. So now we're working with forward kinematics. And just to show you how this works, I'm going to select this controller and I'm going to rotate it. And as you can see now, I can manipulate these different bones individually. So I can move this one into the position that I needed to be. I can rotate it as well this way. And I can also select this other controller, which is going to help me to manipulate this other part of the arm. So I'm going to do that. I'm going to rotate it like so. And now I'm going to select this other controller, which is going to help me to manipulate the wrist and the hand. So I can rotate this one here, like so. And this is basically the difference between forward kinematics and inverse kinematics. So on one hand, right here we have the inverse kinematics option. And if I move only one controller, I'm going to be able to manipulate the whole arm, like so. But I have less control over where these bones are going to be facing. So I can move. Way. And if I want to decide where the elbow is facing, I have to select these other controller here and I can move it. So this is going to help me to define where the elbow is going to face. But I can move the whole arm, but just moving one controller. And here I have to move three different controllers, but I have more control over the movement of the arm. So that's the main difference between inverse kinematics and forward kinematics. Now I'm going to reset the pose. So I'm going to select the character object. I'm going to go back to the object tab. I'm going to click on Reset both. And you can see that here we have the controller for the leg. And this one is the inverse kinematics controller. Because with only one controller, we're controlling the whole leg. But I can select this leg object here. And I can go to the controls tab. And here you can see that we have the same allergen IK to JFK. So if I turn this one to 100, now I have this controller here. And also this controller and also these other controller. So with these controllers, I'm going to be able to modify and manipulate this leg like this. And if I want to move this part of the leg, I have to select this other controller more with. And for this other part, I can select this other controller and I can also move it. So it's basically the same. If we use the forward kinematics option. We have more control and also more controllers. And if we use the inverse kinematics option, this is going to be much easier to manipulate it, but we're going to have less control. This case. We can also select these other controller so we can decide where the knee is going to point. Okay? So that is basically what inverse kinematics and forward kinematics means. And in cinema 4 D, when we create our character object, we can create a character object that has both of these options. And we can switch between the forward kinematics and inverse kinematics whenever we need to. And now the question is, which one of these options is the best? So is it better to work with forward kinematics or is it better to work with inverse kinematics? And the answer is that it is going to depend on the situation and the work that you are going to do. So sometimes you will have to use inverse kinematics or maybe you don't have to use it, but it's going to be easier to use it. And easier to animate what you have to animate if you use the inverse kinematics option. And sometimes it is going to be easier or better to use the forward kinematics option. So it is all going to depend on the situation. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 26. Adjusting the Forward Kinematics controllers: Hello class and welcome back. In this lesson, we're going to continue adjusting the character controllers. So let's start. Okay, so this is where we left in our previous lesson. And I'm going to continue adjusting the character controllers to be more specific, the FK controllers. So I'm going to select my character object. And I'm going to go back to the object tab because I want to reset the pose for this character. So I'm just going to click on Reset pose. And now I'm going to go back to the controls tab. And I'm going to select these arm. So it is this arm here. And now I'm going to change from IK to JFK. So I'm going to take this all the way up to 100. And as you can see, now, we can select and manipulate these different controllers for the arm. But you can see that we don't have those controllers on this other arm. So I'm going to do the same. I'm going to select this controller and I'm going to change from IK to FK, like so. And now I'm going to go back to the object tab because I have to change to the adjust up. So I'm going to click on the adjust up. And now we can adjust these different controllers. Now remember, if you don't see these controllers or you have to do here in the adjust up is to click here. And if you are seeing the components of the character, you have to change this option, two controllers. And now you can see that we have here the controllers. So I'm going to select this controllers and I'm going to scale them out. And I'm going to start with this one here. I'm going to select it. And I'm going to scale it out that I'm going to turn on the visibility of the character meshes. So I can see how big I have to make this controller. So I'm going to scale this out. And as you can see, for this 1400 is going to work like so. And I'm going to turn off the visibility for dementias again. So I can select these other one. And I can turn on the visibility again so I can scale this out. Now, for this one, I think I'm going to use only 300%, like so. And I'm going to select the other controller, this one here. I'm going to select it. I'm going to scale it out as well. Maybe 300 is going to work for this one as well. And as you can see, what we did on this side also was applied on this other side. So now we have completed adjusting these controllers. I'm going to turn off the view for this character meshes. And I'm going to select these other controller here, the one at the bottom. There's one here. And I'm going to move it down because this is going to be the controller for these legs. I'm going to show you in a moment how this works. I'm just going to move it down here. Like so. And maybe I'm going to make it bigger just a little bit. I'm going to move it down a little bit more. Like so. Perfect. So now I'm going to do the same that we did with the arms, but this time with the legs. So I'm going to collapse these ones so they don't use too much space. And I'm going to select this leg. I'm going to go back to the Animate tab. And then I'm going to go back to the controls tab. And here I'm going to switch to the FK mode. So I'm going to bring this all the way up to 100. And now if I hide these different meshes, now we can see the different controllers for these leg. Remember these are the FK controllers. And in this case down here we have the IK controller. So I went to see the FK controllers for this other leg as well. So I'm going to have the same, I'm going to select this other leg. I'm going to increase this value to 100. So we can see these controllers here. Now, I'm going to have to go back to the object mode. And here I'm going to switch back to adjust. So we can adjust these controllers. And I'm going to select this controller. And I'm going to turn on the view for the character measures. And I'm going to scale out. A 150% is going to work. And maybe a little bit more. Okay, that's going to work better. And as you can see, this one is already big. But I think I have to make it just a little bit bigger. So I'm going to turn off the view for the meshes. I'm going to select this controller. And I'm going to scale this out just a little bit. Like so. And now it's going to be much easier for us to select these controller. And I'm going to do the same with these other controller. So I'm going to select it. I'm going to bring back the visibility for the character meshes. And I'm going to scale this out until we see it. Like so. That's going to work. And I'm just going to make sure that this controller here is not going to collapse with these other controller. So I'm going to make it a little bit smaller so they don't collapse. And that way we can select these one very easily. And we can also select these one very easily because now they are not too close together. And since we have the symmetry option on what we did here was reflected other leg. I'm going to zoom out and I'm going to turn off the video for this character meshes. And as you can see, now all of these controllers are bigger. And that means that we're going to be able to select them more easily when we animate our character. So I'm going to show you how they work or easily. So I'm going to go to the character object settings and I'm going to make sure that the object tab is selected. And I'm going to switch from the adjust up to the Animate tab. And I'm going to turn on the view for the character meshes. And now you can see that if I select the selection tool and I have the object mode selected, I can select these different controllers and manipulate them like this. And these way I can animate my character. Like so. I'm going to get closer here to select this other one. And I'm going to rotate it. So you can see that this way we can select all of these controllers much more easily. So we can animate our character much more easily as well. And the same is going to happen with the leg controllers. So I'm going to select these lead controller and I'm going to rotate it like so. And I'm going to select this other one. And I'm also going to rotate it. And I can rotate also these other one if I need to. Like so. Now I'm going to select the character object again, and I'm going to reset the pose. And now I'm going to show you what these other controller does, because we haven't used these controller yet. And this is going to help us to move the legs at the same time. Like this or like this. Okay, so that's why it is important to have these visible also. Perfect. Now, all I'm going to do is to reset the posts for these character again. So I'm going to select the character object and I'm going to click on Reset pose. Okay, so that's all for this lesson. I hope that you learned something useful and I will see you in the following lesson. 27. Weighting the character - Weighting the left hand: Hello class and welcome back. In this lesson, we're going to continue adjusting the weights to the different elements that create our character. So let's start. Alright, so this is where we left in our previous lesson. And in this lesson, I'm going to continue adjusting the weights to the remaining objects. In this case, we only have for objects that we still need to apply the proper weights two, which are these objects here. Now, I'm going to collapse these character objects so it doesn't take too much space. And I'm going to start by adjusting the weights to the hands object. So I'm going to select the hands object and I'm going to move it to the top of the hierarchy. And to make things easier, I'm going to turn off the visibility for all of these objects. So I'm going to turn it off like that. And now I'm going to turn on the visibility for the hands object like so. I'm going to have closer here to the hand. And as you can see, this object already has some weights assigned to it. And if you remember, these weights were assigned automatically when we did the binding process. So all I have to do now is to make sure that these weights are working properly. And if some of the weights are not working properly, we have to adjust them. So the first thing that I'm going to do is to make sure that none of the different bonds that shouldn't affect this object are affecting this object. So you can see that this object is being affected by multiple bones. And we can tell that because we have different and colors. And if you don't see the colors, remember, you can make sure that the subdivision surface object is off and that you have to select these objects so you can see the weights. So as you can see, this is being affected by multiple bones. And all of the bonds that are affecting these objects are the bones that are in this area. So we have the wrist bone, we have all of the bones for the fingers, for all of these fingers. And also this bone here is going to have some effect on this part of the mesh. So the rest of the bones, including the ones that create the spine, the legs, the torso, and the head shouldn't have any influence on these mesh. So I'm going to start by making sure that none of these bonds have any influence on this mesh. So to do that, I'm going to select this buying group. So you can see that this is going to select all of these bonds. And none of these bonds should have any effect on these object. So I'm going to select all of these bones and I'm going to click on 0 just to make sure that they are not affecting these object in any way. And now I'm going to lock him. And I'm going to collapse this group. Now, the legs shouldn't have any influence on these objects either. So I'm going to do the same. I'm going to select them, all of these bones. And I'm going to click on 0. And I'm going to lock him. Like so. I'm going to collapse these groups. Now the Arabs, they are going to have some influence. You can see here that it changes colors. If I go to the other arm, this one here, and I select it, you can see that this is going to have some influence as well. Now I'm going to get closer here because there's only one bone that should have some influence on these mesh and it is going to be these bone here. So I'm going to select this bone here, which over here is this one here, the one at the bottom. And this one is the one that is going to have some influence on these mesh. And the rest shouldn't have an influence because they are too far away. So I'm going to select them, all of these ones, except for the one at the very bottom. And I'm going to click on Ciro just to make sure that they have no influence on these mesh. And I'm going to login like so. And I'm going to do the same on this other side. So I'm going to scroll up. I'm going to find this group, and I'm going to select all of these bones, except for the one at the bottom. I'm going to click on 0. And I'm going to lock him like so. And we also have the bones for the eyes, which also shouldn't have any effect on these mesh. So I'm going to scroll down. I'm going to select these two bones. I'm going to click on 0 just to make sure. And I'm going to lock him and I'm going to collapse these groups. Okay? So as you can see now, all of the bones that we have here and the ones that should affect these mesh. So if I get closer here, you can see that this is going to be for the thumb. This one is going to be for these finger. And these other groups are for the rest of the fingers. And this one is for the hand. And this one is for the forearm. This one here. And here we have the other ones for the other hand. For this one. Okay. So all of these different bones have some weight assigned to them. And we can see that if I select the hand object, you can see that we can see different colors, which means that all of these have different weights assigned to this mesh. But in order to know if I have to modify the weights are not, I have to make some tests. So what I'm going to do is really simple. I'm just going to select this controller, which is going to control this finger. And I'm going to rotate it. And when I rotated, this finger is going to bend. And that way I can see if the weights are set properly because I can see how the formation of this finger is going to happen. So I'm going to do that. But before doing it, I'm going to select the character object. And I'm going to make sure that the Animate tab is selected. Then I'm going to reset the pose. And then I can use the selection tool on the object mode. And I can select these controller, which is a controller for this finger. And now I can rotate this controller, but before doing that, I'm going to go to the timeline. I'm going to go to frame 0. And I'm going to add a new keyframe. And then I'm going to scroll to another frame, Let's say frame 20. And here I'm going to rotate these controller to bend the finger. So I'm going to rotate it like so. And here I'm going to add another keyframe. So now if I scroll here on my timeline, this is going to bend the finger. Okay? Now I did that. Like I said, just to see how this finger is going to form when it bends. And now I'm going to turn on the subdivision surface so we can see this better. And I'm going to look at these and I'm going to scroll. And as you can see, this finger is rotating really, really nicely. We can see this from a different angle. And you can see that this is going to work really well. Okay? So this finger is set properly and we don't really have any problems. So I'm just going to show you how it looks. So I'm going to select the object and I'm going to turn off the subdivision surface. And to see only the weights of these finger, I'm going to scroll down and I'm going to select these finger. And you can see here the weights that are assigned to these bones. Now we can scroll again. Now here we can see the movement. Now, if I select the individual bones, you can see the weights that these bones are having on this object in particular. So you can see that this one is affecting nothing on this object. So we can lock this one. This other one is going to affect only the tip. And you can see that this is set properly. So I'm also going to lock it. This other one is perfect. The middle part of the finger. And you can see that the weights are set properly. So this is okay. I'm going to lock it. And this one is for the base. And you can see that the weights are also set properly. So I'm going to lock it. And this one is going to be for the pomp. And you can see that the weights are also set properly. So I can lock this one. And I'm going to collapse this group because this is ready. Now I'm going to go to the next finger, which is this one. I'm going to select it. And I'm going to be the same. So I'm going to do the same that we did with this finger. So I'm going to set some keyframes so we can animate the movement of the finger. But before doing that, I'm going to use the selection tool. And I'm going to select again this controller. Because if you remember, we added some keyframes and I don't want those keyframes anymore. So I'm going to select the controller. And you can see the keyframes here, these quite squares. So I'm going to select this one, and I'm going to delete it using the delete key on my keyboard. And now I'm going to select these other keyframe and I'm going to delete it as well, like so. And now, if we Again, you can see that the animation is not going to happen anymore because we don't have the keyframes anymore. And now I'm going to go back to frame 0. And I'm going to continue with these other finger. So I'm going to use the selection tool again. I'm going to select it. And I'm going to add another keyframe. Make sure that we are in frame 0. I'm going to click here to add another keyframe. And I'm going to scroll to frame 20. And I'm going to rotate this controller like so. And I'm going to add another keyframe, like so. So now if we scroll, we can see the animation of the finger bending. So we're going to the same that we did with the previous finger. I'm going to turn on the subdivision surface and I'm going to scroll. Now you can see that this is working properly as well, but we have a small problem. And the problem is that this area here is moving way to match. It shouldn't move as much as it is. So you can see that this area is moving a lot. When we move this finger. You can see that from here as well. And I'm going to show you how to fix this just in case you have the same problem in this finger or any other of the fingers. So I'm going to select the object again. And I'm going to turn off the subdivision surface so we can see the weights. And I'm going to select the bones for this finger, which are these ones. Okay? Now, I'm going to start by selecting this bone. You can see that this bone isn't affecting anything. So this one is okay. I'm just going to lock it. This one is going to affect only the tip. You can see that it is affecting on the tip. So I'm not going to modify it, so I'm going to lock it. This one here is going to affect the middle part of the finger. And this one is going to affect the base of the finger. Now you can see that this one is the one that is causing the problem because it is supposed to affect only the base of the finger and it is affecting also the palm. So that's what is causing this area to deform when we move the finger. You can see that here. This is affecting this area as well when we move this part of the finger. So that's what is causing the problem. But don't worry, there is an EC50 that I'm just going to select these bone and I'm going to use the weight tool. I'm going to make sure that it is set to subtract. So I'm going to come over here and I'm going to set it to subtract. And I'm going to decrease the strength a little bit, maybe to 50 percent, something around 50 percent. And the radius is okay. So I'm going to start subtracting the weights. Like so. And now I'm going to do it again. I'm just going to scroll. And you can see that we have fixed the problem. I'm going to turn back on the subdivision surface object. So we can see this better. And I'm going to scroll. And you can see that now we don't have that problem over here. Now we have some creases here, but we're not going to be able to see those creases when we animate these finger. So it shouldn't be any problem. You can see that if I'm looking at these character from almost any angle, I'm not going to be able to see those creases there. You can see that. But I'm going to decrease the strength of the screen. And to do that, I'm going to turn off the subdivision surface so I can see the weights. And you can see that this is happening because there is a really sharp transition here. We can see that this weight is very strong here and it goes to very liked over here. So I'm going to scroll to another frame so we can see the whole finger. And now I'm going to add a smooth transition between these two areas. So I'm going to use the wave tool and I'm going to change the mode to smooth. And now I'm going to smooth this area. Like so. Perfect. Maybe a little bit more. And now let's turn back on the subdivision surface so we can see this better. And let's try it again. And you can see that this Chris, Our here now is less pronounced. So we can work with that. That's going to fix the problem. And like I said, we're not going to be able to see this part of the character because we will usually look at the hands from a different angle. And when we animate this, you can see that it doesn't look bad. It actually looks okay. So now that is fixed. And I'm just going to select this whole group of bones and I'm going to have the subdivision surface so we can see the whole group. And I'm going to add another smooth transition here. With all of these bumps selected. I'm going to smooth this area here just a little bit more like so. And I'm going to turn back on the subdivision surface. And I'm going to bend these again. And you can see that now these looks even better. Perfect. So now this is fixed. I'm just going to lack all of these different bones. And I'm going to continue with these other finger. So I'm going to turn off the subdivision surface so we can see the weights. And I'm going to do the same that we did before. First, I'm going to collapse these so it doesn't get in the way. I'm going to select this bone. You can see that it is not affecting anything, so I'm going to lock it. This one is going to affect only the tape. So it is okay. I'm going to lock it as well. This one is going to affect the middle part of the finger. And you can see that it is okay to and this one is going to affect the base. And it looks like it is okay too. But we have a similar problem here. You can see that this is supposed to affect only the base and it is affecting also these palm area. So this is going to be a problem. And I'm going to turn on the subdivision surface. And we're going to do the same animation with these other controller that we did on these other fingers. So I'm going to use the selection tool. And before doing anything, I'm going to select these other controller, the previous one. And if you remember, we added two different keyframes. So I'm going to select this controller so we can see the keyframes. I'm going to select these keyframes and I'm going to delete him using the Delete key on my keyboard. And also this one, I'm going to select it and delete it. So now this animation is not going to happen anymore. And now I'm going to select these other controller because I want to have an animation for this. I'm going to go to frame 0. I'm going to add a keyframe here. And I'm going to go to frame 20. And I'm going to rotate this controller like so. Maybe less, like so. And I'm going to add another keyframe. And now I can do the same that we did before. I'm just going to scroll. And as you can see, like I told you before, we're going to have some problems here. Because remember, if we select this object and if we select these bones, you can see that the base of the finger is affecting more areas than it should be affecting. So these areas in particular shouldn't be affected by these bone. And that's what is causing the problem. So I'm going to scroll to frame 0. So we can see this better. And I'm going to use the wait till again because I want to erase these weights here. So I'm going to set these to subtract. I'm going to go to mode and I'm going to set it to subtract. And now I'm going to subtract these weights, make sure that the outer normalized option is off. And let's subtract them. And now I'm going to add a smoother transition here. And I'm going to change this to smooth. And I'm going to start smoothing this transition like so. And now I can turn back on the subdivision surface. And I can scroll again. And you can see that this is going to fix our problem. Now. We still have a small deformation here. But that's okay. That's not a problem. It's actually good to have that deformation. As you can see, we don't have really sharp creases here. So that is also good. So now this is fixed. Alright? So this finger is fixed. I'm just going to select these different bones and I'm going to lock him because I don't want to modify them anymore. And I'm going to go back. And tone of the solutions are face like so. And I have to delete the keyframes that we added to these controllers. So I'm going to use the selection tool and I'm going to select these controller. Remember we added some keyframes to be able to animate this finger. So once we have selected these controller, I can see the keyframes here and I can select them and I can delete them. Okay? So now if I scroll again, now this finger is not going to move. Perfect. So I'm going to do the same with these other finger, the pinky one. So I'm going to select hands. Object again. I'm going to come over here. I can see that this one is set, so I'm going to collapse it. So it doesn't get in the way. And I'm going to select this other one. Now you can see that these may have some problems because this is affecting some areas that it shouldn't be affecting. But let's make sure. And to make sure again, I have to select this controller. I'm going to go to frame 0. I'm going to add a keyframe here. I'm going to go to frame 20 or any frame that you want. And I'm going to rotate this controller. So the finger bends. And here I'm going to add another keyframe. So when I scroll here, this is going to animate like so. And now I'm going to turn on the subdivision surface so we can see how this is going to behave. I'm going to be select this one and I'm going to scroll. And you can see that this is actually pretty good. I don't see any really big problems with this one. You can see that this is actually behaving. Very, very good. So I don't see any reason to modify the weights on this finger because they are actually working properly. So that's good. I'm just going to select again this controller. And I'm going to delete these keyframes because we don't need them anymore. So I'm going to select it, delete it, and these other ones select it and delete it. Like so. Okay, perfect. So I'm going to select the hands object again so we can see the bones. And since the weight of these bombs are properly set, I'm just going to lock all of these bones because they are working properly. And now I'm going to collapse these one. And I have to work on the thumb. So I'm going to select the thumb. I'm going to turn off the subdivision surface so we can see the weights. And I'm going to use the selection tool to select this controller. I'm going to go to frame 0. I'm going to add a keyframe here. I'm going to go to frame 20. And I'm going to rotate this controller so the finger bends like so. And then I'm going to add another keyframe. And now we can see the small animation. I'm going to turn on the subdivision surface so we can see how this behaves. And you can see that with this one we have a problem on this area. So we're going to fix it. It's nothing that we cannot fix. Carbon to the same that we did before. I'm going to take this back to frame 0. And I'm going to turn off the subdivision surface so I can see the weights. I'm going to select the object so I can see the bones. And I'm going to select the bones for the thumb. Now, this bone here at the bottom is not going to affect anything just like the other ones here on these other fingers. So this one is okay. I'm going to lock it and then I'm going to move to this one. This is supposed to affect only the tip of the finger and you can see that it is actually set properly. So I don't have to modify this one either, so I'm going to lock it. And this one is for the base. And you can see that this is where we have the problem. We can see that this is affecting more areas than it should. So what I'm going to do is to select it. And then I'm going to use the weight tool. I'm going to set it to subtract. So we can subtract the weight on the areas that shouldn't be affected by these bone. Including this one here. Like so. And now I'm going to smooth the transition between these areas and the dark areas. So I'm going to set these weight tool to smooth. I'm going to smooth this out. Just a little. And now I'm going to turn back on the subdivision surface. And I'm going to try again. So I'm going to scroll. And as you can see, now this is going to behave much better. You can see that we don't have that really were deformation that we had here before. And this is going to look much, much natural. Okay? So this one is complete as well. I'm just going to lock these other two bones. And I'm going to collapse these one. And now I'm going to select the whole object. I'm going to turn off the subdivision surface so I can see the different weights. And you can see that we have a problem now. And it is that we have some really dark areas. And these areas were created when we subtracted sum of the weights from some of these bones. Remember, every single of these different points that create these mesh have to have a weight with an influence of 100%. And it could be influenced by only one bone or by a combination of bones. And when it doesn't have that influence it to 100%, it is going to look dark. And that's what we have here. So we have to compensate the weight that we subtract it from some of these bones. And we're going to do that very easily. So I'm going to show you how. Now the way I'm going to do it is by adding some weights to these areas. And I'm going to add them to the wrist bone, which we have over here. We can see that this is going to have a lot of weight and we can add those weights that we are missing on this bone. Now to do that, I'm going to use the apply command. So I'm going to lock all of these different bones because I don't want to affect these ones. Like so. And also this one, I have to lock it. And I'm going to lack this one as well. And you can see that now I have these only unlocked. Now I'm going to click on the Apply all command. As you can see, these field, all of those gaps, I'm going to undo that. You can see here the changes. If I click on Apply, all this is going to feel these areas. I'm going to try and do it again. So you can see these on this other side. I'm going to click on Apply all. And this is going to feel all of these different areas. So now if I select this object again, you can see that we don't have any of those dark areas anymore. Okay. Now, I'm going to select this bone again because I have to make sure that when we use the apply all command, it didn't affect anything. On these other hand. And it looks like it didn't. So it is okay now and now I'm going to lock these bones. I'm going to collapse these different groups. I'm just going to make sure that all of these are locked before going any further. As you can see, all of these bones are lot like so. And now what I have to do is to apply the same weights that we have on this hand, onto these are hand. But before doing that, I'm just going to make a last test because I don't want to apply these weights over here if these weights have some errors. So I'm going to do a last test and I'm going to turn on the subdivision surface object so we can see this better. I'm going to use the selection tool, make sure the object mode is selected. And we're going to move these different controllers. I'm going to start by moving this controller for the wrist. And you can see that this is going to work properly. I don't see any problems. And I'm going to start by using the slider controller. I'm going to select it and I'm going to rotate it. And as you can see, we don't have any problems. This is going to work fine. I'm going to select these other controller for these other finger here. So I'm going to get closer. I'm going to select it. I'm going to rotate it. And you can see that this is working nicely. If it's going to form only if we go beyond like so. So we shouldn't do that because it is going to penetrate the hand and we shouldn't do that. So you can see that this is working nicely. Okay. I'm going to reset one here. I'm going to set these back to 0. And I'm going to select these other controller here. And I'm going to the same, I'm going to rotate it just to make sure that it doesn't have any problems. I'm going to look at this from another angle and you can see that this is going to work properly. I'm going to reset the value to 0 again. And I'm going to test these other ones. I'm going to select this controller. I'm going to rotate it. And you can see that this is going to work properly. And I'm just going to reset this value to 0. And I'm going to select this last controller. And I'm going to rotate it as well, just to make sure that we don't have any errors. As you can see, this is going to work properly. I'm going to reset the value. I'm going to set it to 0. And now that I confirmed that all of the weights are set up properly, I can just mirror these weights onto the other side. And I'm going to do that in the next lesson. So that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 28. Weighting the character - Weighting the right hand: Hello class and welcome back. In this lesson, we're going to continue adjusting the weights to the different elements that create our character. So let's start. So now we can apply the weight of this hand onto these other hand. And that's what I'm going to do now. I'm going to start by turning of the subdivision surface object and selecting these hands object. So I can see the weights that we have applied to this hand. Now, as you can see, the bones that belong to this other hand are lacked for now because we like them before. So I'm going to start by unlocking all of these different bones. So I'm going to click and drag like so. And also I'm going to unlock these bones for the hand. And also these bone here. I'm going to get closer here. You can see that this bone also has some influence on these mesh because this is the bone for the forearm. So I'm going to unlock this one as well. And these other bones here, I don't have to unlock and because these bones shouldn't be affecting these hand object. So I'm going to leave these other ones lacked. So now that I have all of these different bonds unlocked, I'm going to select them all. Including the different bones of the different fingers, the bones of the hand, and the bone of the forearm. Now that I have all of these selected, I'm going to click on this 0 command, like so. Now the reason I did this is so I can tell more easily when I apply the mirror command. So as you can see right now, none of these bonds have any influence on this hand object. So you can see that the hand object is completely black. And I did that on purpose. So when I mirror the weights of these other bones onto these other hand, we can start seeing some colors. And when we see those colors, that means that the mirror command has been applied. Okay, so now I'm going to collapse all of these groups. And I'm going to select all of these different groups, which are the groups of the bones of the hand. And I'm going to select also these other bone, which is the one for the forearm. And with all of these different groups and these bone selected, I'm going to apply the mirror plus 2 minus command. So I'm going to click here. And now, if I select these other bones, you can see that the weights have been mirrored. Because now we can see some colors. Now you can see that we have a small problem here. And it is that the tips of the fingers didn't get mirrored. But don't worry about that. We're going to fix that very easily. So the important thing is that the rest of the weights where mirror successfully. And that's going to save us a lot of time. Okay? So I'm going to select this bone here and you can see that this is okay because all of the weights were mirrored properly. So this one is complete. I'm going to lock all of these bones and I'm going to collapse this group. And I'm going to collapse these other group as well. And now I'm going to select these other group of bones. And you can see that in this group we have a problem because we are missing the weights for the tip of the finger. So I'm going to select this bone here, which is the one that is assigned to the palm. You can see here. And you can see that the weights are assigned to these bone already. So this one is okay. I'm going to lock it. This also is okay because it already has the weights assigned to it. So I'm going to like it as well. And this also is okay because it has the weights assigned to it. I'm going to lock it. And this one is the one where we have the problem. You can see that this is the one that should have the weights assigned to the tip of the finger. So this is the one that we have to fix. And this last one shouldn't have any weights assigned to these mesh. So this one is okay because this doesn't have any weights assigned to it. So I'm going to lock this one as well. I'm going to select this other one, which is the one where we have to apply these weights to. And to apply those weights, I'm going to do it manually. So I'm going to use the way too. And I'm going to go to the properties of these tool. I'm going to make sure that the strength is set to 100. And I'm going to make sure that the mode is set to absolute. And another important thing is to make sure that the auto normalize option is turned on. Because remember, this is going to prevent us to paint some weight where there are some weights assigned to other bones are ready. So make sure that the auto normalize option is turned on. And now again, make sure that this bone is selected. And we're going to start painting the weight the tip of this finger. Now you can see that since the outer normalized option is on, I can easily paint the weight on these areas, but this other areas that already have some weight assigned to them. Even if I tried to paint them, I cannot do it. And that's why it is important to have these Alto normalized option on for this process. Now, I'm going to continue painting here. And you can see that if I go beyond, I cannot paint anymore again because of the auto normalized option. Okay. I'm just going to make sure that I get all of these areas. And now you can see that this is fixed. So I'm going to select the whole group. And you can see that now this is okay. So I'm going to lock these bone. I'm going to collapse these group like so. And I'm going to continue with these other group. You can see that we have the same problem here. So I'm going to start with this bone. This one is okay. I'm going to lock it. This one is also okay because it has some weights assigned to it already. So I'm going to lock it as well. This one is okay. I'm going to lock it. And these one is where we should have the weights assigned to it. So I'm going to select it. And with the same settings of these Weight Tool, I'm going to start adding the weight on the tip of the finger. Make sure that you get all of the different areas around the halls finger. I'm going to get closer here. I'm going to make sure that I get all of these different areas. Okay, That should work. And now I'm going to select the whole group. And you can see that now this is fixed. So I'm going to lock these bones like so. And I'm going to collapse this group. And now I'm going to continue with this other bones. So I'm going to select them. And I'm going to select this one here. And you can see that this one is okay because the weights are assigned already. So I'm going to lock it. Also this one, I'm going to lock it. This one as well. I'm going to lock it. And this is the one where we have to add the weights of the tip of the finger. So I'm going to select it and I'm going to apply those weights using the same settings on the way tool. So I'm just going to apply all of these weights to the tip of the finger. Make sure that you get everything that you need to get. And I'm going to select the whole group. And now you can see that this is fixed. So I'm going to lock these bones and I'm going to do the same for this one. Now. I already know that the bomb that I have to fix is this one. And for this one, I also have these other bone. You can see that these two bones don't have any influence or weight assigned to them. So I'm going to start by locking these two. I'm going to select them both, and I'm going to lock him. And this one shouldn't have an influence on it. So I'm going to like it as well. I'm going to select these two. And you can see that these are the ones where I have to apply the weights to. So I'm going to select these one, which is the one for the tip of the finger. And I'm going to start adding some weights around the finger. Like so. Perfect. And now I'm going to do the same for this other one. I'm going to just add those weights. But I'm going to undo this. Before doing that, I'm going to select this one. And now that this is set, I'm going to, I'm going to lock it for a second. So I don't modify these. And I'm going to select this one. And now you can see that this is going to prevent us from painting on this area. So I'm going to continue painting. Make sure you get everything, including these areas. Like so. All right. And now to smooth that transition, I'm going to select them both. I'm going to unlock this one. And I'm going to change the mode to smooth, like so. And I'm going to smooth out this transition. And we're going to go all around this finger. And I'm going to smooth the transition. And I'm going to select only one. You can see that the transition is smooth, are narrow. And also here like so. I'm going to select them again and I'm going to smooth this area a little bit more. Now you can see that this is going to work well, like so. So I'm going to select this group. And you can see that now this is complete. I'm going to lock these two bones and I'm going to collapse them. And these are also complete, so I'm going to collapse these ones. And now all I have to do is to work on this other one. I think abs. Okay. So I'm going to select these ones and I'm going to lock him. And I'm also going to lock these one. And now I'm going to select the whole object. And as you can see now, these weights are assigned properly. You can see that. And now to finish, I'm going to make sure that all of these different bones are locked. You can see that all of these are locked. I'm going to expand all of these groups so I can make sure that all of these bonds are locked. And they are. So all I have to do now is to make a quick test. So to do that, I'm going to use this selection tool. And I'm going to start selecting these different controllers. And I'm going to rotate them. And I'm going to turn on the subdivision surface so I can see this better. I'm going to make a quick test. And you can see that this is working properly. I'm going to do the same with this one. This is also going to work properly. Let's try with this one. You can see that this is also going to work properly. I'm going to just move this back. Let's try with this one. Let's rotate it. Right? And let's try with these other ones. So you can see now this is properly set. So all I have to do is test the wrist. So I'm going to select this one. I'm going to move it. And you can see that this is going to work appropriately as well. All right, so now all I have to do is select the character object and I'm going to reset the pose. Like so. And this hands object is complete. So I'm going to select it and I'm going to move it to the very bottom of the hierarchy, like so. And I'm going to turn off the view for these abject. And that's all for this lesson. Thanks a lot for watching, and I will see you in the next lesson. 29. Weighting the character - Weighting the boots: Hello class and welcome back. In this lesson, we're going to continue adjusting the weights to the different elements that create our character. So let's start. All right, so in this lesson, we're going to adjust the weights for the boots object. So I'm going to select this object and I'm going to move it to the top of the hierarchy. And I'm going to click here to expand these objects so I can see their boots object. Okay? I'm going to make these boots object visible. And I can do it in two ways. I can either turn the visibility on the boot object directly or I can bring this back the way it was. And I can turn on the visibility on the closed surface object that has the boots are objects inside of it. Either way is going to work. Now, I'm going to zoom in so I can see these boots better. I'm going to get closer. Like so. And now I'm going to turn off the subdivision surface object because I went to see the weights that are assigned to these objects. So I'm going to turn it off. And you can see that I have the boots objects selected and I have the subdivision surface object turned off. But you can see that we are not able to see the weight. And the reason for that is because we have a closed surface object that is affecting our object. So the closer with object is going to work in a similar way than this subdivision surface object. So we have to turn it off if we want to see the weights that are assigned to this object. So I'm going to do that. I'm going to turn it off. And now we can see the weight. I turn it back on. We're not going to be able to see the weight. Okay? So I'm going to turn it off like so. And as you can see, this object has already some weights assigned to it. And remember, these weights were assigned when we did the binding process. But I'm going to show you how to do the outer waiting process manually. So to do it, first, I'm going to erase all of these different weights that are assigned to the object. So we can start with an empty object. So I'm going to select all of these bones like so. And I'm going to click on the 0 command. As you can see. Now we don't have any weights assigned to this object. So if I move the skeleton, I'm going to use the selection tool. And I'm going to select the character. I'm going to expand it. And I'm going to select the leg, both of the legs. And I'm going to switch from IK to FK. I'm going to do it one way one. So I'm going to select the leg. And here on the controls tab, you can see that I have this set to FK, so I'm going to reduce this value to 0. So we can see the IK controller like so. And I'm going to do the same with these other leg. I'm going to select it here on the controls tab. I'm going to reduce this to 0. So we can see the IK controller. Now, the reason I did this is just to show you that if I select this controller, which is supposed to move the booth, and I tried to move it, or I move this controller. You can see that now the book is not going to move. And the same is going to happen with these other controller. If I move it. This other bit here is not going to move. I'm going to reset the pose. So I'm going to select the character object. I'm going to go to the Object tab, and I'm going to reset the pose. And now we can see these other controllers again. So I'm going to select these FK controllers. And I'm going to rotate this controller. And you can see that this should move the boot, but it is not moving it. And the reason for this is of course, because there are no weights assign to this object. So I did this just to show you that at the moment we have no weights assigned to these object. And now it doesn't matter which part of the character I move. I can move the spine. You can see that the goods are not going to be affected by any of the bones of the character object. Okay? So I'm going to click here on the character object and I'm going to reset the pose. And I'm going to zoom back in. All right. I'm going to collapse this. And I'm going to select the boots object again. And now I'm going to switch to the outer weight tab. Now in this tab, you can see that we have different options. Now most of these options, we don't really need to change them. So I'm just going to leave them the way they are. And I'm going to click on Calculate. And as you can see, now we have some weights assigned to this object. And these weights were assigned automatically. All we needed to do was to use the calculate command. So I'm going to test how these work. So I'm going to use the selection tool. I'm going to select this controller and I'm going to rotate it. And as you can see, now, these boot is moving. And if I select this other controller and I rotate it, you can see that this is also going to work. The same is going to happen with these other. But of course, because now the weights have been assigned, I'm going to reset the character. So I'm going to select it. I'm going to click on Reset both. And now I'm going to select the left leg. I'm going to go to controls. I'm going to switch it to IK controller. And now I'm going to select this controller. And I'm going to move it. And as you can see, this is going to work. And you can see some deformations on this object. Now, we can see here it's bending. And this means that the weights are assigned properly. You can see that these bending is looking really natural. And this is going to work really nicely. Okay? I'm going to reset the bows. So I'm going to select the character. I'm going to go back to the object tab and I'm going to click on Reset pose because I want to show you something else. I'm going to get closer here. And I'm going to select this leg object, this one right here. And I'm going to go to the controls tab. Now so far we have used only these control, which again, it is going to help us to switch between IK and FK. Now, I'm going to make this window a little bit larger. So you can see these controls better. And you can see that here we have other controls. So I'm just going to make sure that the waste that were assigned automatically using the outer Weight Tool were assigned properly. The best way to do it besides using the controllers and modify them. The way we did before is by using these other controls. So remember, if you want to see this controls, you have to select the leg object here within the character object. And then you have to go to the controls tab. You can see here now the controllers. Now I'm going to start with this control. The need twist. And you can see that I am moving it, but nothing is happening. And the reason nothing is happening, even though you can see that the bone is moving. You can see that this bone is moving. There is, nothing is happening with this object is because I am moving the IK bones. And at this moment we are working with FK because this is set to 100. So in order to have these controls working, I have to bring this back to 0. So we can work with the IK controller for these leg. And now you can see if I manipulate this control. Now, this is going to work properly. Now to look at this better, I'm going to turn on the subdivision surface object like that. So we can see how this is going to look when we animate this character. And you can see that this is going to work properly. I'm going to bring this back to 0. And I'm going to continue with these other control, the one for the food roll. You can see, I'm going to look at this from the side. So you can see this better. And as you can see, this is working really well. And just by controlling these lighter, we can get really nice and clean and animations like this. I'm going to bring this back to 0. And I'm going to try with the wiggle. So all I'm doing here is sliding the control. And you can see that this is going to move. All right. I'm going to reset this one. I'm going to type 0 again. And now I'm going to try with these other option. And you can see that this is going to give us a different effect. And I can see this one from the front, so we can see this better like that. And all I'm doing here is just making sure that when I animate or I manipulate, this controls the movement or the deformation of the boot is working properly. So I don't want to have any bad deformations on this object. That's all I'm doing here. I'm just making sure that this is going to work nicely. As you can see it does. So I'm going to reset this. And I'm going to try with the ball twist option. You can see this is also working very well. So I can also try with this at the bottom, but they are very similar. But if you want to try with these other ones, you can do it as well. Like this. I'm going to reset this one. Try with this other option. I'm going to reset it. And I can try it with this other one. Like so. I'm going to reset this value to 0. And as you can see, the weights were assigned properly because we didn't see any bad deformations happening. So that means that the weights where assign properly. Now you can use the outer weight tool with any object. You have to do is making sure that the object and the bones are set properly. So you can see that these bones are set properly and they are in the correct place. So as long as the bones are on the correct place and the mesh or object that you want to auto weight is in the correct place. The outer way tool is going to work properly and you won't have to modify any of these options here. So like I said, usually with a default options, this is going to work really nicely. And again, you can do this with any object, not only with the boots or shoes. You can do it with arms, with the head, and basically any part of your character. And that's how we use the outer way command to add weights automatically to our objects. And since we have done a lot of progress, this is a great time to do a C for the backup. Remember you can make a copy of your original file and have it as a backup. And that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 30. Using the update command: Hello class and welcome back. In this lesson, we're going to talk about the update command. So let's start. Alright. So now I'm going to select the character object. I'm going to go back to the object tab. And here I'm going to reset pose. Now, you can see that when I reset the pose, the IK control is not there anymore. I'm going to show you that very quickly because this is also important. You can see that if I select this leg and I go to controls, the controls tab here, remember I can switch from IK. If I slide this all the way to the left. And I can switch to FK. If I slide this all the way to the right, you can see the controllers are going to change here. We talked about this before. So all I have to do is slide these from left to right and from right to left. And we're going to have a different kind of controller. Now, you can see that right now I have this set to IK, and I can see the IK controller here. And on this leg, this is said to FK. So if I select this other leg, you can see that this is said to FK, the controller is all the way to the right. And here the controller is all the way to the left. Now pay attention to what is going to happen. If I select the character, I go to the Object tab and I reset the pose. At this moment, you can see that this is set to the IK controller, and this is said to the FK controllers. But if I select the character and I reset the pose, this is going to go back to the FK controllers. And if I want to bring the IK controller, I have to do it all over again. So the reason for that is because when we reset the pose for our character, all of the values that are assigned to these different character and the controllers of the character objects are going to be reset to their default position. And that is going to include it was like the leg and go to controls. That's going to include this slider. So if I bring this back to IK and I reset the pose, like so, when I select it again and I go to controls, this is going to be reset to FK. Now to prevent that, if you want to use only, let's say IK. I can select the leg object. And I can go all the way to 0. So we can see the IK controller. And I'm going to do the same for this other leg. I'm going to select the leg here, and I'm going to reset this to 0. You can see that now we have only the IK controllers. And now I have to go to the Object tab. And now instead of using the reset pose option, I can use the update option. And what that option is going to do is to take the position and the different settings of this character that I have at the moment. And it's going to set it as the default pose. So I'm going to do it. I'm going to click on Update. And now if I move these controllers, let's move this one. Going to get closer. And I'm going to move it like this. And now if I reset the post, if I go and select character and I click on Reset pose. You can see that now this controllers will not changed to the FK controllers. This time we kept the IK controller. So that's the way you can do it. Depending on the controllers.js going to use. And you can do the same with the arms. You can see that now if I click on Reset pose, if I select, let's say these controller and I rotate it. You can see that we have the FK controllers because we have different controllers for one arm. And if I select the character object and I click on Reset pose, you can see that we are still having these FK controllers. And you can tell that because we have three different controllers for one arm. So if I want to have only the IK controller, I can select the arm object here within the character object. I'm going to go to controls and I have to switch it, in this case two IK. So I'm going to slide these 1, 2, 0. Now just make sure that use light this option here. And this option because this is a different option. So make sure that you slide the IK to JFK option. I'm going to slide it to the left. And you can see that now here we have the IK controller. I'm going to select the other arm, this one. I'm going to the same. I'm going to slide this one all the way back to 0. And now we have the IK controller, because now we, instead of having three controllers, we only have one controller here. Okay? So I'm going to select the character object again. I'm going to go back to the object mode and I'm going to click on update, like so. And now if I move this character, let's say I move some of these controllers like that. And if I click on the character object and I reset the pose, you can see that now these controllers are going to stay there. And before, when we used the rosette posts Archean, we got back to the FK controllers where we have three controllers or one arm. And that's what this update option does. Now, I just want you to be very careful when you use these Update option because this can cause some problems if you don't do it the right way. So I'm going to show you that. I'm going to select the Selection Tool. And I'm going to select these controller. And I'm going to move it to the left like that. And let's say that what we want to do is to have this set as FK controllers by default. So I have to go to the arms. I'm going to select the left arm. I'm going to go to controls. And I'm going to change this to FK. So now we can see these three controllers. And I'm going to do the same with the right arm. I'm going to switch this back to 100, so we can see these FK controllers. And now if I select the character object and I go back to the object tab, and I click on update. And let's say I modify the spine controller again. I can move it and rotate it. And I can move any of the controllers if I want to, like the head. And now if I select the character object and I click on Reset pose, you can see that the post is going to be reset. But it's going to be reset with this controller move to the left because that's the way that it was when we used the update action. So when you use the update option, this is going to make the current position or movement of the different controllers. It's going to set it as the default position. So whenever you use the reset both, again, it is going to bring you back to that exact pose. So just be very careful when you use the update command. Make sure that the post is set to the default pose before you use the update option. So I'm going to undo this because I want my character to have the correct pose. Like so. I think now it is. Okay, I'm going to select this one just to make sure I'm going to go to the coordinates. And I'm just going to make sure that the rotation values are all set to 0 and also the position. Okay? So now our character is back to normal. And now I can click again on update. And now if I move my character like this, and I reset the pose, it's going to bring me back to the default pose. Okay, so that's how we use the update option. And that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 31. Weighting the character - Weighting the jacket: Hello class and welcome back. In this lesson, we're going to continue adjusting the weights to the different elements of our character. So let's start. Okay, So I'm going to start by collapsing the character object. So we have more space here. And I'm going to resize this window like so. Now in the previous lesson, we finished adjusting the weights to the boots object. And the only thing that we didn't do was to lock the joints are bones. So I'm going to do that. I'm going to select these boots object. And I'm going to select the joint staff. And as you can see, none of these bones or joints are locked. So I'm going to do that. And remember we can lock them by just clicking and dragging like so. And I'm going to continue locking all of these different bonds all the way to the bottom. Like so. So now all of these bonds are locked and we can collapse this object. And we can move it to the very bottom of the hierarchy because this one is complete. And I'm going to click here on this data. So we don't see these in our Canvas anymore because now we're going to work with their remaining objects. Now you can see that we have only two other objects that we have to adjust the weights to. One is the jacket object and the other is the one for the buttons for the jacket. So I'm going to start with the jacket object. I'm going to drag it to the top. I'm going to expand it, and I'm going to select this object. Now, I want these objects to be visible here in the Canvas. So I'm going to turn on the visibility for the object. And I'm going to get closer here. And now I want to see the weights that are assign to this object. So I'm going to turn off the subdivision surface object and also the cloth surface object. And now we can see the weights. Now as you can see, this object is being affected by multiple bones. So we have to work on this object to make sure that all of the bones have the weights properly assign. Now, first I'm going to do a few tests just to see if we have problems within these mesh. So I'm going to use the selection tool, making sure that the object mode is selected. And I'm going to make sure that if I select the character object and I go to the Object tab, I have to make sure that the Animate tab is selected. And when it is selected, I can select these controller and I can manipulate it. And you can see that we have a problem here. And the problem is that if I move this arm up, you can see that the arm is moving up as it should be. But these other area of the jacket is also moving and it shouldn't move this way. You can see that this doesn't look good at all. The same is going to happen. If we move these these other way. This area here is going to be modified. And that's not what we need. So we have to fix this. I'm going to select the character object, and I'm going to reset the pose. And I'm going to move other controllers. In this case, I'm going to select this one and I'm going to rotate it just to see if we have any additional problems. Now here we have another problem. You can see here, the transition between the weights on this part of the jacket and the weights on this other part of the jacket. It really sharp. So you can see that this is not going to behave properly. You can see that. So we have to fix these problems as well. If I select this object, you can see that in fact, we have a very sharp transition here. We're going to really the transition because the colors are very similar. We have an orange color and a red color. But the transition is sharp, the same as these other transitions that we have here. And you can see that this transition is very sharp and that's going to cause some problems. So we have to fix that as well. I'm going to select the character object and I'm going to reset the pose because I want to try with a different controller. So I'm going to select these color controller. And I'm going to move it. And you can see that. This one doesn't have any problems really. So this one is okay. I'm going to select the character object and I'm going to reset the pose. And I'm going to try with other controllers that shouldn't affect these jacket. For instance, the head. So don't affect the movement of the jacket. So I'm going to select the head controller and I'm going to rotate it. And you can see that the jacket is not moving. And that means that this head controller is set properly. The same is going to happen with the legs. If I select the legs and I move them, these legs shouldn't affect the movement of the jacket. So I'm going to move this leg and you can see that the jacket is not moving and that's the way it should be. So if this jacket was moving, we would have another problem there. But you can see that this is okay. So this is not going to be a problem. Now, once that we have identified where we have the problems, which is our here. So remember when we move this arm, this is going to deform and it shouldn't. The other problem that we have is the transition hour here and also the transition over here. So those are the main problems that we have to fix. Now, I'm going to select the character object and I'm going to reset the pose. And I'm going to select the controller again. And I'm going to go to the timeline. And I'm going to go to frame 0. And I'm going to add a keyframe. Then I'm going to jump to frame 20. And I'm going to move this controller like so. I'm going to rotate it as well. Like so. And I'm going to add another keyframe. And now we can slide between these two keyframes. And we will have this animation. So this way we can see when this problem is fixed, I'm going to go back to frame 0. Then I'm going to select the jacket object again. And as you can see here, is where we have the problem. You can see that these green color belongs to these different bones, but we have some green color here. So this is where we have the problem. Now, I'm going to select this arm, which is the left arm. So I'm going to collapse all of these different groups. And I'm just going to unfold the left arm, which is this one. So this is going to be much easier to work with. Now, you can see that if I select this bone, this is going to show me what influenced these bone has on this object. And also this one. You can see that this one is okay. At least if we're talking about the influence that we're having here, you can see that this is not having an influence here. This one is also okay because it doesn't have any influence on these part of the jacket. And this one is where we have the problem. You can see that this one that I have selected here is this bone here. And it should affect only this part of the arm and not this part of the jacket. So we have to subtract these additional weight. I'm going to select this other bone. And you can see that this is okay. This is not going to cause any problems. And this one is not going to cause any problems either. So I'm going to select this one again, which is the one that has a problem. And I'm going to use the wave tool. So I'm going to select it and I'm going to change the mode to subtract like so. And now I'm going to make sure that the auto normalize Archean is off. So I can subtract this weight. And I'm going to just subtract these way that we don't need. I'm going to get closer. Like so. And now I'm going to turn back on the subdivision surface. And I'm going to go to the timeline. I'm going to scroll to frame 20. And you can see that now we don't have that problem anymore. Now, the only thing that I want is to have a smoother transition here, because you can see that the transition right now is really sharp. So I'm going to select the jacket object again. And I'm going to use the way to like m, but this time I'm going to select it and I'm going to change the mode to smooth, like so. And I'm going to start smoothing this area just a little bit. And I'm going to go to the timeline again and I'm going to scroll. And you can see that now this is going to work much better. Okay? I'm going to select this controller and I'm going to move it freely just to see how this is going to work. And as you can see, now, this is fixed. And it was really easy to do. Okay? So I'm going to select this controller and I'm going to go to a timeline. And I'm going to select this keyframe that we added, and I'm going to delete it using the delete key on my keyboard. And I'm going to select this other keyframe that we had on frame 0. And I'm going to leave it as well because we don't need it anymore. Okay? And again, I'm going to select this controller. And I'm going to move it just to make sure that this is going to work properly. And you can see that this looks much better than before. I can do this from this other side. And as you can see, this works very well. Alright. I'm going to select the character object and I'm going to reset the pose, like so. And now I'm going to select the jacket object again. And I'm going to turn off the subdivision surface object because I want to see the weight. And as you can see now we have a problem because we have some really dark areas here which we shouldn't have that are going to fix that also. And I'm going to fix this one as well because you can see that here we have some blue areas which belong to this finger. And we shouldn't have those areas here. So I'm going to select this. And as you can see if I selected, we have some dark areas here. So I'm going to select these other bone. And this is where we're missing the weights. Now, I have to find where these weight has been assigned to. And I think that it has been assigned to this hand. So you can see that if I select this hand, we have some of these weights here assigned to this one, but we don't have this weight here, so it has to be one of the fingers, most likely the thumb. So I'm going to select the thumb. As you can see, this thumb is affecting this part of the jacket and it really shouldn't. So I'm going to select the thumb. I'm going to go to commands. But I want to see both of these windows at the same time. So I'm going to click on command. I'm going to press and hold Shift, and I'm going to click on joints. So I can see both of these windows at the same time. So now with this thumb group selected, I can just click on 0. And now these bones are not going to have any influence on this jacket, which is what we need. So this one is fixed. I'm just going to lock all of these different bones and I'm going to collapse it. And the rest of the fingers shouldn't have any influence on this jacket either. So I'm going to select all of these different groups. I'm going to click on 0. I'm going to expand them. And I'm going to lock them all like so. And I'm going to collapse them again. Like so. Now the hand, it actually should have some influence because if we rotate the hand, it should influence a little bit the movement of this part of the jacket. So this one is okay for now. I'm just going to the same that we did with this fingers. On this side. I'm going to the same on this other side. So I'm going to select all of these other fingers that belong to this hand. And I'm going to click on 0, like so. You can see that now we don't have that influence here. I'm going to undo it. And you can see that before we had some weights assigned to this thumb. You can see that the thumb has some weight assigned to it and it shouldn't. So again, I'm going to select all of these fingers and click on 0. I'm going to expand all of these different groups. And I'm going to login and I'm going to collapse them again. Like so. Now the legs shouldn't have any influence the jacket either. So we can also do that. So I'm going to select these legs and I'm going to expand them. I'm going to select all of these bones. I'm going to click on 0. And I'm going to lock him because these ones shouldn't have an influence on the jacket. And I'm going to collapse these groups. All right, so now we can continue working on this one. You can see how the weight changed. Now it is not affecting this area that it was affecting before. But we have another problem. And it is that we are missing some weight here. So if I select the selection tool on the object mode, and I move this controller, you can see that we have a problem. And some of these polygons are being left behind. And that is going to cause a lot of problems when we animate our character. So I'm going to fix that. So I'm going to select the character object and I'm going to reset the pose. I'm going to select the jacket object again. The problems that we saw are caused because we are missing some weights here. And I'm going to select the arm bones. And you can see that this is where we should have these weight. Now, I'm going to start by logging the different bonds that are already okay. So I'm going to select this one and I'm going to lock it. Also these one and also these ones. I'm going to select them all. You can see that these are okay. So I can login. Now if I select this other one, you can see that this is actually also okay. So I can also lock it. And if I select this other one, you guys see that this is not okay. So for this one, I'm just going to click on serum. So this one is not going to have an influence on the mesh. And now I'm going to lock it. And I'm going to select the hand. You can see that here we have some weights also are assigned to this area. And I'm going to explain these because here we have two bones. Now if I select the armed group and also the hand group, you can see that we are still missing some weights here. So I'm going to assign those weights to these bone. So I'm going to select this one and I'm going to click on 0. And now I can lock it. And I can select this other one. I'm going to click on 0 as well. And I'm going to select the Weight Tool. And I'm going to change the mode to add. And I'm going to turn off the visible only option because I want to be able to paint the points that I can see and also the ones that I cannot see. But I have to turn on the auto normalize option. Like so. And now I'm going to start painting this way. I'm just going to make sure that I paint all of these different parts that needed to be painted. And now I'm going to lock it. And if I select now these two sets of bones, you can see that now we are not missing any weight. So now everything looks green. And that means that the weights are fixed. Now, I'm going to turn on the visibility for the hands are object because I want to make a test to see how this is going to behave. So I'm going to select the Selection Tool and I'm going to turn on the closed surface, our object for the jacket and also the subdivision surface object. Now I'm going to select this controller. And I'm going to move it like this. And if I rotate it, you can see that this is going to work the way it should. Now, you can see that here we have some areas where this cloth is going to deform when we bend the wrist in this way. And that's actually good because we don't want to have this part of the jacket going through this other part of the jacket. So that's actually okay. Now I'm just going to move controller. And as you can see, now this works really, really nicely. I'm going to test with the rotation. And you can see that this is actually going to work the way it should. And now we don't have any polygons being left behind like we did before. So now this is fixed. I'm just going to continue making a few tests just to see how this is going to behave when we animate our character. And as you can see, this is going to work very well. Now, I just noticed that we have an additional problem with the hand. And you can see that we are getting some deformations over here and over here. Especially when I move this hand, a lot like that. You can see that we're getting some small deformations, especially here. You can see that here. And also here. Now, this is a very common problem and there is a very easy way to fix it. So first of all, I'm going to select the hands are objects, so it is. This one over here. And I'm going to select the bones that are affecting these object. In this case, this is the left arm. And the bones that are affecting these objects are the fingers for the left arm, and the hand. So I'm going to select the left hand and also all of these different fingers. You can see that now they are a locked. So I have to unlock them to be able to manipulate them. And now I want you to pay attention to what is going to happen on parts, specially here and over here, because we're going to use the normalized command. So I'm going to click on normalized. And as you can see, that solved our problem. I'm going to undo that. So pay attention over here to one's going to happen when I undo it. So you can see that these are the problems that we were having. I'm going to redo it and now we don't have those problems anymore. So when you have those kind of problems, all you have to do is to select the bones that are affecting that part of the mesh. You have to unlock those bones. And then you have to select them and use the normalized command. And that's going to solve that problem. Now, I'm going to lock him again, like so. And I'm going to do the same with these other hand because it's very likely that we have the same problems here. So I'm going to select all of these bones, including the fingers and the hand. And I'm going to unlock them. And once they are selected, I'm going to click the normalized command. And I'm going to login again. Like so. So now we shouldn't have any problems on neither of these hands. All right. Now I'm going to select the character object, and I'm going to reset the bows. And now I can turn off the visibility for the hands and I can continue working on the jacket. So the other problems that we had on these jacket, I'm going to select it so we can see the weight. And I'm going to turn off the subdivision surface and the closed surface object. So here we have some problems. You can see that here we have some areas where we need some additional weight. So I'm going to close these down. And those areas should be right here. So I'm going to expand this group and I'm going to select all of these bones. I'm going to click on denormalized command. And that's going to feel all of the areas where we are missing weight. Now if I select the whole object, you can see that now we don't have all of those dark areas that we had before. Now what I have to do is to smooth the transition between this area and these areas here. So I'm going to select this arm, which is the left arm. Maybe it's this one here. And I'm going to unlock only these three bombs because these are the ones that are affecting these areas. So I'm going to unlock him and I'm going to select them all. And also these other bones. And now I'm going to use the wave tool and I'm going to change the mode to smooth. I'm going to turn on the visible only option. And also I'm going to make sure that the auto normalize option is on. And now I'm going to start smoothing these transitions. You can see that now this looks much cleaner. And it is going to help us when we animate our character. Now remember, we are going to work only on the right side of our character. And then we're going to reflect that onto the other side. So right now, I'm just paying attention to this side because we are going to reflect the work that we do on this side, onto the other side. Perfect, so now that this is fixed, I can lock these bones. And now I'm going to use the mirror command to mirror the weights that we applied on this arm, onto these other arm. So I'm going to select these other arm and I'm going to expand this so I can see the different bones. And I'm going to click on this arrow command. So right now none of these bones has any influence on these mesh outright. So now I'm going to select also these other arm. So I'm going to select this one. And now I'm going to click on the mirror plus two minus. Now before doing that, it is very important that you have also. These are selected. So I'm going to click on mirror blasted minus. And you can see that now the weights were mirrored onto these other arm. Now if I select only these arm, you can see that the weights are perfectly mirrored. And that is exactly what we need. So now these are okay. I'm just going to lock all of these bones. And all they have to do now is to mirror all of these other bonds. Because you can see if I select the spine group, you can see that the weights on this side are okay. They are really smooth, but on this other side, they are really sharp. So we have to mirror these weights. So I'm going to select this buying group and I'm going to use the same command, mirror blasted minus. Now you can see that when I clicked on the mirror plus to minus command, we had some small changes, but it doesn't look the same. You can see that this transition here looks really smooth. Transition here doesn't look smooth at all. So if we want to fix that, we can do that very easily. So all they have to do is make sure that the spine group is selected. And I'm going to use the normalized command. So I'm going to click here. And as you can see now, this is fixed. And as you can see now, this side looks exactly the same as these other side. Okay? Now I'm going to lock all of these different bones. And now I'm going to select the whole object. And you can see that now this is fixed. The only thing that I'm missing is the additional weight that we have here. So I'm going to fix that very easily. I'm going to collapse all of these groups and also this one. And I'm going to select these hand. You can see that this is where we have the way that we are missing. On these other hand. Now if I select this other hand, you can see that this is not the way that it should be. So I'm going to expand these. And I'm going to click on this 0 command. And I'm going to also expand these other hand. And I'm going to click on it. And I'm going to click on the mirror blast to minus command. And now the weights are mirrored. So I can lock these bones. And now I can select the jacket object again. And you can see that now this jacket is complete. Now we can see that the weights are properly assigned. Now, I'm just going to make a few tests just to make sure that the weights work properly. So I'm going to use the selection tool. And I'm going to turn on the jacket object and also the subdivision surface object. And now I'm going to start moving some of these controllers. I'm going to rotate them as well. And I'm going to move them like so. I'm going to the same with this other one. I'm just going to move it and rotate it. And you can see that here we have a small problem. So we're going to fix that very easily. So too. I'm going to select the jacket object, and I'm going to select the right hand, which is this one. I'm going to turn off the subdivision surface and the surface objects. So we can see the weights. Now, I'm going to unlock both of these two different bones. And I'm going to select this hand group. And I'm going to click on the normalized command, like so. And you can't see that now these get fixed. So the normalized command is going to help us to fix most of our problems. When the problems are similar to the ones that I showed you here. So I'm going to lock these bones again. And I can turn on the cloth object and also the subdivision surface object. And now I can select the controller again, and I can move it again. And as you can see, now, we don't have that problem anymore. So I can continue making the test just to see how this is going to behave when we animate it. And as you can see, these works really well. So now the weights are okay in the whole jacket. And I'm just going to do another quick test. So I'm going to select the character object and I'm going to reset the pose. And I'm going to select these other controller. And I'm going to rotate it. And as you can see, now, we don't have the problems that we had here before where we have really sharp transitions. If you remember, we used to have some problems here when this area got deformed in a really bad way. And now we don't have that problem anymore. You can see here, that's not a problem. I'm going to reset the post. Again. I'm going to select these other controller. And you can see now we don't have any problems. And now I'm just going to select the character object. And I'm going to reset the pose. Perfect. Now I'm going to select the jacket object again because I want to make sure that all of these different bones are locked. So I'm going to open up all of these groups just to make sure that all of the bones are locked. If I find some bones that are not locked, I'm going to lock them. So you can see that all of these are locked. And I only have to lock these ones here. And the rest are locked. So now I'm going to select the jacket object. I'm going to turn off the view. And I'm going to collapse this one. And I'm going to move it to the very bottom of the hierarchy because now this is complete. So that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 32. Weighting the character - Weighting the buttons: Hello class and welcome back. In this lesson, we're going to continue adjusting the weights to the different elements that create our character. So let's start. All right, so as you can see, now we have on the one object for which we have to adjust the weights two. And I'm going to turn on the view for this object. And you can see that these are the buttons for the jacket. Now, I have to turn out the subdivision surface so I can see the weights. And it looks like the weights are okay. So I'm going to test just to make sure that this is going to work properly. Now, first I'm going to turn on their view for the jacket because I want to see how these two objects work together. And I'm going to turn on the subdivisions or arrays are objects, so I can see this better. And now I'm going to select these controller using the selection tool. And I'm going to move it around. And you can see that the buttons are going to follow this jacket. So the width are assigned properly. If I rotate it. You can see that this is going to work really well. I'm going to move it again. And as you can see, this is actually okay. So the buttons have their weights properly assigned. And all I have to do is select the buttons object. And I'm going to lock all of these different bones. I'm going to make sure that I loved them all. Like so. And now I can take this object and move it to the very bottom of the hierarchy because now this is complete. And now all I have to do is select the character and I'm going to reset the pose, like so. And as you can see, now, all of these different objects have their weights appropriately assigned. So that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 33. Organizing the file: Hello class and welcome back. In this lesson, we're going to organize our file. So let's start. Okay, so this is where we left in our previous lesson. And as you remember, we finished editing the weights to these different elements that create our character. So now this is complete, but as you can see, we have a mess. So I'm going to fix that. And I'm going to start by turning on the visibility for these subdivision surface object and also for the rest of the elements that create our character. So I'm going to turn on the view for all of these different elements. So make sure that these dots are gray for all of these elements. And these ones are green. So I'm going to turn them gray, like so. And I'm going to turn on the closed surface object for this one. And I'm going to make sure that these one is also on like so. And this one has to be gray as well. Okay? So now you can see that we have our character with all of its elements. But we have some elements that are overlapping, like the sunglasses and the monocle. So I'm going to take the molecule, and since this is an optional object, I'm going to move it on top of the skin object. And I'm going to turn off the view. So now all of the elements that are going to be on top of the skin object. The elements that are optional. And I do this just to keep things organized. And you can see that here we have other elements that are overlapping, which are the different hairstyles. And here we can see one, and here we can see the other one and they are overlapping. I'm going to take this one. I'm going to move it on top of the skin object and I'm going to turn off the view. Now we don't have those objects are overlapping here. And I'm going to select these other ones because this is also an optional object. And I'm going to move it on top of the skin object. And I'm going to turn off the view for this one. And now we only have these object here for the hair, which has the hair and the beard. So if I turn it off, you can see that now we don't have other hare objects. So I'm going to move this over here below the skin object. And I'm going to turn on the view for this one. Now for the sunglasses. We can have them on or off. You can see, I can turn this off. And this is going to have no sunglasses anymore. But I'm going to turn it on because I like how it looks with the sunglasses. We have the piercings here. This R, okay? The eyebrows. They have to be on. The tongue, has to be earned as well. The eyelids, all of these four eyelids, they have to be on. But right now we cannot see them because they are inside of the head. Well, we can see this one and also this one over here, but the other ones are inside of the head, but they have to be on. The teeth. Also have to be on these ones as well. The head has to be on as well. And of course the eyes have to be on. Now the ring is actually optional. I'm going to leave it on for now, but maybe later on I may turn it off, but for now, I'm going to leave it on. Okay. The belt buckle is also optional, but I'm going to leave it on for now. The genes have to be on. The T-shirt, also has to be on, as well as the hands, the boots, and the jacket. Now remember for the boots and the jacket, makes sure that the closed surface objects are on for these two objects. And the buttons, they are optional. I don't really like how they look, so I'm going to turn them off. But if you want, you can leave them on. And since this is an optional object, I'm going to move it to the top, like so above the skin object. Okay. I'm going to zoom out. And now I want to see the textures again. So remember to bring him back, all we have to do is press N and then we have to press Q to bring the materials back. Remember, we can use the shortcut and Q to turn them off. And again n q to turn them on. Okay? So now this is our character. And all I'm going to do now is make a few tests. So right now, I don't need all of these windows anymore. So I'm going to change the layout so we can work with more space. I'm going to go to layout and I'm going to go to standard. I'm going to zoom out. And I'm going to select the character object. And I'm going to reset the pose just to make sure. And now I'm going to use the selection tool and make sure that the object mode is selected. And I'm going to start moving some of these controllers. So I'm going to select the head controller. I'm going to use the Rotate tool. And I'm going to rotate these head. And you can see this is going to work really well. I'm going to use the spine controller, which is the triangle. And I'm going to move it as well. You can see these works really well. I'm going to try with the hand, going to move them and rotate them like so. And also this hand, I'm going to rotate it a little bit. And I'm going to move it just a little bit. I'm just making sure that all of these objects work properly. So I'm really not trying to pose the character. I'm just trying to see if everything is working fine. And as far as I can see, everything is okay. I'm just going to try with the legs. Going to move it like this. And the other one, I'm going to slide it to the back. Like so. And I'm going to bring this down like so. Okay. So as you can see, these works really well. And now everything is organized properly. I'm just going to make this window smaller so we can see all of these elements. And now everything is working properly and also everything is properly organized. So now they're rig is complete. Now all I have to do is select the character object and reset the pose. And that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 34. Gathering references to pose the character: Hello class and welcome back. In this lesson, I'm going to show you how to gather references to pose your character. So let's start. All right, so at this point in the process, our character is ready to be animated or post. Now, in this lesson, I'm going to show you how to gather references to pose our character. And there are different ways in which we can gather references. And the first one and the most obvious one is using Google. So I'm going to go to google.com and I'm going to type character pose references. And then I'm going to go to images. And here we can see different Bose's that we can choose from. So let's select any image like this one. And here we have different poses that we can use as a reference to post our character. And you can see that we have a lot of different poses. Now, if we're looking for a specific pose, we can type it here as well. So we can say character jumping pose. And you can see that here we have a lot of different jumping poses that we can choose from. And we can use these images as a reference to pose our character or even to animate our character. You can see that we have a lot of different poses here. And we can select any pose that we want. So for example, we can say character running pose. And we're going to get also lots of references of characters running like so. And another term that you can use is dynamic pose. So we can type character dynamic pose. And we're going to get lots of different images that show characters in dynamic poses. You can see here. And basically you can find any kind of posts that we want. Now, another way to find poses is by using Pinterest. I'm sure you know this website. If you don't just go to www.pinterest.com. And here we can search for the same terms. So I'm going to type character pose reference. And I'm going to get different poses here. So this is going to be similar to what we did in Google. But this website is more focused on digital art or art in general. So we can find even better results here. So I'm going to type a different term, the same that we use before, character dynamic pose. And you can see that here we will find also lots of different references that we can use to post our character. Or like we did in Google. We can search also for a particular pose. So I'm going to type down character thinking and we will find different poses. I'm just going to add pose at the end. And as you can see here, we have different poses that show a character thinking. And we can use these references to pose our character in cinema 4 D. Now, another way to find poses is by going to Mixamo, which is an application by Adobe, the same people that create Illustrator and Photoshop. And in this website, you can upload a 3D model and rigid very easily. Now, the reason I used cinema 4 D to rig our character instead of Mixamo is because Mixamo is going to limit you to the animations that they have in their website. And when you rig a character in cinema 4 D, you have the ability to animate the character in any way that you want. Now, Mixamo is very powerful, but as I said, it is limited to the animations that they have in their website. And they have a lot of animations. But if you want to have more flexibility when animating your characters, cinema 4 D is going to be a much better way to rig your characters. Now, I'm going to use mics and more because they have a really big library of animations. So once we are in Mixamo.com, we can come here to animations. And here we can also search for a specific animation. For example, I'm going to look for a jumping animation. So I'm just going to type jumping. I'm going to press Enter. And you can see here some previews of the animations. So I'm going to select one of these animations. Let me select this one. And now I can see this animation here and this other window. And the cool thing about this website is that you can see the animation taking place and you can also rotate the camera. Zoom in and zoom out. Basically, you can navigate in this website like you would in cinema 4D. So you can see this animation in any angle that you want. And of course you can pause the animation and go to the frame that you want. Let's say you want to pose your character like this. You can just pause the animation here and look at these character from any angle that you want. So this is going to help you to be able to see how this character is posed from basically any angle. Okay, so those are the three main ways in which you can search for reference images or videos. So you can post your character in cinema 4D. And that's all for this lesson. Thanks a lot for watching, and I will see you in the following lesson. 35. Running pose - Posing the legs and arms: Hello class and welcome back. In this lesson, we're going to create a running pose for our character. So let's start. Okay, So as you can see, I am at my Finder and I have a new father where I placed this image that I found online. And in this image, we can see a run cycle. So you can see that this character is running. And we have the different stages of a running cycle. And I'm going to select one of these poses to pose our character. And this one is the one that looks more dynamic. So I'm going to pose my character in this pose. Okay? So I'm going to close this one and I'm going to go to cinema 4D. And here I can collapse this group because we don't need it. And I'm going to increase the size of this window. And now I'm going to go to window. And I'm going to go down here. And I'm going to open up the picture viewer. So I'm going to click here. Okay. Now I'm going to go back to the Finder. And I'm going to grab this image. And I'm going to go back to Cinema 4D. And I'm going to drop it here. And now I can scale this down. And if I click here and I click and drag, I'm going to be able to place this window wherever I want. So I'm going to place it here. Like so. I'm going to make this bigger. And I'm going to change the size of these. Like so. Because all I care is to be able to see these reference image. I'm going to zoom in like so. So I can see my reference image here. And now I can keep this window open and I can pose my character using this image as a reference. So I'm going to start by looking on my character this way. And I'm going to use the selection tool. And I'm going to start by selecting the spine controller, which is the triangle. I'm going to select it. And you can see that this pine has to be rotated because you can see that the body is in this direction. So I'm going to rotate it using the rotate tool. I'm going to rotate it like this. I can even go to the side view if I want to. And to be able to see this same view, I have to come to cameras. And I'm going to change to the left view. Right now we are on the right view. So I'm going to change to the left view. And now we can see our character looking at the same direction as this image. Okay? So I'm going to rotate this even more like this. And I'm going to move it to the front. Maybe like this. Okay. Now, I'm going to go back to the perspective view. And you can see that this leg has to be moved. So I'm going to select this leg controller. And I'm going to move it. Now. If I select my character, if I go to controls and if I open it up, and I select this leg controllers, I'm going to scroll down. I'm going to select the right leg, which is this one. You can see that right now I have this set to IK because this later is all the way to the left. Now, if you want to use the FK controllers, remember, all you have to do is to scroll this, right? And you will be able to use the FK controllers that we have here. Now, for this pose, I'm going to use the IK controller. So just in case you don't see these controllers here at the bottom, that what you have to do. I have explained this in a previous lesson, but just in case you missed it. So I'm going to select this controller and I'm going to rotate it. You can see I'm going to rotate it like this. And I'm going to move this to the back. Like so. And you can see that now our character looks a little bit closer to the pose that we have here. I'm going to move it even further, but I'm going to move it up just a little. And I'm going to rotate these even more like this. And I'm going to move it even further. Like so. Now, when you post your characters, there are different elements that you have to take into account, which are very important. One of those elements is balanced. So you have to make sure that your character looks like it has balanced. So even if it is a character that is running, this character should look like the body has some balance. Weight is also very important and the position of the extremities, especially the legs and of course the arms, are very important. So I'm going to take all of that into account. Even if I'm looking at the reference image, I have to take that into account when I post my character. Now I'm going to select this other leg. And again, you can see that it is set to IK. But if you want to use FK, that is okay, too bad. I'm going to use FK for now because this is going to be easier for these pose. Now I'm going to go to the side view and I'm going to move this controller to the front, like this. And you can see that this field is pointing up. So I'm going to rotate it. I'm going to rotate it up like this. And I'm going to move it up just a little bit more like this. I'm going to rotate it like so and maybe move it back just a little bit like that. Okay, so as you can see, our character looks closer to what we have here. So the post is going, well, I'm just going to go back to the perspective view. And you can see the character here. It looks nice. Now, I'm going to modify the arms. Now, right now, these arms are said to IK. So if I select this controller, which is the controller for the arm, and I go to the Settings, you can see that it is set to IK. These slider is all the way to the left. It is set to 0. So right now it is set to IK. Now when posing the arms, sometimes it's easier and you have more control if you set the controllers to f k. So that's what I'm going to do here. I'm going to slide this all the way to the right. So we get the FK controllers, which you can see now. Now we have this controller. We have 123 controllers, which are the forward kinematics controllers, FK controllers. And we don't have the box that we had here, which is for the IK controller. Okay? So I'm going to use these as FK. And just to make sure that this doesn't slide back, I'm going to add a keyframe here. I'm going to make sure that I am at frame 0. And I'm going to add a keyframe. Like so. So now this is locked and now it is not going to slide back because now it has a keyframe at 100, which is the setting for FK. Alright, I'm going to do the same for the other arm. I'm going to really quickly, I'm going to select this controller, which is the controller for the arm. And I'm going to slide this all the way to the right. So we get the FK controllers. And I'm going to click here to add a keyframe. So now this is not going to slide back by accident. Okay? So now I'm going to pose this arm in a similar way as these character. But as you can see, something is happening here, something that we haven't done. And it is that the waste is. So this area should be twisted. So I'm going to select this controller and I'm going to rotate it. Because you can see that this is twisted a little bit. I'm going to twist it just a little bit. Like so. And now we also have to twist this area here. So you can see that one shoulder is in front and the other shoulder is a little bit to the back. So this one is in front and this one is to the back. So I have to emulate that. I'm going to. Select this controller. I'm going to rotate it just a little bit, like so. And I'm going to select this other one.