Introduction to Rigging in Maya 2022

1. Introduction: Hey guys, would you like to learn the tips and tricks to read your own 3D assets? Would you like to understand the hows and whys of the reading process? If that is the case, then I welcome you to next is introduction to reading in Maya 2020. To throughout this course, we will be exploring all the basic principles to create a very flexible and optimize for it. We will start with very simple exercises that we'll support the basics of reading. And then we will move on to more complicated things like a character and eat again asking for. In this course, you will learn all about Maya heirarchy, proper use trains, using joins, steaming, and rig optimisation. This course is aimed towards students who have an intermediate level inside of Maya, however, we will be covering everything from strikes. So if you want to throw the shot, we're going to be covering all of the tools from the very basics, all the way to vet a very advanced stuff. We won't be using Maya 2022. So make sure you have your software up-to-date. Join me in this very course, and you will be reading inside of Maya in no time. 2. Project Setup: Hi guys, welcome to the first chapter in this new series. Today we're gonna start with a very fast setting up the project. So let's just jumped into it. I'm hearing Maya and as always, any time you're going to start a project, you want to make sure that all of your things are organized. Therefore, I'm going to go into File. I'm going to say Project window, and I'm going to create a new project. I'm going to call this next rigging. Now this one, I personally have several hard drives where I saved my stuff and I'm going to save this one right here on the, on the rigging folder. So what this will do is it will create the folder that will have all of the scenes, source images, sounds, I don't think that we might use throughout the series. It's going to be contained inside of this folder. And if I ever need to move it, of course, I'm just going to move the whole folder with everything inside of the foot and we're going to be just fine. That's the first thing I want you guys to do. Just make sure that your folder and your project is properly set up. Now, the next thing that we're gonna do, something that I usually don't do in other courses. We usually work with the stock software and no customization. But since most of you already have a little bit of background and my m, I'm going to be creating a new shelf here. So I'm going to press this button right here, this little like cogwheel. And I'm going to go here in say in your shelf, I'm going to call this entity has in the next reading, shelves cannot have spaces, so that's why I'm using a score. Okay, and we're going to have our rigging shelf here. So we're going to be adding tools as we go on. But I want to add some basic tools right now I'm going to go into Edit. I'm going to say Delete by Type and I'm going to press Control Shift and click on the button, which is going to be the little history. I'm also going to be adding, delete NANDA former history, which is going to be important. You're going to see that it says NH. So that's the former. Just keep that in mind. We're going to be using it later. I'm then gonna go into modify and we're going to click on center pivot, and we're going to click on Freeze Transformations. Those two elements are also going to be important for our, our work throughout the series. Now you might be wondering, well, I consider a little bit different from what we're used to, right? Like this guys have the blue icons. It's just visual. These are like the old icons and for some reason when you add them from the shelf, you get this. But if you want to have like this one's very quick way to do it, just go into Edit shelves, look for where this thing is located. Which I'm really big on the on the Icons folder. So yeah, we should be able to locate where this guy S. And again, if you go here and you right-click Edit, you can go to the shelf and change the button. That should be fine. We're going to be using planes quite a bit. So I'm also gonna go Create Polygon Primitives and we're going to add a plane right here. So there we go. And from tools we're not going to be using like traditional modeling tools. We're going to use edit, Sorry, create. We're also going to be creating the locators. So I'm going to Control Shift and click a locator. We're going to be using joints. So I'm going to go into the reading tab. I'm going to go into skeleton and I'm going to add the Create Joints option right there. We are going to be using the formers, a lot of the formers or sorry, constraints, a lot of constraints. So if you want to, this is not mandatory, but if you want to, we could add like the parent point, orient, scale, and pull vector constraints into our shelf. That way we don't have to go over here to do it every single time. Again, it's up to you. If not all of this are going to be here. By the way, if you're using Maya 2020 to remember that now we have the control f function, which is the Finder. It's a great tool because if I'm ever just like explaining something and I say go for alcohol, like the polygon draw tool or quadro tool. You can just go here quadro and it was going to point you directly to it. Okay, so Rambler Control F and you're going to be able to jump into the finder, which is this one right here. And that's all the constrains a scathing, I don't really mind. Like I don't think we're gonna be doing a skinning at first, so we can leave those out for now. There's one very, very important we're going to be looking at it in Chapter 2, which is the local rotation axis. And that thing is instead of Display Transform, Display Local rotation next is probably one of the most important ones. So I'm just gonna click there, and that's going to be the LRA. So just keep that in mind. Then you're going to click here. You're gonna save, save all shelves so that this shelf, East safe, and there we go. Now. Sorry, it's allergy season is over here and have a runny nose. So if you ever encounter an issue where you need to Reset Maja to the factory presets. You're going to navigate to documents maya, the version of Maya that you're working with. And you're going to delete all of these things. And when you open Maya again, it will recreate all of this things from scratch. And you should be able to fix pretty much all of the errors that you usually get. The only problem with this is that the preference folder, you have things such as the shelves that are going to be deleted. So if you're gonna do that and make sure to go here, look for the one that you want to save or the ones that you want to save, save them somewhere else, do the reset, and then just bring them back in and you should be you should be good again. So yeah, that's something that we're going to be using quite a bit. And that's it guys. That's pretty much it just for this quick setup, it's just a first making sure that everything is correct, everything is right. I am going to be working with the gray background. So you compress all the B on your keyboard to change the background here, there's one more thing, one more thing. And unfortunately this is something that you're going to have to be changing quite awhile or quite a bit. Bones in the newest my aversion have an issue where if you get really, really close or really, really far, sometimes they disappear, especially when there's geometry. Let me add like a cube here. And I'm going to turn on X-ray. So there's sometimes I've had this issue if that happens to you, which it's not happening right now. But if for some reason your bones disappear when you get really close, make sure you go into renderer Buber to 0. And here on the transparency algorithm you're gonna say alpha cut. Okay, I'm just hit Close and that's it. And that should save. And there we go. So we're ready to start working on some rigging. So prepare yourself, get ready and I'll see you back on the next one. 3. Groups and Hierarchy: Hey guys, welcome to the next part of this chapter. Today we're gonna talk about groups and heirarchy. So let's get to it. In order for us to understand how rigging words, we need to take a little bit of a dive into the history of 3D. It's gonna be really, really fast. So we don't really know that in the 3D production pipeline, which is a very common. I think if you've taken our intro to Maya course, you've probably seen this picture in the 3D production pipeline. We have something called the production part, which is this one right here. And usually we're going to have modeling, texturing, rigging, animation effects, and rendering. Rigging, as you can see here, is pretty similar to a puppeteer adding all of the leg lines and what's the word like? Courts and stuff to the, to the character, to the puppet so that you can move it. And the recent way we do that with characters is a characters are really, really complicated in regards to all of the amount of things that they can do. So adding all of these controllers gives the animators way more control over the way they're going to be animating the characters. I know it's very redundant, but that's the, that's the gift of it. So by adding all of these controllers, we're going to be able to pose, move, animate the characters that we want. And creating this controllers is a very technical process. One of the reasons why rigging is so or has such a bad reputation, I think, is because most of us are artists, like the visual part of things, right? So we'd like to model, we love to sculpt, we'd like to texture. And when they talked TO tunnels about like programming scripting and all of this technical parts of the 3D world. That's not something that we're really used to. However, my main goal throughout this course is I want to take away the fear of reading from you guys. So you can see that rigging, It's actually not that complicated. Once you properly understand what's going on. From my experience, I spent 10 years of experience that I have probably the first six years of my career. I did not touch rigging for anything like there was no way you could make me or work on rigging. And then due to necessity, I had to learn it and I've been using it ever since. So reading works through something called a heirarchy. We're going to be creating connections that will transfer attributes, that will control attributes from one thing to another. And there's three main things that you need to remember about this thing. We have three main like heirarchy groups. We have geometry. We have curves, which we also called controllers. And we have joints. Okay? Those are like the three main groups of things that we're gonna be working with. And the way they are connected, it's actually a very simple geometry, is controlled by joints. And joints are controlled by groups or controllers. Controllers. So hopefully you can see now that controllers are going to be like the masters of this thing. Because whether it happens to the controller is going to be transferred to the joint and the joint, whether it happens to the joint is going to be transferred to the geometry. So this is kind of like cyclical thing. We're going to be looking at. It's going to be really, really important. But before we jump into controllers, groups are joints and geometry. We need to talk about groups. And groups are one of those things that everyone knows how to use, or at least everyone has used before if you're already familiar with Maya. But sometimes there are a couple of concepts of people don't understand. So a group, if I press Control G and I group this character or this little sphere right here. This sphere is now something called a, has something called a parent. This group is the parent of the sphere, and wherever it is grouped does the sphere will follow. So if I move the group, as you can see, I'm selecting the Grubhub. I move it up and down, left and right, front and back. I scale it or I rotate all of the group. The group will get transformations on its transformation notes. This fear will copy those transformations without being affected on its own. So this is something that we call a world or RA and orientation. I think the proper noun as the axis orientation. So for instance, this character right here, did this fear. It has its own world. If I press W and then click on the sphere, I can change the orientation to object. And you're going to see that this fear, even though it has no rotations and no translation, it remembers that he's like up and down is this way, he's front and back is this way. And his left and right this, this way, which is not line to the Maya world. The group, however, since we wrote it in this whole phase, now also shares the same rotation as a sphere, which is not the same as that world. Now if I grab this group right here and I freeze the transformation, what's going to happen is I'm going to erase all of this transformations. And now this is the new world that this group is following. But the sphere, since it's a son of this parent, will inherit that thing as well and need for God, as you can see here, it for God that its orientation was a different one. So every single object will have its local orientation, local rotation, and they will have a rotation based on whatever the parent object is. Now going back a little bit and I know this is a little bit of theory and might be a little bit confusing. We're gonna do some exercises to make sure that this, It's very clear. But going back a little bit, every single object that we have inside of Maya has something called a transformation note, which is this thing right here. Okay? So if I grab this guy right here and I go into Windows and note editor, denote that that is something that we're going to be using quite a bit as well. And I select this cube and I map out the input and output connections, you're going to see that we have a poly cube note that's giving it the cute properties, a cube shape that's giving it the mesh properties and initial shading group. And actually, where's the where's the shading group? That's really weird. Let me delete history and let's try again. That's where usually I'm not sure why it's not showing or renumber. Usually we would get the transformation note in here. Should be this one. That's weird. Anyway. Every single object that you can manipulate here inside of Maya will have something called a transformation that, which is this one right here. And the transformation though, will allow us to move, rotate, and scale the object in the 3D world, a group, if I press Control G without selecting anything, we create this null one, which is an empty group. The group is pretty much just a transformational and this little icon, the red arrow with a plane. That's the icon for a transformation note, so this group right here has a transformation look, but it has nothing inside of it. One of the reasons why groups are not super efficient for certain things is we can't select them. Say like there is no shape on the, on the, on the world that we can select. We can of course elected, we're here, but we can't select it directly on Maya, so that's just one of the things. Now, Regan goes very hand in hand with animation, of course, like we wouldn't need rigging if we were not going to animate things. So throughout this series we will be doing some very basic animation exercises. If you have very little experience, don't worry, these are just super simple animation things just to test out the race. So let's start with our first exercise. Well, I'm going to create here is a little bit of a solar system. So I'm going to start with a sphere here, which is going to be my son. I'm going to duplicate it, move it around. This is going to be the Earth. I'm going to duplicate it again, move it around, and this is going to be my mood. Okay? So we have three little spheres here, rigging, and I'm going to repeat this three types of the UK's do not forget rigging an organization or organization in reading ease, essential organization in reading is essential. Organization in rigging is essential. I needed to repeat that because I need to be super, super clear about this. You need to be super organized when you are reading a very simple mistake, something that's named wrongly, something that's not properly aligned, something that's not in the right place. All of those things will break your rig and it will make learning reading very difficult. So you need to be very, very persistent and very, very disciplined in the way we do this. Thanks. Okay, think about this as following a cooking recipe. You won't be able to have a lot of changes on the things that we're gonna be doing. Okay? So the first thing I'm gonna do to clean this thing is I'm going to delete the history freeze transformation center built on. Let's go to our thing here. So we have our elements and we're going to rename very important. So I'm going to call this sum underscore GO, because this is a geometry, we will have other things that are going to be named sun. And that's why we need to add that little flag there to make sure that we understand that, that the geometry, this is going to be earth underscore GO and this is going to be Moon underscore GO. Now, just to make this thing a little bit nicer, you're gonna find this on your under source images, but I'm going to get some textures. So I'm gonna get a Sun texture. And the cool thing is this guy right here, this is perfectly fine. Even though it's rectangular, it's just compressed to what we neither inside of Maya. So let's go here. Of course we always go to a project source images. Let's call this sun texture. And it looks for Earth texture. They get any, any one of this is fine. Let's call this, oh, wait, this is, I don't know why sites nowadays like upload things in this like very weird format. Slab web, P, BMP or I don't know whether this, and let's go for moon texture real quick. There we go. So the cool thing about this is all of the planets, heavy texture. You can pretty much build the whole solar system with this. And I'm just going to go here. I'm going to assign 0. Careful here, see how by accident, I added a keyframe here. I don't need that just yet, so I'm just going to click, right-click and I'm going to see break a connection, so there's no connection and everything is clean. I'm going to grab this guy now, right-click, assign a new material. We're going to assign a Lambert. And the Lambert, we also need to rename that I'm going to call this m underscore sun. So that same material on the color, I'm going to plug in a file, and I'm just going to select the texture. I can press number 6 now. And we're going to see the texture very nicely. We're going to do the same thing for the earth. So right-click, assign new material, Lambert, and we're going to rename this. Remember, organization is key, so we're going to rename this earth. So I don't only some material. And we're gonna go here. We're going to load the Earth texture. There we go. And finally, we're gonna go with the moon. So assign new material. Lambert, we're going to say M underscore mood. And we're also going to be adding the nice little material here. So all of this materials you should have on your source image so that you don't have to go looking for them. And there we go. So we have this very nice little setup. Now, if I were to ask you, please, and they made this thing so that the moon rotates around the earth. The earth rotates around the song, the song rotates or whatever, you probably might go. I'll just going to grab this guy and start rotating them and animating and yeah, that would be perfectly fine. However, if we want to work in the proper way, we need to create a small rig is more bring that will control the way things are going to be moving. One of the first rules that I'm going to make you guys follow is we're not going to be animating the geometry. So I'm going to grab all of the channels from the, from the geometries. And I'm going to say Lock selected. So now we can't move it. There's no way we can move these guys because they're locked. So that means that we're going to have to create something else, something new to be able to move and manipulate those guys. And what I'm going to create here is I'm going to create a group. So I'm going to start with here. Let's do a very basic earth rotation on its own axis. I'm going to select this thing right here. I'm going to Control G to group it. And we're gonna get this first group. At this group, we're going to call it earth rotation on their score group. Now, the only problem that I see here is that the pivot point of the group rotation is inside of the song. So if I were to rotate and animate this group, we're going to get this and that's not going to work. So what I need to do is I need to grab this rotation group and I'm going to hate center. Whenever you have an object inside of a group and you're sent to the pivot point dependent will be centered to where the center of the object is, because the object is the most important thing inside of the group. So as you can see now, the Earth is, it has its pivot point in the very center. Now let's animate this real quick. I am going to go to frame 1. I'm going to hit S to animate the group. So you can see we're animating the group, not a Jew. And then we're going to go all the way to frame a 120. I'm going to say I want the earth to turn to ice. So I'm going to say 720. Now, if I hit play where they have a very small issue, where things go very fast and then they kinda slow down and then start again. I want this to be a little bit more like linear. So what I'm gonna do is I'm going to grab the group, not the geo do group. I'm gonna go Windows animation Editors, Graph Editor. And in the graph editor, I usually have like tucked in there on the top, but I'm going to go here. I'm gonna go to rotation, select the both little crystals and we're gonna make them linear. So now with the rotation of the Earth is going to be completely linear. And as soon as that finishes, it's just going to continue on the same thing. So it's going to be like a, like a cycle. There we go. We have a very nice rotation on the earth. However, we have a problem. We want to make sure that this or rotation or this earth rotates around the sun. And unfortunately, we don't have enough channels here to animate a new rotation going around the sun. And also the pivot point is not situated in the center of the sun, so we can't really create a new rotation. This is where the hierarchy comes into place. When we have several groups in a hierarchy, in a little chain, we're going to be able to transfer and add up the different attributes that are going to give us more flexibility in our animations. So I'm going to grab the Earth here. I mean, if you control G again, and now we're grouping the group, as you can see here. And we're going to call this earth translation GRP. Okay, So now the next group, which is a parent of the first group which has a parent of the geometry, has it split point on the center of the sun, which is perfect because we can now animate this first group going from frame one to frame a 120 and doing 360 degrees of a church. Now, this group, we're also gonna go to the Graph Editor. We're also going to go into the rotation and we're also going to linearize this thing like this. So now when we hit play, what's going to happen is this first group is going to rotate around the Sun. The second group is going to rotate on the axis of this fear and everything else is just going to follow. And if we did things correctly, we're going to get this. So again, we're able to get this nice little behavior here because we have a hierarchy. We're creating this chain of parents that are going to be controlling different aspects of our animation. And usually when you're doing a Cherokee, you're gonna go from the specific to the general. So big movements are going to be the big curves, that ones that are going to control everything. And then the smaller curves are going to be controlling specific smaller parts of the whole thing. Now, we want to make sure that the moon follows the Earth as well. We don't want the Earth to go on its own, right? So I'm going to select the Moon and I'm going to group it. And I'm going to call this moon translation underscore GRP. The only problem is that this translation group is here on the center of the sun. So even though we could make it so that it goes around the sun in 360 degrees. I actually wanted to go several times around the Earth. And to do that, I need to move this pivot point to the center of the moon, but of the Earth. How do we do that? Well, of course, we're going to press our letter D in the keyword. And then by pressing the letter V, we're going to be able to snap the point like this. So now the point is snap to the center of the Earth. You can see it right there and we can animate this thing. So I'm gonna go here, frame one. And let's say that as, as the thing goes, I want this thing to do three turns around the year, so it's going to be 1080. There we go. So if we hit Play, we're gonna get this. So the Moon is indeed doing three turns around the place where the earth is supposed to be. But the problem is the earth is going on it's own journey around the Sun and we're not following. And the reason again, is due to the heirarchy, depending on which things is parented, where we're gonna get different results. Now I'm gonna go this for this guy and just blend this curve well, quick scrub to the seed crystals and flood occurred so that the rotation is constant. And what we're gonna do is with middle mouse, we're going to drop this inside the translation of the earth. So wherever this translation move, not only our moves, not only is the earth going to follow, the moon is also going to follow, the moon is going to follow at the same distance where the earth is. So if we take a look at the animation, we're going to have this. Got it. So the moon is rotating around the Earth. The Earth is rotating around itself. And the, what's the word the world or the, sorry, the sun is the point at which both of those things are rotating around. Okay, now we're gonna do one final moment because I want this to be a little bit more fancy. I'm going to grab the sudden I'm going to press Control G. And in this group, what I'm gonna do is I'm actually going to select the earth translation group and I'm going to get it in there. So now we have group 1, which is going to be, let's call this sun rotation underscore group. And this is the one that we're going to move now what I wanna do, so I'm actually going to ink, gave it a little bit of an inclination here. I don't want everything to be flat in the same orbit. I want to have this sort of like this, this shape. And we're going to rotate this, Let's say ten degrees. And now the rotation is going to go from here. So a 121 times one as well. So 360. And we're of course going to go to Windows animation Editors, Graph Editor. We're going to grab everything here and just flat. So since this group is a parent of everything else, this ten degrees of rotations that this group has is V01 inherited to everyone else in the, in the little changes only heirarchy that we have here. And when we hit play, you're going to see that we get this very cool looking effect where things are rotating in this plane without me having to modify the rotation, the Z rotation on anything else, right? Because this, the main group that's controlling everything is inheriting or giving this rotation to everyone else in the chain. This is the, probably the most important thing that I want you guys to remember from this particular little exercise, every single thing that's on a chain will be inheriting the information of whatever and whoever is on top of it. So if you do a modification all the way at the top of the hierarchy, everyone else is going to suffer or it's going to be benefited. I think that's a better word. It's going to benefit from that transformation. Okay? So groups are going to be super important because you're going to be able are they're going to allow us to store the same amount of transformation information. And they will allow us to keep the geometry clean. And here are key will be useful to make sure that every single thing in the chain inherits the proper information. Now, if you want to, this is a homework that I gave my students whenever I teach trigging. If you want to, the homework is to try and do this same thing, but with two more plants, you choose the ones that you want it to be Mars, it could be Venus, it could be Jupiter. You can add as many moons or rings or whatever you want. And if you want, you can try having legs slightly different orbits and see if you can get it to where it's a little bit of a challenge, but it's not that difficult. It's just a matter of planning properly. You are properly planning all of your hierarchy here. So that's it for this video, guys. I'll see you back on the next one. We're going to be talking about joints and why they are important. So hang on tight and I'll see you back in the next one. Bye. 4. Joints: Hey guys, welcome back to the next part of this series. Today we're going to continue with joints. We're going to explore what joints are and how we're going to be using them. So it joins are one of those organization things that we're going to be using inside of the rigging world. You can find them on the rigging tab, on the skeleton and create joints. And also here on the rigging tab you have this create joints. And as we did in the first video, we created this button here to easily access joins. Now I'm going to, I'm going to double-click the tool here to show you a couple of things. I'm going to reset this and this are the normal things that the joints will do. As you can see, we will have three degrees of freedom. So they're going to be an object that we're going to be able to rotate in three degrees, x, y, and z. We don't want one that asymmetry is Scaled Composites. That's fine. So all of this is working fine. The thing that's going to be most important is this thing right here. We're going to enter a, again, another part of the theoretical thing about rigging, but it's actually very easy. So we're going to have something called a primary axis, something called a secondary axis. And that's secondary axis. We're going to be orienting to a different position or choice specific position, in this case, a positive y. Now, here's something that I like to do is in the border-radius. I always like to keep my bone radius set to 11 so that they're always the same because otherwise you get different size of bones. And even though that doesn't affect anything, it looks weird. So I personally changed the short bone radius and the long-run radios both to a unit of one. So I'm going to turn on the camera. And for justice, I can usually, usually we don't do this to keep all of the information onscreen, but I'm going to do that because it's actually a very little bit more graphical when I do this. So let me switch to full screen. There we go. Okay guys. So we need to understand that every single time, every single time that we're working in 3D world, there's three axis, right? We have x and y, or x, which is left and right. We have y, which is up and down, and we have C, which is the depth, forward and backwards. The way bones work is we will be orienting. We will be rotating the bones in such a way that the bones are always pointing to the next bone. That Ax is that they're going to be using to point towards is going to be called the primary axis. So let's say that my arm is my x axis, my head is my y-axis, and this arm, my left arm is my c-axis. If I tell you guys, I'm going to be pointing towards that area with my x axis. I just pointed that way, right? Now we know that the three axis are always going to be 90 degrees, right? Because they need to be 90 degrees. We always use this sort of shape on our fingers as well. Very useful. But I'm using my whole body just to show you the whole thing. So if I point my arm to that way, and then I say I'm going to orient my y-axis to the why of the world. I'm just going to keep my head like this. But I could say, Hey, you know what? I want to point my head that way, my x axis that way, but I want to keep my y-axis flipped so I can't do it right now, but that will flip completely. And then my head will be pointing towards the floor and my arm would still be pointing in that direction. Okay. At the c-axis, the last axis, we never, we never pointed axis anywhere because as soon as you orient to axis of a three-degree element, the other axis is just going to go on the right and it's going to try to find the best way to accommodate that self because he needs to keep the nine degrees between all of the axis. Got it. So let's go back. I'm going to show you now on the what's the word on the Miocene. So it's a little bit easier to find. So if I start just clicking on the ground, you're going to see that we create all of these bones. Now you can see that inside the bones There's a little bit of a gizmo there, just the lines showing us how they are pointing towards each other. Now to make sure that we see all of them at the same time, I'm going to grab all of these guys, and I'm going to click on this bundle, which is the one that we created in the first video, the local rotation axis, which by the way, you can find on Display, Transform Display Local rotation axis. It's just going to grab this whole thing, select this thing, and there we go. So now we can see that each bone is following a very specific configuration. Each bone is pointing with each, with its x axis to the next bone. So X, x, X, x X. Now why is that? Why do we need that? Well, if we want to move the whole chain and we want to rotate the whole chain. One thing we can very easily do is we can grab any of the bones. And if we rotate the y-axis, in this case, everything's going to be rotating very nicely. If we wrote it on the x axis, It's as if we were rotating on the, on the direction of the bone. And finally the c-axis. You can see that the c-axis is the crazy one because it's just trying to go wherever it again to make sure it follows the other two axis. And that's a rule that we're going to be following. Always, whenever we choose bones, we want them to be pointing to the next bone. And we want their local rotation axis to remain as clean as possible. So let me show you another example. Let's create like a very single bone chain here. Let's imagine this could be like a tail or it could be like a rope or something. And it's going to select all of the bones here in the outliner and activate the local rotation axis. And you can see that all of the rotation axis are very nicely set up, very nicely laid out because right now they're sharing the same orientation as the world. They're going all towards the x, all towards the sea and also worst away. But we can change this like let's say this is now no longer a rope and it's more like a, like a car, like a finger. If I select all of the bones here and I give them a little bit of rotation on the, on the y-axis to curl them up. Now, all of them are still following the same rule that we have. They're all pointing towards each other. They're just following one and the other. However, now they're not, they're no longer aligned to the world. They are following their own little like local rotation axis. Okay? So very, very important that we understand that each bone will have a rotation axis and we need to make sure that the bones are pointing towards the next bones and that the rest of the axis are as cleanly and S lined up as possible. Now, why our bones important? Why are we using bones instead of using groups? One of the reasons is bones actually exist that they have a shape. You can see that the shape of a bone is different than the shape of a group. And we can select bones so that makes it a little bit easier to work with. And the bones have two more properties that are really, really important. The first of these properties is the fact that they're going to be able to create something called a bind skin. So we're going to be able to create a fake skin that's going to be glued towards this bones. And each bone will be able to control and influence a different part of that skin in different ways. When we get to skinning, we'll take a look at that. But for now it's just important that you understand that bones have the ability to create a Bind Skin. Groups do not. So the skin we're going to find here, we're going to do that later on. The other property, the bones haven't. It's a very, very interesting is the following. If we go to the attribute editor of the bones, you're gonna see that on the Transform options there is this thing called a joint orient, okay? Again, this is something that only joints have not, not, not there's no other shaping Maya that has this joint orient option. And the joint orient is very cool because it allows us to freeze the transformations on the bones to keep a very clean Hebrew clean rotation here, making sure that the rig works very nicely without resetting the orientation to the world. Because remember whenever we have an object like this cube, we can always turn on the local rotation axis for the cube as well. So that's the local religion, ethics face of the cube. If we rotate the cube around, it has like the local religion aphasic axis of the cube is no longer aligned to the world of Maya, right? And if we freeze the transformation, what's going to happen is that that local rotation axis is going to reset and it's going to match the local rotation of the war rotation of Maya again, which for some things it's very useful, but for what we're doing, a hearing or reading, it's not going to help at all. So that's why we're going to need joints. Because when we select the joints here, like all of this joints, we can freeze the transformations. And you can see that now the rotations of the joints are zeroed out, which are very clean and are going to be very useful for the skinning and Reagan process. But there is no, there was no change on the local religion x is they, they kept that they are local rotational axis. And the reason why they kept it is because that information that we have done the rotation is now saved on that joint orient, as you can see down here. So it's kind of like like a safekeeping of the orientation. It's a little place where we can hide the true orientation of the bone without contaminating the normal rotation that we see here. Again, very, very useful. Now, you can see that there are a couple of translations that did not freeze. We don't have any freeze transformation here on the under translations. Why is that? Well, remember that we talked in the past video that every single time you have an object being connected to another object, three normal parent. What's going to happen here is that they're going to be inheriting certain information. So when we see this bone here, the first bone, this information is telling us that this bone is negative two units away from the c-axis and negative two units away from the x-axis. So it's on this position right here. This bone is 3.0578 units away in the x-axis from this guy. So the distance between this bone and this bone is 3.057. Now this one is, well, it's 4.992 units away in the x axis, this axis. So it's taking into account this axis, not the world, not Maya's, this bone which is its parents. So taking into account that the world of the parent, I'm only 4.9 units away from that origin, so that's my new origin. Think of it as a specific origin for each part of the chain. Got it. So so that's the basics of joints here. That's the, that's the main thing that we need to understand. There's a couple of rules that we're going to be doing here. And we're gonna be talking about this once we go into more in-depth examples. But one of the ones that I want to talk about is do not and I repeat, do not move joints. Whenever you're working with joints, if you buy any accident or by any chance, move a joint with translation. What's going to happen is that the local rotation axis of the previous joint is going to break. See that? So now this bone is no longer pointing toward this bone. Is that really, really, really, really, really messes up things. So usually, usually you will not want to move joints like that. If you place your joints and they're not exactly where you want, what you are allowed to do is you can rotate the joints and you can scale them. If we scale on the x-axis, you can see we're pushing the joint away. So if it's too far, too close, we can use the x axis to push the joint away. And we're going to be able to properly place the joint where we need it to be. That way as you can see, the information it's not broken. We still have our old rotational axis and the axes are pointing where they should be pointing. So we're in a good position there. The only thing that you need to do once, if you do that, Where were you scale and rotate things around is of course you're gonna do a freeze transformation afterwards to make sure that the scales and the rotations remained at CO. That's a very common mistake. Sometimes when you have several bones, I'm going to give you an example here. Let me duplicate this chain. And I'm going to press Shift P to M parented. Now, if I were to scale this joint for whatever reason and if I tried to parent this to this one, you're going to see that sometimes didn't happen this case, but sometimes we get a transformation note in-between them because it's trying to compensate for that scale difference. So very important that every time you do this, you phrase the transformation on the bones to make sure that things are working the way we want. Now, the bones can actually inherit things, or we can actually parent things to the bones in a very easy way. So for instance, if I, let's say I want to create like a, like a reptile tail or something like a mechanical tail. So I'm going to do this. And let's just duplicate this cube and keep it a little bit of rotation. Maybe I have like a, like a robot chimp or something. And we got this thing right here. Okay, so we grab 12345. So what we can do is we can go into rigging and then we create the very simple rig going to the middle points of this little tail to connect without using skinning. If we want to connect without using skinning, this tail, one very easy way to do, to do it is first I'm going to press this button here, which is X-ray Joints, so that we can see through the geometry and see the joints. And I'm going to grab this first box, grab the joint and hit P and get this box, grab this thing. He'd pee, get this joint, get this box hit P, and get this joint, get this book hit P. And finally, get this box, get this joint and heat p. So now if we take a look at this, you're gonna see that a wait a second. Okay, So, so that's the error that I was talking about. One thing that we forgot to do is we forgot to freeze the transformations on this thing. So let's freeze everything there. And again, let's just go here here and hit P. And then here, here and here and here and hit P books and joint P books and joint p. So we're parenting everything and we're going to see this nice little chain over here where we have our joint chain followed by r cubed chain. And the cool thing is seen as now those boxes are pretty much parented to the bones. If you move the bones, the boxes are broken them Opus one, this is a very rudimentary way of creating a hierarchy and animating. You do not want to do this. Skinning is always better because it's getting will allow you to export things into Unity and Unreal and other things. We like if we do this simple parent, this is not going to export properly. So that's why skinning is a preferred method. But this is right if you're going to do like a commercial or rendered inside of Maya, rendering or a reading in this way is, is completely, completely fine. So this again, basic hierarchy, basic barren, and we just went over the basic things that joins do. In the next video, we're going to be talking about something called constraints, which is the final thing that we need to talk about before we jump onto our first full reading experience or for reading exercise. So hang on tight and I'll see you back on the next one. Bye bye. 5. Constraints: Hey guys, welcome back to the next part of this series. Today we're going to continue we'd constraints. Now this is again the various theoretical position then, sorry that we're, we're covering so much theory and this Frisbee, There's usually like to start with a bang and go. We're very cool exercises and things for you to do. But for rigging again, as I've mentioned before, it's very important that you guys understand the basics and why things work the way they work before we start doing things. So constraints, which are all of these guys that we added onto our shelf on the first video, which again, you can find it here and constrain parent point or in scale, aim pull vector are ways in which we can connect to things without them being directly connected. What do I mean by this? Well, let's create this fear and let's create a cube. Okay? So right now this two objects live in the world. Very happy, very nicely. And what I'm going to just going to duplicate them. And what I am going to do is I'm going to select this sphere, select the cube and keep the p. So now this sphere is a son of this cube. And by being a son, each share. So a lot of the things that we talked about before. So wherever the box moves, the sphere is going to move. However, the bugs rotate. The sphere is going to orbit around the box. And if we scale this, both of them are going to scale at the same proportion. Even though this fear is not changing, right? Like it, It's just following the parent that the box has. Well, the only issue that we have here is the fact that this cube and this fear are directly connected during this single chain. And once we introduce the last thing that we're missing, which is the controllers, we won't be able to connect everything in a single chain because jew can only have a parent, an object can only have a parent, and we ought to have several connections. We're going to have to find another way. And that's the way or that's the moment in where constraints come into play. Constraints are connections that we're going to be creating between two objects that are indirect, meaning that they do not need to be directly parented like this. So if I grab this guy and this guy, which in this case, it's a little bit different. Remember it for the parent, for a normal parent, we grab the sun and then the parent hit P to parent the sun to the parents, of course. And for the constraints it's the other way around. And in order to not make it confusing, the way I like to explain it is you're going to select the driver. First we striping the formation or the transformation. And then you're going to select the driven. So driver driven, and we're going to say parent constraint. So what happened there? Well, the sphere jumped to where the cube is, toward the center of the pivot is, and the cube is now controlling everything. So again, if we move the cube or if we rotate the cube, this fear follows along pretty similar to what we have here. But the problem is that this fear jumped. Why did the jump? Well, on the options of the constraint, There's one thing called maintain offset by default that should be on. So I'm gonna keep it on for now. And what maintain offset does is it will keep the distance between the two objects and then they will connect them. We take that away. I said that's just saw it happening there. It will just like bring this object directly where it's supposed to or the parent object is, and they will then performed the connection. So we don't want that just yet. I'm going to grab again driver, driven and I'm going to say parent constraint. Well, I think since we created this, when the things where you just leave the constraints, whenever you create the button, whatever settings you have on the buttons are Jurgen that gets so we didn't have the offset on yet. So that's why we ha, we have that. So again, parents. So now wherever the cube goes this year is going to follow very similar to what we have here. However, you can see that on the outliner, things that are a little bit different, each object is separated and the thing that's combining them or getting them to work together. It's this little note cold a parent constraint. You can see the little chain link there on the red color. That's the constraint doing its job. So again, grab the cube, move it around or rotate around. It's going to be the exact same thing as if we had that. The only thing that's different is the scale. If we tried to scale, Q will scale, but the sphere won't. So it will keep the same distance, it will keep the same offset, but it will not change a proportions, which is something that we have back here, remember? So constraints, even though they look very similar to a traditional pair, that they do different things. So that's the first ones, That's Baron constraint. And as you can see if I select this here, you're gonna see that the sphere now has this light blue color. Whenever you see this light blue color, that means that there's a constraint and you can see that the channels of translation and rotation are now constraints. So that means that we can not connect anything else here because it will break the connection. If I tried to animate this thing by pressing S, you're gonna see that all of these channels get the nice red and this guy's good. The ugly green. That ugly green is pretty much my attain telling us, hey, you know what? This is, this is wrong. Something's, something's off here. You're not getting exactly what you want. So whenever we have a constraint, we usually don't animate because it creates more issues. Now, the next constraint, the next type of constraint. And for that I'm just going to duplicate this guy's a couple more times. Okay, I think I forgot to talk about this. So if I duplicate this guy and then I grab both of them and I tried to move them. We're going to get this. And then one note what this is. Of course you can't answer, right? But hopefully some of you are like, yeah, yeah, I've seen that before. Well, this is called a double transformation. And don't transformations. Happen when an object is connected in this way, usually a traditional parents, and you select both objects and transformed them in any way, in any direction. So what's happening here is if I move this thing like 10 units to the right, I'm moving the cube 10 units to the right. And since this year is presented to the cube, It's going to move ten units to the right. But since I'm selecting it, it's also moving ten more units to the right because it's getting a double transparent should, because I'm selecting it and because it's apparent of the thing that's moving as well. So usually again, we want to avoid that the way we're going to avoid the Shift P to MAY out to break the, what's the word the parent constraint. And I'm just going to duplicate this a couple more times. So we can see them that the other constraints, examples that we have here. So the next constraint is the point constraint. Again, driver driven. I'm going to check the point constraint mixture maintain offset is set to on and I'm going to hit Apply. So the point constraint, it's pretty much just a constraint of the translation. Wherever I move the cube, this sphere is going to follow no rotation, no scale, just the movement. So very useful when you want two things to move at the same time. The next one, driver driven is the Orient Constraint, which again, we're going to keep one thing on for now. And what they will do is something rotates. The other guy is going to rotate this. Well, let me turn on Wireframe unshaded so you can see very, very useful again. And whenever you want something to rotate in a specific way, you can connect every single thing and they're going to follow the driver. Scale, as the name implies, will do the scale constraint again, let's do maintain offset. There we go. So if we scale this guy, the other object will scale, but they will scale proportionately on its own position. As you can see here, it's not the same as a parent constraint where they both retain the same distance. In this case, each one will scale on its own place, which again, pretty useful. And finally, the aim constraint, this one's really, really cool. But for this one I actually need a different shape. So I'm going to grab like a cone. Here. There we go. So right now, this cone, as you can see, it has it's pointed area on the y-axis. The aim constraint works by making sure that the driver or the driven, sorry, the second object that just select points toward the first object that you select. However, there's one little option that you need to change here, and that's the aim vector. You want to say, Hey, which direction you want to use to point towards the object. In this case, if I wanted to point with the pointy edge, I will need to change the direction from 0 to one here, anytime you see three boxes, it's always x, y, and z, or RGB depending on the type of wood. So it was x, y, and z. So in this case I'm saying, hey, I wonder aim vector. So I want you to point with the y axis. The up vector is the one that you're going to use to stabilize. And I can What? Yeah, I'm going to use C. So what's going to happen is I'm going to point with y and then C is going to be pointing up if I hit Apply. Oh, sorry, that's using Let's just seen up there we go. So driver Durbin and apply. And there we go. So now we're pointing with the y-axis and the z-axis is using itself to stabilize, pointing towards the scene Ops tool up. Now if I move this thing, you're gonna see that the cone will always try to point towards that element. Again, super, super handy constraints are really, really cool. And not only for rigging, you can actually use them for other things. For instance, for animation, the imagined you're living like a spy scene and you have like several cameras. They're going to be pointing towards the character when he enters the room. Very easy to do. That way. You don't have to animate your camera to just animate a character doing all of the pirouettes and the jumps and stuff and an older cameras will automatically be following are another example I give my students who might need, you need to animate like, like a sunflower field. Just create a point or aim constraint from the sunflowers to the sun. And wherever the sun moves, the sunflowers are going to move as well. Very easy to create a lot of variation with that. And those are the constraints guys. Those are basically the things that we're going to be using. Now, here's where it, where things are gonna get a little bit interesting. And let's go to our Notepad here that we had before. So we remember that geometry is going to be moved by joints. And we know joints are going to be moved by controllers. Here's where the next part of the rigging principles are going to come into place. Geometry is going to be moved by joins. Thanks too skinny. And joints are gonna be moved by controllers thanks to constraints. Okay, So that's usually the rule of thumb. It doesn't always apply. Sometimes we're going to have some joints being moved by groups or by other things. But more often than not, you will constraint the controller to move a joint. And when you move the controller to Joan will move. And of course when you move the joint, the geometry will move. That's the, that's the heirarchy that we're gonna be following. That's a general principle that we're going to be preparing. And that's pretty much all the information you need in regards to theory. So thanks for holding off for this first couple of B, this that I know are very, it can be a little bit tedious due to the amount of information that we're covering. But we're now finally go going to go into in an extra size. I'm just going to allow us to understand how grading works in a better way. So yeah, that's it for this one. I'll see you back on the next one. Bye bye. 6. Robot Arm Joint Setup: Hey guys, welcome back to the next part of this chapter. Today we're going to start with an exercise that's going to be covering pretty much everything that we've seen so far in regards to theory. So let's go. This is the file that I have ready for you guys as some of you are familiar with this one because I share that with you on the animation course, we did a little bit of a quick rigging understanding of how rigs worked. But now we're actually going to do the rig and the rig that I shared on that course, which was not find less than what's actually just a very basic rig. Now we're going to do a proper rate for this thing. Now there's going to be two files on your file folders here. There's going to be this, a robot arm start and reward arms start lights. If you have a powerful computer and you'll want to work with textures and lights like I'm doing right here. You can use the lights one, it's just a sky dome light from our note that I changed the scale back to 0 so that we don't see it on the screen, but it's actually contributing and an ambient light to just feel the scene a little bit. If you're the one I work, we'd like to that's fine. Just press number five and you're going to be back into grayscale. I just think it looks very, very fancy to work with lights. So we're going to delight some textures just to, just to make it look a little bit nicer for, for the audience. And of course at the end you're going to have the mesh. I'm going to save this one now. The robot arm rig, the final rate so that you can check that you did everything, right. The textures and everything are already set up for you. They're going to be under source images folder as well. And the are known as ready-to-eat to render. So we have this robot arm right here and it's a single geometry. This is going to be really, really important that we turn off anti-aliasing. This is a single object that we're going to be reading in the other example in the past video or in the past series, it was made up of different parts and they were just like parented to a single object. But we're actually going to be skinning this thing to the joint setup that we're going to be creating. So before we start drawing joins in and trying to see how we're going to be making this thing work. We need to do a little bit of planning. So I'm going to go to the right view. And what I'm gonna do is I'm going to go into here my, my little grease pencil and let's quickly sketch out what kind of rate we want. So I know we're going to have a joint right here that's going to control the whole thing. This is going to be called the root joint and it's one of the most important joints in a rake. Then I know that we have this section right here that just kinda like rotates around. So we're definitely going to have another joint right about there. Then this section right here also rotates around the y-axis. So I'm going to have another one right there. And after this one, There's really no more rotations until we hit this part right here on the top. So on this area we're going to have another joint, but this one is not going to have the rotation on this axis is going to be on this axis. Hello. I'm, I got sorry. So I believe this is the x axis is going to be rotating around the x-axis. Then there was another joint right here. And that's also going to be rotating on the x-axis. And finally, one more joint right here, that's also going to be rotating around the x-axis. Then we're going to have another joint here on the little head. It's going to rotate on the y-axis again. So we're going to have this rotation so that we can move the head around. And then each individual little leg that we have right here, we'll have an independent joint like this that's going to create a rotation on its own axis. And this is the interesting part. That's why I created this robot that when I first started teaching rigging, because This is gonna teach us how the local rotational axes of the objects are super, super important. Okay, so that's the general, I think I'm actually going to print screen here. And let me, let me jump into Photoshop real quick. Just going to save it. I'll save the image so that you can guys, you guys can reference the interrelations that we're going to have if you need to. So I'm going to delete this whole thing now. And it's time that we start placing our joints. Now there's a couple of ways in which we can do it. We can create a chain like we did in the past couple would be this where I showed you the joint chains or we can do it individually. And I'm going to do it individually just to show you how we can then after placing the joints, we can then create a proper structure. So I'm going to start with my basic joint. They're going to hit enter. I'm not seeing it. Where does the joint okay. I think this is the thing that I've mentioned about. So in the viewport to 0, I'm going to say Alphabet. Select there. Oh, don't tell me it's because of the light or is the joint Oh, no. You know what joint? Show and joints. Just to make sure that we're saying the drinks. There we go. So I think we can have lights. Can we have lights, Mr. Maya? Yeah. Perfect. So this joint right here, I'm going to go right view. And we're going to snap it with x to the center of the grid. That's going to be my root joint. And I'm actually going to 0 it out so that it's perfectly flat on the underground. And I'm going to call this root underscore Jane t, because that's the root joint. And this joint, we don't need to change its local rotation axis. I'm going to turn it on just to see it because it's a very, it's very common that the root joint, it's oriented exactly the same way as the world because it's very common to just grab this guy and move it around. So we're going to leave that one perfectly, or just like that. Then I'm going to duplicate this guy. And I'm going to position this on the middle section of the next part, which is this cylinder right here. Now, the cool thing about geometry, of course, is that we have vertices that we can. Snap too. So see that predicts there. I'm just going to press V, I'm going to snap but joint right there. And I'm going to move it down a little bit just so that it's as close to the center as possible. So something like this. There we go. And you can see that this joint is a slightly off-center, but it's fine because it's on the center of the object that we want to, which is this one. Now the question will be, well, if we parent this joints together, this joint is not pointing towards this one. Is that a bad thing? Not necessarily because this joint, since this is a mechanical object, as long as the rotation that they're portraying is working good for the object itself, then we're going to be just fine. So I'm just going to grab this joint again. And this is going to be called, let's call this a robot. Say our a is going to be our initials robot arm and then is called this base a underscore G and D. Now we're gonna duplicate, move up and we have this next part, which again we can snap our joint to the center right there and move it as close as possible to the center line. It doesn't have to be perfect, don't worry. You can snap. But of course, if we snap, that's going to be that center. So that's works fine. And this is going to be Robert, our base be joint. And that's it. That's why it's very important to have the clear or to clean names. Because eventually, eventually we're going to be doing the skinning. And in order to clean the skinning in the best possible way, we need to make sure that things are working very, very nicely. So there we go. Our base a joint, base b joint, and we are we're we're ready. We're good to go and we can continue. So I'm gonna grab this guy right here and now the next bone, if you remember, we were talking about this. The next bone that we're going to have is this one right here, which will grab all of this faces and just move them down, right? So the whole arm is going to rotate from this one. I know that this machine or this robot arm is not it wouldn't work in the real world. It's not made to be realistic. It's just meant to show you the way the reading works. Let's turn on x-ray there. And then I've got this guy right here, duplicate it. And I'm going to position it in the middle of the cylinder, of the main cylinder, which is this one right here. So that's the point. Which means I'm going to grab this guy. We can use wire frame on shaded here to make it a little bit easier. And then with old u and v, I'm just going to snap it right there. Now for, let's say clarity sake, I'm going to snap this thing to the middle of the arm, which is roughly we're, we're gonna be using the rotation to rotate the whole thing. So I'm going to just snap it right there. Now this one does need actually that seems to be off-center. Let me check real quick. Yeah. I think we moved it accidentally, so I'm just going to re-center it right there. There we go. So when we move this thing, when we rotate this thing, we want this thing to rotate the whole thing. Okay? Now we're gonna go to the right view again, grab this 10. Of course this one, we need to change the name. This is going to be robot arm, arm joint. And then we're gonna duplicate and snap it to the next one. She can read about there. Make sure that we snap it to the center. There we go. This is going to be a robot arm. Be joint. And we remove that one. Do one more. Let's go right to you. Let's delete that camera. We don't need it Control D, and we snap it all the way down here to this little point. There we go. And again, we go to the center point and will snap it to the center like that. There we go. This cannot be a robot arm z. Then we have this little head. So this face right here. And I thought about like moving the whole thing here, like all of these elements, I want them to come like rotate on its, on its own axis. So I'm going to grab this guy, Control D, and I'm going to position it. There's a vertex down here, that one right there. It's going to be my, like my pivot point, my rotation point. So that one right there. So when I rotate this thing, the whole thing is going to rotate this. Well, this I'm going to call robot arm head joint. And now comes the interesting part. Now as you can see, the joints are a little bit too big. So what I'm gonna do is I'm just going to grab all of them and I'm going to change the scale or the radius, not the scale, the radius of the both to something like 0.2, which I think is going to be a little bit better so that we can see what's going on. And the radius does not matter at all. It's something that's just visual. You can have like super big bones are super small bones and it's completely fine. It's just for simplicity sake. Now, here's where things are gonna get interesting. I'm going to have to place a bone that goes in here and in the little light leg of the head. And then I'm going to have to find a way to rotate so that when we do the movement, all of the little legs right here move in the same way in close together. So that's where rotation axis is coming into place. I'm gonna go here and this first leg is probably the easiest one, so it's going to control D. And I'm going to move it. There's no pivot points, I'm just going to move it there on the center like that. And then I'm going to create, I'm going to duplicate this one and I'm going to position it on the point or the tip here. The only reason why I want to position it on the tip is for visual, for visual sake because this steps are not going to be moving anything. The main important when bones are going to be this one's up here. So I'm going to call this let's call this finger a underscore joint. And then the one that we copy is going to be a finger a tip because it's the tip underscore joint that we go. So now before we do the other fingers, we need to clean up our our elements. We could leave it like this. It's not going to be any, we're not going to create a nice sort of issue. We just a scheme like this, but I want to teach you guys the proper way to align things a, so that we can get some clean, clean geometry, clean joints here. So I'm going to hide the geometry. You can press Alt to, to hide the geometry for just a second. And let's start parenting. So I know that this guy, actually, I'm going to know that this guy is a son of this guy, so I'm going to grab one and then the GTP. And this guy is the son of this one and I'm going to hit B and that's fine. So those three guys, those are perfectly fine. But now for this case right here, I would like the bones to be pointing towards the next bone, in this case the y-axis. So I'm going to grab driver driven and I'm gonna say constraint, aim constraint. I'm going to point with the y axis and I'm going to use the x axis in this case over here to try and get this. Okay? So as you can see now I'm pointing where actually, I think I would like the y-axis to point in a different way. Let's see if we can use another one. Okay, I'm going to show you something cool here. So now I'm pointing towards the y-axis in the proper way. The constraint I no longer need. I just used it to get this first position. And now what I'm gonna do is I'm going to rotate. This thing would snap rotate here. I'm going to press E click and select discrete rotate. And I'm going to rotate this until we are using the, until the x axis is pointing towards the x-axis like this. So now the y-axis is properly pointing towards the front, but the x axis is properly pointing towards the side. Now this one, I'm going to do the same thing. So it does one of course we're gonna do a freeze transformation to clean everything. We're going to do the same for all of them actually. And then we're gonna say driver, driven and apply. So now it's pointing with the y axis. We don't need the aim constraint anymore. And we're just going to rotate this thing so that the x-axis is pointing to the site, should be properly aligned. This, there we go. Now we go and we're of course going to delete our first transformation. So now you can see that the y-axis is nicely pointing to the next section thing we miss one step here. That way. Let's go to the front view and see if we're a line or not. It seems like we're not a line. Okay. Let's give it another shot. So I'm just going to say let's go here. Again, a driver driven, we are going to point with the x axis and the up vector instead of the x. Let's see. There we go. That's a little bit. What I'm gonna do here is I'm going to say negative c. So that way, the x-axis, as you can see, it's now properly pointing to the x-axis for effects. So same deal here at 12, driver driven or pointing with the y-axis and we're using negative c, So we're pointing towards the floor and we're going to see it apply. And as you can see, now, everything is aligned properly. I'm also seeing that things are not completely aligned here, like see how each of them are in a different position. That's shouldn't be the case. But it's not making it difficult. So, so we're just gonna keep going. And then finally this guy, Let's bring the geometry back to that guy. I'm actually going to leave like this. I want to keep it like this because it's easier to just like grab the x-axis at this point and just move it back and forth. This one, I'm also going to leave with the world because it's very easy. Just grab this with a y axis and moment, but this one, the final one, we definitely want to use the tip. So I'm going to grab this guy, driver and driven. And we wouldn't want to point with the y-axis again and tried to keep the x in that way. So apply. And there we go. Now, all of this constraints we don't need anymore. We just use them too to properly set up the whole thing. And now we can start connecting everything else. So this guy and this guy, it's apparent. This guy and this guy, he'd the P that's apparent, or this guy, and this guy that's apparent, this guy and that guy that's apparent. And finally this guy and this guy That's appearance. And of course, this guy is gonna go towards this guy and that's going to be a parent. But before we parent that, I went to create this guy and this guy That's parents. I don't care about the rotation of the tibia because we're not going to be using, we're only going to be moving this guy right here. And as you can see, there's going to be a very clean movement. So I'm going to grab all of the fingers. I'm just going to freeze transformation. So again, every single rotation, everything is clean. Very important that we do that. And I went to keep this same orientation, but duplicate it towards the other parts of the characters or the, or the elements. So what am I gonna do here? Very easy. I'm going to grab this joint chain and I'm going to Control G to group it. And then the pivot point of this group, I'm going to move it to the bone right here, to the next bone in the, in the hierarchy, which is this one. And then this group I'm going to duplicate and rotate. So now as you can see, when we rotate this group, the orientation of the original joint, a little fingers that we have here remains the same. And that's going to make it super easy for us to animate everything. So I'm just going to rotate it like this. I don't remember the exact I think a 120 was the right one. So I'm going to leave it like that. Even if the bone is not perfectly aligned, that's fine. Like we could just like grab that group here and just align it a little bit better. Since translation is not what I'm worried about, that's perfectly fine. I'm going to grab the first group again control D, and then rotate to the other side. Should be right there. And again, I'm just going to move it because again, movement is not something I'm worried about. And there we go. So now before we finish this thing, be finished this like little connection thing. I'm going to clean this up. So this one is going to be B, the B finger finger, and this is going to be the sea figure. So the groups, they're only helped us to create the proper orientations. Now I'm just going to grab all of this three guys and I'm going to parent them, this guy. And as you can see, we keep the same orientations that we have. Each of them is pointing with the y-axis and the x-axis to the proper orientation. And the groups are no longer needed, so we can just delete them. I'm going to grab the root joint. I'm going to freeze transformation. And when we do that, it freezes the transformation of everything. And now look at this beautiful thing. If we grab all three fingers here, not the tips of the fingers, and we select rotation and we wrote it in next. They're all going to rotate at the same time, in the same direction. And eventually they're going to just like get together there. And that we're gonna get a very nice effect where all of them by just moving one single channel, by just moving the x channel in the same value in the same direction, we're gonna get this sort of like mirror effect, this principle that I'm showing you guys here how to properly align things to get the best out of the rotations. It's going to be super, super important and we're going to use it for fingers, we're going to use it for the neck, for the legs, for the arms. Like there's a lot of things we're gonna do for the final character. And it's very important that you understand that the local rotation axis of this things are all following the same sort of degree. Okay? So now our error, let's just call this I a R a. Our joint is ready, our whole skeleton is ready. We have the proper situation for the thing and now we can do the rigging. There's several schools of thoughts and here, some people would like to do the screening first. Some people like to do the controller's first. I'm going to show you the skinning first because it's a little bit easier and that way we can make sure that everything is working properly. And then we'll move on to controls where all we will be adding each controller and making sure that it moves exactly what it needs to move. Now, for this kidney, we actually don't need this guys right here, the tips. Some people like to keep them to keep the visual like idea of where things are going. I personally don't think that's useful, so I am going to delete them and we're just going to be using this little three right here. That way we're going to keep it simple. They're going to do the exact same thing. You need to just imagine that they have like an invisible joint coming out of them. But if you want to keep the tips, then that's completely fine as well. Yes. So so that's it for this video, guys. Make sure you get your skeleton looking like this, like completely nice. All of the arms, for instance, this first arm and this second arm, they're pointing towards the next one just to keep it clean. This guys are oriented to the world. This two guys are also oriented to the world. And of course, the little things here are oriented towards the tip that we just deleted. So that's where it should be, that's the result that you should have. And with this, we're ready to jump onto skinning. So hang on tight and I'll see you back on the next one. Bye bye. 7. Robot Arm Skinning: Hey guys, welcome back to the next part of this chapter. Today we're going to continue with the skidding, so let's get to it. In the last video, we finished the proper orientation and positioning of the joints for this crane. And as you can see, we have some bones that are going in some very crazy ways, but that's completely fine. One of the rules that one of my teachers taught me about rigging is some people freak out when bones are like poking out of the characters. But you need to remember that you're never going to see the bones. The bones are invisible in the rendering the game, as long as the movement and the rotations that you're looking for are working in the way you're expecting them to work, then you're going to be completely fine. So the next step is skinning. Skinning is the process that we're going to use to connect all of these joints that we just created. Geometry that we have here. As you can see, this geometry is a single geometry that's important because every time you create a skin cluster, if you have several pieces of geometry, you're going to get several scheme clusters. And even though that's not a bad thing, it definitely it's a performance thing. So usually, usually you want everything to be a single geometry to avoid having several scheme across clusters and be able to control everything. We just want skinning method. So what I'm gonna do here, and this is very important. I'm going to select all of the joints individually. Do not make the mistake of just selecting the last or the first joint and thinking that you're good here, you're going to select all of the joints which are going to be skinning two. And then you're going to select the geometry. You're going to go into Skin Bind scheme. And then you're going to use the following options. Let me reset the settings. You're going to change this from joined Cherokee to select the joints so that only the joints that you have selected, which in this case, of course it's all of them are gonna be, you're gonna get that skinning. Right now we're going to use closest distance, classic linear, keep everything together. The only thing I'm going to change as this max influence, I usually keep it up for, for this thing which is a mechanical object, it really doesn't matter because we're going to be pretty much having full or complete sections of the reading ready. But for characters for is usually a little bit better and I'm just gonna hit Apply. Now what's going to happen, as you can see here, is that the joints which are going to change color. And depending on the color, you can see how far in the heirarchy they are. So for instance, this guys that are deep pink are the last bone, so the heirarchy. And as we go through the hue, we're going to go all the way to like this orange, which is the root joint. If we select the root joint and we move it, everything's going to move course. But the wizard like the next one then we tried to move it or rotate it. You're gonna see that things are going to start twisting it very weird way. So it looks like there's a lot of influences that are not where we want them to be. And this is where the next tool comes into play, which is the Paint Skin Weights tool. So I'm going to select the object. I'm going to go into skin and we're gonna go into this paints keen of white tool. I'm going to double-click it over here to make sure that we open the tool settings. And this is the thing that we're gonna be using quite a bit throughout the course, which is the way in which we are going to be correcting and painting the weights is in a way that we want them to work. So if we go to the robot joints or to the root joint, you're gonna see that this character right here, I should have this thing called use colorRamp turned on so that we can see the gradient better. This root joint right here has a lot of influence on a lot of different parts. So if we move this root joint, we're going to be moving of course everything because of the heirarchy. But if we were to isolate this joint, one interesting thing that will happen is it will move vertices all the way up here so that the hotter the color, the more influence it has. And what I need to do is I need to start painting things in such a way that they only move the things that I want them to move. I usually like to start from the from the tip all the way to the back. So people like to do it other way around. It's perfectly fine. So let's go, for instance, to this robot finger a, which is this first one. And you can immediately see that this bone right here has a lot of influence in areas that I don't want there to be influenced. So it's bending the other fingers and it's doing some very weird things right there. So let's fix it the way we're going to fix it. It's, it's very, very simple. We're gonna go into the Options here. And the first thing I'm going to go to the Select option, I'm going to select this option. I'm going to double-click this edge is right here to select the whole island of vertices or the whole face Iowa right here. And then I'm going to go into the paint mode and I'm going to select a value of one or replace, I'm gonna flooded. So what that's doing is it's telling, hey, all of you Burgesses, all of you a little guys, you're all going to follow this bone completely a burdens. He can only follow an object up to a value of one. So if we're flooding this thing with a value of one worth telling this vertices, you will only follow that guy and that guy only. So if there was any other weight this vertices were following somewhere else with another bone, they deleted that the amount of influence and now they're completely following this bone right here. I'm going to do the same with the finger beam. So I'm going to go finger b, I'm going to say Select, I'm going to select all of these guys. I'm going to go paint. I'm going to say Opacity one value will replace flood. So now all of this vertices are only going to be following the B adjoint right there. We're gonna do the same thing for the SI joint. And you can actually see that the color is getting a little bit more intense here because all of the joint that was lost on other parts of the element is now coming back to the parts that it should be going. So select, double-click on this guy's paint and I'm going to say fluff. And there we go. So now if we take a look at this guys, if we select the bones and we rotate, the little metal thing rotates very nicely. You can see that it's not the forming anymore, but there's still some information on the, on the head of the thing right then this other part. Now that's going to be sold very easily because now if we go to the head thing and we go into Select, we can say, hey, this head and this object right here, and this object right here, like all of those three objects, I want you to please flood them and only obey this joint right here. So that if I move this, we get this nice rotation that we're looking for. We select this and we move it. Now it's only moving that little middle part. Why? Because all the way that was assigned to the head here is now assigned to the proper bone that we have here. So that's why I don't worry too much about like flooding everything to 0 and then back to one. I just flipped to one on this particular objects because as, as I go down the line, the line here, everything is just going to keep following. So for instance here, what do I want to move with this? It just this two things, just this like metal thing and this plastic thing. So I'm going to again select the geometry, double-click on my, my tool here, go to the RMC joint, going to select, and I'm going to select this coin thing, this thing. Go back to paint and flood. Because that's it. Because all of these things right here are going to be controlled by the arm be joint. So I'm gonna go to the RB joint. I'm going to select, I'm going to start selecting, I'm going to start all the way here. So let's go this little guy, this whole thing. This other little guy. And then up here, like this metal chunk, this whole thing right here. Here's where modelling like proper modeling techniques are going to be a lifesaver. Because if you model everything in the proper way, then all of this is going to be really fast. It's gonna go paint and I'm going to say fluff. So now as you can see, all of this section is being controlled by this joint. Let's select the joint. And you can see that it's moving this again, I'm not worried about this deformation here because as soon as I correct that information for this bone, all of those weights or can they be lost and everything is going to be working properly? Same thing here. Like I can check this out and look at how nice that looks are done moves. So like the geometry again, double-click here, go into the next arm, which is this one, and go into Select. And we're going to start with this leg begun middle chunk. This one right here. This little bolt, this thing right here. And I think that's it. There is a couple of geometry mistakes here. I don't remember when I move this thing, but I could definitely do it better now. So I'm just gonna go paint and the fluff, and there we go. So now this whole arm is going to be modified by this ball right there. So when we move the bone, everything moves. Again. Not worried about this deformation there. It looks very wacky, very cartoonish. Because as soon as we start painting the next part, which is all of this area, everything is going to be clean. Some people would like, again to work from the bottom up. I don't know why I like doing it the other way around, but it has worked well for me. So here on the basis of the second base widths from this guy's just going to double-click here. Here, here. This whole like plastic chunk and this, and the flood to one. So all of that section is now going to be moved by this bone right here. We go to base a right here. And this base a, it's going to be this circular. Circular. Like thinking right here, here. And here. I was about to say a bad word. They are usually very when I teach my classes, I just say a lot of things that I need to keep it a family-friendly here. Sorry for that guys. Now we're gonna go to the root joint and the origin is going to move this remaining things. I'm just going to grab this thing here, double-click. And I think that said, I think, I don't think there's any extra geometry. It's just going to go back to paint and fluffy. Now we do a test. So if we move the root joint, of course everything's going to move. If mobile, if we move this guy area, nice only if this thing is going to rotate. Great. And then if we grab this guy and we move it, the top part is going to rotate. Very cool. If we grab this joint right here, the arm is going to rotate. Very nice. If we grab this thing, the arm is going to rotate very nice as well. It wherever this thing, nice. We've got this thing. We get this effect very cool, which again, it's only going to move this inner part, not this upper part, so it's perfect. Here's the, here's the real test for you guys. If you grab this three bones and you rotate them in next at the same time, you should get this effect. If you're not getting this, then you probably mess something up on the local rotation axis. And that's what's, that's what's making this whole thing. What that might be, what's breaking the whole thing. And yeah. So that's suitcase that said there are as you can see, our binds. It's working. It's working nicely. Everything is it's working the way we intended to work. And now we're ready to jump onto the next part, which is the controllers. We're going to be creating controllers because it's very, very time-consuming to go into each of these bones and tried to move the bone by itself. So now we're going to be going into the, what's the word into the, into the controller part of where we're going to be creating controllers, making sure they're really, really clean and constraining them. We're going to be connecting them with constraints to make sure that everything moves and animates the way we expect it to. So that's it for this one guys. Make sure to clean up your skinning, make sure that it's looking very nice. Of course, the local rotation axis and the joints from the past. We do need to be perfect for this to work. And I'll see you back on the next one. Bye bye. 8. Robot Arm Controllers: Hi guys. Welcome back to the next part of this chapter. Today we're going to continue with the controllers of our robot arm. So let's get to it. This is where we left off last time. You're just going to say real quick. And today we're going to be adding the controller. So they're going to be moving the joints that at the end of the day we'll be moving, of course, the geometry. So controllers are just curves. We're going to find them here, create NURBS primitives and it's circle. I'm actually going to add it here to my shelf because we're gonna be using quite a bit. And controllers are just curves that we use. And the reason why we use groups is because they're easy to select, they're easy to see. We can very easily turn them on and off whenever we want to show just the geometry or just the bones are just the character. So this will never be exported to unreal or unity. They will never be seen. They're just here to facilitate the movement of the joints. Because again, trying to select the joints here, as you can see some things, we select the geometry and it's a little bit difficult to find them. So curves and controllers are going to be really, really helpful for that. And in the same way that we have this a here key of controllers here, we need to create a hierarchy of controllers that follow the same sort of pattern. So I'm going to create my first controller. And this I'm going to make it really big. I'm going to Fraser transformations. I'm going to call this robot arm. Wrote control. And this control, as the name implies, will of course control the root bones. So now I don't need to select a route bone because I'm going to be selecting this controller to make sure that everything works. Now before we start connecting things, I usually like to build the whole skeleton of controllers. Make sure that the skeleton of controllers works properly. And then we are going to be moving them to where they need to be. So I'm going to duplicate this curve Control D, and I'm going to snap it to the next bone. Let's turn off the geometry for now. So I'm going to snap it to the next one to turn off the geometry. Remember all too, It's a very quick way to turn off the geometry. So altitude, and I'm just going to snap it and scale it down a little bit to a useable size. Now, one of the cool things about controllers is that you can actually deform them here on the control vertex. I'm just going to right-click select Control Vertex, grab this control vertex and just move them up. And you can see that we create this fancy controller that has a little bit of a nice shape. And since we moved the controllers, nothing here is a modified. Now, since both of these two elements are oriented to the world, I can very easily freeze the transformations and that's fine because they're going to be sharing the same rotation axis, which is very important. I'm gonna grab this guy again, control D, snap it to the next bone. Right there. Scale it. So that goes closer to what it's supposed to move, something like this. We always want controllers to be easy to select, so don't make them super small and super tight. They're given them enough room, something like this. And again, since this one is rotated in the exact same way as the rest of them, I'm just going to hit freeze transformation and that's going to be fun. It's very important that the curves are clean because those are the ones that the animators are going to be animating. So that's why we're cleaning this up. Now, the problem is going to come with this following curves like this guy and this guy, this guy and this guy are the other two guys over here. Those are easy because they are again in the same direction as the, as the rest of them. But these two guys have a different rotation. So I'm gonna show you a little trick that we're going to be using quite a bit to create a proper orientation for the curve. I am going to create a curved end immediately. I'm going to Control G. I'm going to group it. Okay? So this group now, I want this group to, to pretty much make a jump and go all the way over here to this joint. So I'm going to select the joint driver, select the group driven, and I'm gonna say constraint parent without maintain offset. So when we turn off maintain officer, what's going to happen is this group is going to jump to the location of this bone and it's going to orient itself into rotation that the bone has. So I'm going to hit apply and you can see how the curve very nicely orients it, or it has changed its orientation so that it fits the proper orientation of the joint. That's exactly what we need. Now we don't need the group anymore. You're income's going to delete it and we have the curb right here. The only problem with this curve, as you can see, is that it's an, a very weird position. It's going to be a little bit difficult to select. Here's where again, the control vertexes come into place. So I'm just going to isolate the appropriate quick here. She goes to select the curve, which very important, it's clean. The curve is completely clean. That's super, super important. I'm going to isolate it, select all the control vertices, present letter e, Press and it just makes sure that discrete orotate is set to on and just rotate this so that it's completely flat like this. And now we can scale it without any fear of modifying the values. Because when we modify the control vertex, the values are not changed. So that way we can create this very nice little element that when we rotate, we know it's going to rotate in the exact same orientation that the bone has. So I'm going to select this group. I'm going to duplicate it again. I'm going to select this bone. The next group, I'm going to say constrain parent again. And as you can see that the curve is completely clean, but its position and oriented in the exact same way as the, as the bone, which is what we're looking for. The constraint we don't need anymore. Now technically we should be doing that for every single one of them. So technically we should have a group on each one of them. I am going to add that just to just to keep it clean and make sure that we're doing things the proper way. So every single curve will have a group that's gonna move it and control it. And now for instance, I can grab like this guy again, grab the group Control D. And this guy has the same orientation as the world. So I'm just gonna snippet, snap it to the bone right there because I guess the same orientation. And then we want to scale it. We can scale the group. One of the great advantages of this groups is that they can save a lot of information. And since we're not going to be accessing them, they weren't, the animator is not going to be able to modify them. We can keep them exactly like that. We don't need to freeze transformation. We don't need to do anything because the curve, as you can see, it's completely clean. So now we have this, now this one, I do want to move it as well because it's supposed to be a rotation, so I'm just going to rotate it. So this, on this axis, There we go. So I know that when I select this guy and again I wrote it on the X axis, this whole thing is going to rotate nicely. Let's grab the group again. Not that one described like this group, Control D. And we're going to again snippet now to the head of the, of the little fingers. So we go there. Now the group again, remember that group, we can scale the group. We cannot scale the curve because the curve needs to remain clean. So 0001111 of the ways you're going to know if you're doing things right, if you check your curves, all of your groups should be oriented in the way that the bone is oriented and it should keep its transformations completely clean. That's super important. I haven't changed the names just yet. We're gonna do that shortly. So here again, grab the group, we can make it slow but smaller. That's fine. Now for this one, since they have a spatial orientation, I'm going to do the same trick that I did before. I'm going to create a new curve, Control D, sorry, Control G to group it. And then I'm going to grab the bone, the group, I'm going to say constraint parent. That way the curve jumps over there and that's completely fine. One thing you can do actually is you can grab this curve. And when we did the curve, that curve is set to a normal of y. And we turned that off and said to x, it should be aligned to the, to the way that the curve is supposed to be a line. Now here again, what I'm gonna do is we're just going to grab all of these control vertices, make them smaller. And you can go fancy with this. For instance, I can grab like say this guys and these guys. And I can create like a, like a little arrow shape. And since we're just modifying the vertices, that's completely fine. It's not, but it's not going to affect the curvature because the rotation of the curvature, It's exactly the same. You can even like move these guys out of the, of the axis like this. So that's a little bit easier to control like there. So that way in asymmetric is going to be very, it will be very easy to select this guy and then just move it and it's going to do the exact same thing. So now what I'm gonna do is this group, I'm going to delete the constraint. We don't need it anymore. Make sure my curve is clean. Perfect, it is clean. Grab the group, duplicate the group, grabbed the bone, the new group, and say constrain parent. And you can see that it's gonna go exactly where it needs to be on the proper orientation. The constraint, we don't need that anymore. We duplicate the group. Grab the last bone, this one right here. Grab the group constraint parent. And again delayed the constraint. And there we go. So now we have three little arrows that are going to be very easy to select. And when we select all of these little arrows and we turn them, they're going to turn in the exact same way. So as you can see, they share the exact same orientation as the points. And the reason why they changed the order they share the same exact orientation is thanks to the constraints that we did. Because when you do a constraint, you inherit the direct connection that you're applying there. So now all of our controllers are good. It's time that we clean them up because they're a complete mess right now. So I'm going to call this robot arm finger c, control. And this is going to be fingers you control group. And then this one is going to be a robot arm, finger be controlled. And this is going to be finger, robot be controlled. Well that's control group and control. And then this is going to be finger a control and is going to be a finger a control group. Make sure that everything is like the naming convention should be consistent. Now, there's one is the robot arm. Hit Control. And this is head control group. This is the arm. So this is going to be ARM C control. And of course there's going to be our PI controller. Just copy this, is going to be control B, control a. And then we can just copy this. Paste here. Leave the control name. Just to control this is the, that is the root. Seems a weight that I must stop. I think I messed up. I think I messed up. So that's the head. That's fine. I was not looking at the things. So yeah. So this is not the this is well, this is base, so I'm just gonna change this to base. Very important to look at it. I was under the impression that the groups word order, but they were not. So this is base eight. Base eight, this is the route control, that's fine. So this is going to be the control group. And finally this guys are the arms. So let's just copy the arm. So this is RMB. And I would guess this arm a Almost there, Almost there. I know this is a little bit time-consuming, but I want to make sure that everything is here and the ones keep any, any step for you guys. There we go. So now all of our controllers are properly named and they're properly position. The only problem is that they're not properly connected. So if I were to move the root joint, you can see that nothing is following it. So it's very important that things are parented exact same way that the joints are parented. So in this same structure, we need to have this one right here. So I'm going to grab all of the groups from the fingers and all of them are going to be controlled or parented to that controller of the head. So that when we move the controller of the head like this, all of the fingers follow that. And then the group of the head is going to be to the RMC. The group of the RMC is going to be two to the controller of the beam. So as you can see, we're going to have, instead of having just like pure controllers are pure groups, it's going to be 11. And we're going to have this very nicely heirarchy. Okay, careful here because I was doing again the same mistake. So the AAMC to the RMB controller and that the R&B group to the arm a controller. And then the arm a group to the base b controller. And then the base B group to the base a controller. And finally the base a controller to this C, to the root controller. Okay, So if we see the full here, archaea, we're gonna get this. And this is where people start getting scared because when it, whenever you see a Reagan, you open the LD lenders and all of those connections. You're like, Well what the hell is going on here, right? But hopefully with this little exercise that we're doing here, you can understand that it's actually not that difficult. It's just following the basic situation of the, or the basic movement. And if we were to move the main group here, that's weird. Oh, here. There we go. Rookie mistake. So now if we move this guy, the whole rig moves with it, right? Because this controller is controlling everything else. So it's very important that the whole chain follows everything properly. And again, it's very important that you check each individual curb and you need to make sure that the curves are clean. Okay. If you have any transformation and something occurs, that means you mess something up and you need to go back and check where you forgot to I, the group we're deleting a string or something because it curves. This are the curves that the animators or die we are going to be using and they need to be cleaned, completely clean. Their groups can be dirty. We're going to have a lot of information on the groups, that's fine. Groups we're never going to see the important things are the curves right here. Okay? Now we're going to jump on to the final part, which is making sure that when we move things, everything moves with it, right? So now we have our heirarchy of curves, we have our controllers and we have our geometry, that the bones are already connected to the geometry. So we move a bone, everything moves. But if we move a curb, the bones are no moving. So we need to connect your curves are the controllers to the bolts and it's going to be super, super easy. I'm going to select the curve that I want to use as a controller, the driver and then the driven, which in this case is the bone. Let's turn off this for a second. So driver driven. And in this case the first one is going to be a parent constraint. And we're gonna keep, we can keep, maintain offset on or off. It's should be the same because we are not moving anything. And now the bone, as you can see, which the rotation here, the bone is constraints. So wherever I move this thing, everything is going to follow. Okay? So for this one, we're gonna do only when only the parent constraint, we only need an orient constraint. So we're gonna say constraint or in constraint, there's one same thing. So her bone constrain orient constraint, curve, bone constraint, orient constraint, curve, bone constrain orient constraint, curve, bone constraint, orient constraint, curve, bone constrain orient constraint, curve. G to repeat the last action. Controller, bone, G, controller bone and G. And there we go. So now every single curve is connected to its specific bone. And if we move a controller, the bones are going to move. Okay, now how do we test it? Of course, check the geometry. If we graph, for instance, the root bone. Sorry, if we've got the root bone and we move it, everything is going to move because this is the only bone that had a parent constraint because he has movement and orientation or rotation. Everything else only has rotation. So it's going to be moving here at rotating perfect. Now this guy, if we move it, nothing happens, but if we rotate it, the whole thing rotates. This thing is the same thing. If we move it, nothing happens but if we rotate, it rotates. Same thing for this guy. We're going to have rotation. This guy we're going to have rotation. This guy we're going to have rotation. This guy we're going to have a rotation. And finally, if we've got our three little arrows here and we rotate around the same time. We're gonna get this very nice effect. Okay, so our connections are working properly. You can see now all of the bones have all of these constraints that are making. This is changing the whole thing right? Now. To clean this up a little bit, we're going to go into the clean up face. But I think the video is running a little bit along now, so I'm going to stop it right here, just where we just finished the constraint options. And again, you can test this out. You can move these things around and you're going to be able to see that the whole thing is moving in the way we expect. And the next thing we need to do is we need to do a clean-up past. We're gonna do a clean-up best. And then we're going to do an animation tests just to make sure that we're able to animate that the way we want. So yeah, that's it for this video guys. Hopefully the information within this video was clear enough. Again, remember, the most important thing is that the curves need to be cleaned when we're positioning and orienting them. And the constraints are going to be moving the bones. We're going to constrain the curve to the bone. Driver is a curb driven is double. Check the video a couple of times if you're still have questions trying to follow it step-by-step. I know that I sometimes call it little bit fast, but hopefully it's to give it, to keep it fresh, to keep it entertaining and so that you can just go back and refresh it there you need to. So that's it for this one, guys. And I'll see you back on the next one. Bye bye. 9. Robot Arm Clean Up: Hey guys, welcome back to the next part of our series. Today we're going to continue with that cleanup of the arm, which is the pretty final part of that's pretty much the final part for the rigging steps. And then we're just gonna do one quick animation test to make sure that everything works as intended. So the cleanup is what will allow us to make sure everything is working and that animators are not going to be messing up with things that we don't want them to mess up with. Okay, so first thing I'm gonna do is I'm gonna select the root joint, the controller groups and the GEO, and I'm going to Control G, all of them. This is going to be my robot. Arm raised that way on the outliner we only have one note. And again, we can of course move it. We can't scale it really because it breaks the geometry. So this rigorous intended to work at a specific size. We're going to talk about that later on. But at least everything is just one single group and that makes it keeps it a little bit cleaner. Now, what do we need to do is we need to make sure that animators do not mess up with things that we don't want them to mess up with. I know that's very redundant, but here's, here's what I mean. If we go to this first element and we move it, it moves. If we rotate it, eroded, well, if we scale, we break it, nothing's happening. So that means that this rig is not intended to be scale, it's only intended to work. So what I'm gonna do is I'm going to select scaling disability. I'm going to right-click and I'm going to say a lock and hide selected. That way animators won't be able to scale it or turn off the visibility. They will only be able to move it and rotate it. Same with the next one. For instance, this guy right here, we only want animators to rotate on the y-axis. We only want this movement for this part of the rig. So what I'm gonna do is I'm going to select everything but the white axis right-click and I'm going to say lock and hide selected. That way only the y-axis is going to be available for animators and that's the only thing we're going to be able to move. But that's not all we get actually constrain how much we want this y axis to move. Because as you can see here, if we move it right about there, Let's just turn off the screen, rotate right about there. It starts colliding with something like here. So I would say that this thing can only move 30 degrees to the backend, 30 degrees on the other side. So how can we constrain that? Well, if we go into the controller, control a, to go into the shape, we can go to the controller itself, limit information, and we can limit how far it goes on the y-axis. So I'm going to turn it on and on. And the limit's going to be minus 3030. That way when animators tried to move this, they will only be able to move it on that position, see how it stops. Like I can keep going with the mouse, but they will only stop at 30 and minus 30 because that's the limit. I'm adding. This one right here. I don't want any limits, so I'm just going to leave it like this, but I do want to block everything that's not the y-axis. So just like this one, leg right-click and say lock and hide selected. Now, let's say by, by any reason for some, you had an issue and you unfortunately luck and hit everything. How do you bring it back? Well, and how you're going to have to do something a little bit more tedious. You're going to have to go into Windows, it general editors. And you're gonna go to the Component Editor, not in other components or Windows. General editors. And it's the channel control. And in the channel control, you're going to have to look for the channels that you want to key and that are locked. So right here as you can see, we have the non-kin hidden. So we need to go and look for rotation y and move it to cable. So that's here. And then on the lock options, I will need to select the rotation y and move it to the non locked. So it just a little bit of extra work if you make that mistake. But it's very easy again, is just a Windows general editors and it's the channel control. And you're just going to have to look for the channel, the Jew for God, or the Jew mistakenly hit and locked and just move them to the site where they need to be. And there we go. So there's one very easy, we have all of the moments there. Now for this one, we want the x axis because that's the one that's moving. So we select everything above the x axis, right-click and we're going to say lock and hide selected. And we also want to limit the rotation. So it's probably going to be limited to something like this. So that's a 100 degrees and to the back it's going to be a 140. So we select this guy, we go limit. So the minimum is minus a 140, and the maximum is a 100 degrees. That means that this arm can only rotate until it hits there, until it hits there. That way we stop the animators and we make sure that animals are not going to be animating things more than they should. Now for the next one, this one right here, again, it's only going to be the x axis that we want to rotate. Right-click, we'll lock and hide selected. And we want to go, I would say probably like 20 degrees here. And to the other side is minus 220, let's say minus 220. So we go minus 220 and the maximum amount of movement that it's going to have, it's going to be 20. This one right here. It's going to be very little because as you can see, it will crash very, very soon with the thing here. So it's gonna be, it's gonna be the x axis as well. So just lock and hide everything else. And then the limits, we're going to have a limit of 15 probably and minus 80. So this is going to be minus 80. And I'm going to say ten. That way we have 90 degrees of rotation. There's one that's going to be free rotation. We're just going to select everything and lock everything about the y-axis. So lock and hide selected. Now the way we can only rotate the head like this, free rotation again, it seems like the knots fine, it's fine. I think it's just a way shadow there. And then finally the little arms right here. I know that the rotation that we have is x, so we're going to hide everything but X, lock and hide selected and the amount of like a movement they're going to have towards the x-axis is going to be, I'm going to say 30 degrees positive. And I think, I think minus 60 degrees and negative is good. So unfortunately this, we have to do it individually. So it's going to be minus 60 and 30. And this is minus 16 and 30. And finally minus 60 and 30. And there we go. So now if we select all of them again, we can just do this. And as you can see, it stops at 60 and they're so very cool, right? And and that's it. That's pretty much it. That's the cleanup process for our little robot arm right here. That that's all we need that we now are sure that any matters won't be able to animate things that they're not supposed to animate. Because everything's gonna just going to be hidden or not selectable. And we have everything that we need to move forward. Now, usually when I teach reading, we don't do the next thing that I'm going to show you, but I think it's a good thing to take into consideration whenever you're doing a rake and that's to do a rake test. So we're going to be doing a small animation where we just test out the limits of the rig in such a way that people can appreciate it and habitus as a point of reference. So that's going to be it for this video. We're just going to have desk next video to finish the animation at test. And after that, we're going to jump into Chapter two where we're going to take a look at a little bit more of organic skinning and organic objects. So hang on tight and I'll see you back on the next one. Bye bye. 10. Robot Arm Animation Test: Hey guys, welcome back to the next part of the series. Today we're going to finish the robot arm and we're gonna do it with something very special call an animation tests. So let's get to it. This is where we left off. Our full controls are working and everything is looking very nice. And the animation test is something that I recommend for all of your rigorous out there to the 12 percent your portfolio in a better way. Whenever you present your portfolios or rigor, the thing that people are looking for is making sure that works as intended, right? However, it's very difficult to just send a rig to someone, making them open at make sure everything is connected and then try it out. It's better if we can do a little bit of an animation tests. And you've probably seen this before in the dream works like making off movies. And you're going to see that they do like some weird movements like jobs raising the arms, lowering the arms, like bending the character one way or another. Those are the animation tests that you want to see to make sure everything is working asymptote. So we're going to do something very simple here. The first thing I wanna do, and this is something that we can actually include with the rig scene file. We can grab all of the controllers one by one. Or you can also go Select all by type NURBS curves. And that's gonna select all of the curves. And we're going to create something called a quickselect set. So I'm going to go into Create set. I'm going to say a quickselect set and I'm going to call this a robot arm. The way anytime we need to select all of the controllers are going to be just right here. So it's very easy to just select them here. It says it's an independent parts of the thing like the actual curves are, are over here. This is just like a reference. And one of the cool things about this is if you've seen our animation course, you can actually go into select quickselect sets and you can press control shift click to create a little button here that will automatically select everything so that we can key-frame them a little bit easier. So I'm gonna go here into Show and I'm going to hide the joints. I don't want to see the joints. I just wanna see the character here, and this is a robot. So we're gonna do a fairly long test. So I'm gonna say like 600s frames. And what I wanna do is I want to see the full range of motion for the thing. So we're going to start simple, meaning I'm just going to select all of the curves. And in frame 1 I'm going to press S. And then in frame 100th, I am going to start moving him. So let's say, let's move him toward the right and then all the way to the right like this. And then let's like Ben him over a little bit and move this thing like this. And let's keep this thing like stylize are, Let's go like this. So now if we check the animation, we have this. And then we can have the opposite. So I'm going to go from frame, I'm going to go back to the origin in another a 100 frames. So by frame 200 I'm going to go back to, so it's gonna be like one. And then o here, very important, select all the curves before we do this. So this select all the curves. And then from frame one, Let's go to frame 200. Hit S. So it's going to go, It's going to be like, okay, we go there. I'm going to hold the pose for just a couple of frames, select ten frames. So I'm going to select this frame right here, and then middle mouse button click on the next frame right here. That way, this guy like hold is that both for a little bit. And then it just comes back. And then I'm going to make it go to the other side. So let's rotate to the other side. That's rooted in this case we're going to go up or rather I think that one's fine. I'm just going to leave that one there. We're going to go up here. Are gonna go up here. And I want to, I want to rotate the whole little head here. So first I'm gonna, I'm gonna just go there. And then in another, let's say 80 frames or something. I'm just gonna go with this guy. And let's rotate it so that it shows that you can rotate the head. Let's do 360 degrees, so it goes back to the origin. And then after that I want to do a little bit of like opening and closing of the fingers very fast. So I'm going to go here. I'm going to grab the three fingers. Let's open it up. And then very fast, we're going to close them. And then again, very fast, we're going to open. We're going to close. And then over here, I'm going to return this to its original position to 0. So while this thing is doing it, they will do like back, back. You can see that those little tick, tick and then it goes back. And then by frame, let's say 540, we're just going to select all of the curves and we can 0 them out. See what the man one-by-one on the axis. And we should be going back to the beginning. So 600 frames are, if you make the quick calculation, I'm, I'm, I'm really bad at math, so That's 25 seconds, which is fine. 25 seconds is fine. Now, later on in After Effects, for instance, we can just compress the video if it's a little too long. But I think this is going to be fine. So we have this the cranium. So there I think is a little bit slow. So I'll show you one way in which we can make it a little bit faster here. So, yeah, it's a little bit slow. But you can see the whole animation, right? Like we see the whole range of motion that we have available with a little guy here. And that's more than enough for animators and for anyone seeing our rig to appreciate how much our range of movement we're going to have. So how can we make this a little bit faster, very easy. I'm just going to press Shift, click and drag all around the character here. And I'm just going to compress this all the way, but With the arrows here, Let's compress it to like 300 frames. And that's how this looks. There we go. That's a little bit better. This very robotic like motion loci going like everywhere in doing its little action. There we go, and we go back to the beginning. So as you can see, it makes it look very, very nice. And one of the cool things about this, as we can, of course, rendered this, we can create a render for this character and that's going to make it look a lot better. So I don't really have the lights right here, so I'm just going to go here. I'm going to create a plane. I'm going to assign. It has the color that we're seeing there is just the HDR. Let me find one good shot because this motion right here is very important for me to appreciate. So I think I think that's a good shot right here because we see the side of the gradient goes there, it goes There, it goes up, it twists, and then it goes back down. So that's perfect. And we know that we're only going to need 300 friends. So we say 300 French. I am going to create a camera. I usually like whenever I do this, I like creating a camera. That's going to be my, my shotgun. It's going to be the camera that we're gonna be using to of course, a shot through. We're going to say look through selected here panels look through selected to jump onto the camera. And now we need to frame our composition. So something like this. Make sure any point throughout the animation you see the whole thing. Very important. Something like this I think works fine. There we go. That looks good. Now this plane, I'm going to try to align it to the camera. I'm going to grab the back part here. Back edge, just move it up. Move it up. And if you haven't seen, I did a video for YouTube channel, you should check it out, which is called how to do a professional render. I think it was called something like that. There we go. And now I am going to leave this ambient light that was just to fill in the light a little bit. Let me save this real quick. I'm gonna go to my options here. And in the system, since I have a NVIDIA GPU, I can use GPU. If you don't have it, you are going to have to use CPU, which is just a slightly slower. I'm going to go Arnold renderer. And let's see how this looks. There we go. So I'm not bad, but also not perfect. As you can see, it's a little bit dark. So I'm gonna go to my AI sky dome light. Or rather than that, I'm actually just going to add a new light. So I am going to say are not light an area light. And let's just like a big area light coming from the top here. Exposure, you usually are going to be using a high exposure, something like that. That's one of the cool things. The lights inside of Arnold actually worked really well in the viewport, viewport to point O. So you can see a very nice preview. It's not going to be perfect as you see, it's not exact, but it's going to get you there. So I'm going to say 12, probably like 11.5. There we go. That's a little bit better. One thing I can do is I can reduce the spread that we're, we're only seeing the or we're giving more importance to the, to the crane right here. That looks very nice. And now it's just a matter of upping up the samples so that we don't have such a grainy image. So I'm gonna go up here, the Arnold renderer, adaptive sampling, I'm just going to enable, I'm gonna say Max camera at 20, adaptive threshold point 0, 15. That's like those are not super high numbers, but they're rather high. So as you can see, it's going to take quite a little bit of time. Another thing that's really going to help, of course, is the size of your image. So we have a bigger image, the green is going to be smaller and therefore not as intrusive. So let's just do this. There we go. Now one thing I've always told my students, and hopefully you already know you've seen other courses, the lights. If you have a very big light, you're going to have very soft shadows. If you want. How harder shadows the light has to be smaller. That's just something that most renderers nowadays due to try and make it a little bit more. Artists friendless as you, as you can see there, the exposure is not really changing that much. But if we have like really, really small light, you're going to see a very hard shadow there, which might look a little bit nicer. So I'm just going to make it lies bigger, something like this. And there we go. So of course render will take awhile. So I'm just going to show you very quickly how you're going to be rendering this sequence so that you can import it into your portfolio or whatever your one I want to show. And it's actually very, very simple. What you're gonna do is you're gonna go into your options here, change the type of file that you want. In this case, I'm going to export in JPEG because I'm not gonna do any, any sort of color correction or anything. It's just going to be as S. And I'm going to change here the Frame Animation extension. I'm going to change this to name, number and extension. That way I'm going to get Robert arm underscore read.csv or one dot JPEG on your project that you'd set up previously. You'll want to render from frame one to frame 300. And that's what we're going to be doing. And now if we jump into the Maya Render View, there's one right here, the little icon with the eye, you're going to say Render, Render Sequence, option box. Make sure shotgun is selected, make sure the frame is correct, and then you just hit Render Sequence and Close. Now if you want to optimize this as much as possible, the one thing that you definitely wanna do is I will definitely hit play here and just wait and see how long it's actually taking to clean up the image until a point where I feel like it It looks okay, it looks clean enough. So it probably will take about a minute. So if you think about it a minute for 300 frames, it's going to be 300 minutes. So that means that it's going to be five hours, five hours of render time that you're going to have to wait. Of course, I'm not going to do that right now, but later on, probably overnight, usually live with overnight out, I would render now, see here like at this point I think that noise is fine, so I'm just going to stop it right there. And that was 12 percent. So that means that I probably can lower this to like eight samples per camera and something like a point C row five. And yeah, it's gonna be a little bit noisy, but it's going to be fast. And since this is just a demonstration, um, for demonstration purposes, I think there's going to be fine. So you can see how the percent that shear is moving a little bit faster and as soon as it hits a 100 percent, which I am assuming it will take about a minute or maybe even less. We should have a fairly clean image. It's going to look nice. If it's a way, way too noisy, then you might not, you might want to increase the cameras, camera samples here. As you can see, you know, I'm, I'm, I'm happy with this, especially at full HD. Like you're never going to see that this distance this is, you can see is 399% of Zoom. If you go to a 100 percent of the 11, this is what you're going to see on screen. Like this is what you're going to see. Sorry. This is probably what you saw in the intro video. So there is going to be a little bit of noise. But the movement and the things that we're looking for are going to look just nice. So it only took my got 33 seconds. So it's going to be half that time of what I was expecting. So that's perfect. Now if you want to do the render yourself, this scene is going to be, oh my God, it's allergy season is over here and I'm totally looking at, sorry, I apologize for that. But again, if you want to use this, render a scene and try it out for yourself, feel free to do that. I'm probably going to be using this same render scene for all of the other risks that we're going to be doing. So one way in which you can save the scene without saving the Req is the following. I apologize. I'm sorry about that, guys is probably the first time that I've gotten this sneak attack during one of my recordings. And since all of the information that is really good, I really didn't want to cancel. So I'm just gonna show you here real quick or actually, sorry, let's leave it right here. I'm going to go and take my medicine. I'm going to make sure that these are offering the next couple of videos. And I'll show you how to clean this render later on out to reutilization under scene for some of our anergic. So that's it for tonight or for today for this video, I'll see you back in the next one. Bye. 11. Bow Joint Setup: Hey guys, welcome back to the next part of the series. Today we're going to start with a new chapter and we're going to be doing two exercises in this chapter. This is the first one in your folder. You're going to find two setups. The boat start lights, which has the Arnold lights already set up, this sky dome light that we have. And there's another one without the lights in case your computer is struggling with the viewport render, then this, now the texture that this guy has is very, very simple. It's just a quick extra value through it in substance just to get something here and see how it looks. But before we jump on to the joints setup, I want to show you something very important about reading and that is topology. So in regards to topology, we should always make sure that the things that we model, proper topology, no angles, as few triangles as possible. And making sure that the loops and then the polygons flow in a nice, let's say, in the way we would expect them to flow in the real-world. So the reason why this is important, especially for this exercises that we're gonna do in this chapter is due to deformation. So in this exercise in the bow, and we're gonna be doing a zombie hand later on. It's very important that the formation works properly inflated information to work properly, we need to make sure that the organization of the polygons is flowing in a nice manner for the robot that we did in the last video into the last chapter, it wasn't really important because everything was moving as a whole. But now we actually do have things that are going out, are going to be moving embedding in different ways. That's why this square setup that we have right here is going to be super, super important. So just take a look at how everything is set up here. You can see that the wooden frame is just a cylinder that was extruded to get the shape. Then we have this extrusion right here. Everything is squats, everything is following and flowing from top to bottom. And then on the court here, this one is really important. The, the string that we have here only has a line right here down the middle. See that one right there, because those are the vertices that we're going to be moving back to create the string. Because when we, when you tension in the string, the string will always be completely straight and you're not gonna see it liga, loose or anything. We're just going to have it like this and the information that we have, or do we want this? We want to push this thing back and we want the whole boat to bend. So let's start with the joint setup then I'm gonna go to my right view here. Let's turn off my turn on my grid. As you can see, the bot is positioned in such a way that the center of the bow is right there on the center of the grid, which is going to be important. And we're gonna go to our nice little shelf that we have right here. And I'm going to click on this button right here, which is my joints. I'm going to create a one joint. And this one, I'm going to center it the zeros 0000 to make sure that this is completely on the center place of the, of the element. Let's select number four just to see where it is and that's perfect. So we're going to call this bot root underscore joint. That way we know that that's going to be my main joint. Now for the next joints, the ones that we're going to need are actually very simple. The string joint is just going to be a copy of this guy. And we're going to snap it right there at the center of the string. And we're going to call this bow string joint. The complicated ones are, the tricky ones are going to be, of course, the ones that we have here on the arms of the boat. Now for this, I'm gonna do a very nice trick. I'm going to select my joint chain and I'm going to start creating one joint press Shift and then just start creating joints one after the other. How many I'm gonna say eight joints like this. The more joints you create, the smoother the transition is going to be the lower amount of choices you have. Of course, the more it's going to look a little bit more low poly into the formation. So this is always going to be dependent on the production line that you're working in. You need to always, always, always check with your rigor how many rings you can or with your producer, how many bones you can have a direct. Because if this was going to be like a game for a cell phone or something, then probably a three bones is more than enough. But if we want to do it, it looks like a cinematic bot where we're going to be looking at very close, would probably want a little bit more. So the only problem that we see here with this chain of bones, or is there a couple of problems? First of all, they're not evenly spaced out. You can see that this one right here, it's 4.3 units. This one right here is 4.6 units. This one right here, it's 4.5 units. So in order to make sure that all of them are positioned in a nice way, I'm going to select all of them, but the first one and just change the translation here to find that the way I know that all of them are going to be at a distance of five, which is S5 for what we have. The other issue that we have are the local rotation axis. So I'm going to show you right here if we select all of them and turn on the local rotation axis, you're gonna see that the last bone does not match the local rotation axis that we might want. Now, in this case, this object right here is using, or we wouldn't be using the x-axis to bend that right? Like if we select this, we're going to be using, sorry, the y-axis to bend it, which is fine. We could use another angle if we wanted to. Excess is completely fine. The only one that I'm worried about, this one right here because as you can see, it's in a different orientation. Now there's two ways to solve this. The first one is, as we've seen before, especially since this one is 90 degrees rotated in a very nice position here, I could just try and move this thing around with my angles until we find the exact same. Orientation, which is that one right there. And that works fine. So this is the error that I talked about before where bones disappear. Just go render view-port and change this to the belly. Select. That way. There are always going to be some sort of like death thing that happens here in my, so that's one way to do it. Of course, we're going to be facing the transformation, so we want to keep that new orientation. But the other one, which I find a little bit nicer and it works a little bit better, especially when the joints are not oriented towards the world is on parent, the one that you want to fix. So that's alone there in the world. You select the one you want to copy the orientation from. So driver driven. And on the reading options, We're gonna go constraint, orient without maintain offset and hit Apply. So now this guy just inherited the rotations of this guy, so he copied the rotations. We delete the Orient Constraint, we don't need it anymore, and we just bring it back here. There we go. So now you can see it's the same thing. We can freeze the transformations and we're going to be just fine. So now this chain of joints is looking very, very nice as it's working exactly as we expect. Now it's a matter of positioning where we expect this thing to work. So I'm going to go write them both here at the base of the bow and the both here, which is where I would expect the bending to begin. And what I'm gonna do is I'm going to start twisting or rotating this thing. Let's turn off the screen rotate. So I'm going to rotate this thing since I want to keep all of the joints at the same distance, which is five. So I'm just going to start rotating them because remember we mentioned that rotation is completely fine. We can rotate the bones and that's going to work just fine. But we should not, and I repeat, we should not translate the bones. I'm going to click this thing right here to unselect geometry. It's a mask so that way we cannot select geometry anymore. That was going to be a little bit easier to just position all my bones exactly where I want. Very important that we're only rotating on the y-axis right here. Now, as you can see, we're missing a little bit of distance. We need a little bit more distance for this to properly work. So there's a couple of options that we can do here. We could of course, just scale this one up so that we hit the tip there. And that way everything just continues to bend or we can just select the whole chain again. And instead of, I believe it was five, Let's do six. I'll probably 5.5 should be fine. There we go. And it's just a matter of adjusting slightly like that. Like that. There we go. Now this is supposed to be like a rake your bot. So it will have a little bit of a different field, like a normal book, but that's fine. Now, even though this guy's not at the tip, that's fine because it's write the word, the word tension is going to be happening. And that should be more than enough to what we want. Some people might want to add an extra joint like here, and then parent this over here. Just to create like the tip of the bow. Again, as I mentioned before, tips do not work. You don't need them. They're just for visual purposes. So that's why I usually don't include them unless they're important for something else. So just, just keep that in mind. And now comes the important part like how do we duplicate this thing so that when we rotate this whole thing back, the arm on the other side rotates in the same way. Well first we need to freeze transformation of course, to make sure that all of the rotations are saving the joint orient. We've already talked about that. Now. I'm going to go into Skeleton mirror Joints and we're going to be mirroring these joints to the other side. Now of course, one thing that we should do first is I'm going to select all of these guys. I'm going to go up here. And there's this tool called the Rename tool. Usually it's the absolute transformative changes to the Rename tool. I can write u as in upper arm underscore. And we're gonna get upper arm as 0, 1, 2, 3, 4, 5, 6, 7. And now I'm going to select the first one. I'm going to go into skeleton mirror Joints and we're going to search for you underscore, and we're going to replace it for that. The other score, which is a down. And we want to mirror on the x and c axis y, because y axis Y is the one that we want to mirror, right? So, so the x and the c are going to be mirrored to the other side. And this is the most important thing that you need to remember about mirroring joints for this specific things. In this case, we want the mirror function to be behavior so that when we push this thing back, the other one being mirror will push back as well. Otherwise, when you push this back, the other one will go to the front because they're not mirroring, they're just copying. So I'm going to hit apply. And as you can see, the axis of the bones are going to be inverted. Here. I definitely need to grab these two guys and move them to the back like this. Make sure they're exactly where they're supposed to be. But now as you can see, if we grab all of the bones here and we rotate in the y-axis, we're going to get this effect. See very nice effect where all of the bones are rotating the way we're expecting them to rotate in this very nice, flexible manner. So now it's just a matter of grabbing these two initial arms. We're going to parent them to the main bone. We're going to grab this guy as well. We're going to parent it to the main bones, will grab the main bone, just do a freeze transformation to make sure everything is clean. And that's it. That's the rig that we need to create for our boats. As you can see, it's a lot simpler than the one from the, from the crane and from the robot arm. But as you can see, it's very, very important that our local rotation axis are mirrored. This is the most important takeaway from this video because we're going to be utilizing the same rotation for both of them. Okay? So make sure you get to this point, guys, make sure you have this very clean thing going on. And as soon as you're here, just jump onto the next video where we're going to be talking about skinning. So hang on tight and I'll see you back on the next one. Bye bye. 12. Bow Skinning: Hey guys, welcome back to the next part of the series. Today we're going to continue with the skinning of the boat. So let's get to it. This is what we have right now, which is the basic rigging of the joint center of the joint. So for the, for the bot, I'm just gonna turn on the local rotation axis is for this bond. So we can see them. As you can see, this guys are oriented away the world, which is fine. I mean, it's very obvious that this guy's going to move very similar to the world and this guy would pretty much just going to move it back. So that's completely fine as well. So now comes the skinning. And for the skin and we're going to use the exact same process. We're going to select everything here except for this tapes right here. The last little points there we're now going to use are actually now we are going to use those. I don't want to use those. I'm just thinking. Thinking, yeah, yeah, we're going to use this. I'm going to select the geometry now, turn off the mask again. So select the geometry and we're gonna go skin, bind skin. And we're gonna say select the joints closest distance classically near 40 influences and Apply. And now everything should be a raphe. So if we were to grab this guy and move it backwards like this, you're going to see that everything is moving in a very nice way. And again, if we select all of these guys for instance and rotate, we're gonna get this very nice bend to the bot has you can see which is working very, very nicely. Now, of course, there's a couple of fishing and this is the main part of this video right here. In the last exercise that we did in the, in the robot arm, we didn't have to really worry about how to paint the weights because most of them where solid. It was just solid pieces that were moving with the rotations of the boats. But in here, we actually do need to be very careful because we want to keep a very smooth transition all along. So I'm going to grab the geometry. I'm actually, first of all, I'm going to grab the bones, all of the bones. And whenever we're doing deformations, a very nice advice that I give my students is save the awaits or saved the animation of the thing that you want to have. So for instance, in this case, I note that in frame 1, I'm going to save the animation to all the bones at this position, which is the basic position. And then let's go to frame like 10 or something. And I know that the string, I want to move it all the way back here. So I'm going to move the string all the way over here. And then we're going to grab all of the arms and I'm going to bend them. And this is probably as far as the bot is going to go. I would say probably something like this. Okay. And grab all of the bones again and hit S. So now I have this transition that I'm going to be able to use to properly calibrate the formation of the ball. I'm going to be able to tell the bot where I wonder the band to occur and where I want things to stay put, right? So I'm gonna grab the geometry now. I'm gonna go into skin by a Paint Skin Weights. And the first thing I want to paint is definitely this a string. Now in here we're not going to be able to so easily select certain areas because as you can, It's a whole thing. So we're going to have to paint, manually, paint certain areas. So in here on this string, I'm going to go to replace 11, and I'm going to go to the string, to the string element here, which is not here. As you can see, we don't have any weight on the string. Now this is very common, not super common, but it has happened to me before. And sometimes when we do the bind skin, either we forget to select the bone or the bone just for some reason does not catch any weight influence and then we get an issue. So if you ever have that issue, just going to select the geometry skin and then say combined scheme to get rid of the skin. Grab everything again, grab the geometry, and let's try it a Bind Skin again. And what I want to see is, I want to see that there's this bowstring right here. So as you can see, the animation still working. The animation is, It's still there, it's completely fine. And you can see that the string has not enough weight here. So I definitely want especially those vertices, they're the ones that are super close to the string to be completely influenced by that string joint. So those four vertices are going to be completely influenced by this guy. And I can again check the animation here and now I can do that when I pull this back, everything is moving in the way that I expect it to move. Now these guys over here, those are perfectly fine. I can go again, Let's go to frame one and we can check. It's probably going to be the arm 7. Arm seven, this one. And yeah, you can see that all of these guys are pretty much combined to this guy. So I'm just going to paint like all of these elements, paint a little bit more white, especially on the string. I want to make sure that the string remains completely, completely nice on that area. Now it doesn't need to go all the way to white. Why this of course going to be like Tom, but even write this like almost there. So if you have a couple of spots or you're missing, that's completely fine. They go here. Just mean now one of the cool things and this is kinda knew on my, I remember back when I was learning in bringing this was not part of the Maya interface. There's this thing that it's like a smart selection so it won't paint through different islands of faces, which is very, very cool. So for instance, here, as you can see, if I just started like pushing it there, it knows that it needs to find the vertices that's close to that area. And we're gonna get that very nice transition on that area. So now we get this thing here. You're going to say that we don't lose as much volume and the core remains very, very, very nicely. The form right there. Now, if we see that there's a like a break, like here, you can see how it starts to break there. We can use this mode function and the smooth function is really, really good. Because as the name implies, it will smooth out a little bit of the areas here. So let's go to here for instance. Do they change something? There we go. So we go smooth. And with just our smoothing here, we're gonna go to ARM seven. And let's start smoothing here as well. See how that fixes a little bit of information. That's very, very important that we, that we check and make sure that everything looks as nice as possible, especially for this sort of objects where we're going to have some deformation due to the way that everything is bending. We want to make sure that when we the form things, they look very, very smooth. As you can see, the whole thing looks very nice here. The only thing I'm worried about here, and it's just super small detail. But again, it's important that we always fix everything so that things look nice is that when we move this here, the couple of areas here in the handle moving as well, see those. So that is definitely here on the upper arm 0. You can see that there's a lot of stuff there and there's two ways to fix it. We can paint it out of the arm 0 or painted in on the bow root here. So I'm going to opt by painting it in. And the way we're gonna do this, I'm gonna go back here to the stroke, gonna make the radius smaller, even smaller. Go to replace. I'm just going to paint this completely white, especially like up here. Now, not, not all the way up because I do want to have a little bit of information there, see how. So we get that very nice gradient that especially if you're on the handle where we have the letter pattern, I definitely do want to keep it really, really read. The influence of an object will depend on the amount of projects you have. So the more vertex you have, the more controlled you're going to be able to get. However, it's also going to be the more time that you have to invest because there's more paint to do. But that's why very high polygon meshes, like for cinematics and stuff, they get a very nice deformation because you have a lot of verdicts to work with. And if you're doing a game for a mobile or for very low budget a game or something, you might have a very harsh transitions where things just like overlap on top of each other. And that's probably not something that you want all the time. But it happens like I've worked on projects that have a very low either poly count or poly budget. And and yeah, you have to get away with having very sharp deformations On your elements. Now this bot is simple because he only has the upper and lower arm. So that's why I'm doing it manually. If this was a little bit more complex, I will probably use the mirror function for the weights so that I could just like mirror this thing to the other side. But this I mentioned this is fairly simple. Sewn should be able to just manually paint exactly 101. Now let's, let's give this a shot. Let's grab this guy were actually have the animation here and there we go. So yeah, now you can see that the width forums a little bit, giving us this very nice transition, but the handle remains very, very static, which is something that we might be looking for. Now if you don't want the handle to be able to have a little bit of Ben, then you would of course, not paying to what I just did. But that's always going to be dependent on the production that you're doing. So yeah, that's pretty much it, guys. As you can see, this is a very simple like skinning exercise because we're just painting in the weights to make sure that this deformation is looking good. And in the next video where we're going to be doing is we're gonna be working on the controller. So we're going to be using some more specialist controller. So I'm going to show you something. Very cool. So hang on tight and I'll see you back on the next one. Bye bye. 13. Bow Controller Setup: Hey guys, welcome back to the next part of the series. Today we're going to continue with the controller setup. And in the same way that these Guinea was pretty easy for this bot. The southern border controllers also pretty easy. We only got to have three controllers, actually, actually two controllers. We only need one controller for the main body right here. Let me just satellites. There we go. So one controller for the thing right here and one controller for this guy right here. So let's create a curve. And following the proper techniques, I'm going to group this curve. I'm going to call this route control, group, control a to copy everything and then Control C to paste it sits a little bit of time and we have a death grip control and the root right here. Now remember, we can change the curve as long as we don't modify the transform information. So what I'm gonna do here is I'm going to change this in such a way that it looks a little bit nicer. So let's turn on the screen rotate. Remember you can turn it a little bit, pressing E click and just selecting the squid rotate. I'm going to rotate this like so. I'm actually going to move the whole curves of a forward like this. I'm going to scale it down. And I'm gonna do something interesting now this is something just fancy. It's just to make the curb look a little bit nicer. We're actually going to be using a curve creator in the next couple of videos. But for now I'm just going to work with this. And what I wanna do is I want to bend this curve around the bot so that it looks like a liquid you would hold the thing with like a hand pretty much. I want this to look like a hand. But for that to work, I need to give it a little bit more divisions. So I'm going to go into my modeling options, curves, and I'm going to go into the rebuild option, select Options here, and I'm going to change the numbers fans to 24. I'm going to hit Apply. So what that's gonna do, it's pretty much just going to add the 24 points all along the surface off my curve like this. Now I can select the curb going to the Form Non-linear bent. If you guys have been following my YouTube videos, you know, I'm a big fan of this modifier. And then we can move this curve and rotate it like this so that it modifies, as you can see, the curve of the circle in this way. And that's it, just like the curb right here. Say that the history and work totally fine. You can see the transformation of a route control are completely clean and the curve has a very nice shape that's going to be very easily identifiable. So there we go. Now, we already know what this thing is gonna do, right? Like we know that this thing, the curve, we're going to select this thing right here. And before we do anything, I'm going to go into the bones. And I'm going to select all of these things right here. I'm going to just say Breaker connections, okay? I'm going to make sure that nothing has any sort of information. I want the bones to be completely clean. I only use the animation to properly calibrate my deformations on the skin. But now we don't need to make sure to lead the animations. Now forget about that. Now we select a curve, select the joint. The joint. Come on my there we go. And we're gonna do a rigging, constrain parent constraint without maintain oxygens hit Apply. So now wherever this curve goes, the bot is going to follow. And wherever this guy rotates, the bot is going to rotate along the axis. Bear is simple stuff. And again, the curve is really, really easy to do so that which is really cool for us. Now. The next thing, it's going to be a little bit tricky. We want to create a, another controller that's going to move this string back. So this bone, we're going to move it back. We're gonna do something interesting here. We want to create a little bit of a trick here, a little bit of a rigging technique that will allow us to control the movement of the string back in at the same time, the bending of the arms, which is going to be really cool. So what we need first is of course a controller. So let's create a small controller here. Good practice. Let's create a group. Let's call this group bow, string, control, group. Control a to copy everything. And then Control C to paste it in. Control. And we're going to select the bone, select a group, and we're going to add a constraint, parent constraint that the group jumps to where the object is and it orients itself properly, like it it's doing right here. We don't need a constraint anymore. And we're just going to grab this group. And again, since we want to have a nicer effect here, Let's rotate this thing and 90 degrees so that it's facing backwards like this. I am going that rebuild the curve again. So remember modelling curves all the way down to rebuild. There we go. That's 24 points now, so it's going to be a lot easier to manage. Now we go to the right view. We can go a little bit crazy here and modify this to look nicer. So I'm going to grab it like, oh, this guy's snap them together. Oh, this guy's snap them together. And then all of these guys just bring them back. This guy's excrete them back like this. Grab these two guys over them back. And we can create this arrow shape, right? This point, this will make a little bit more pointy. And you can spend as much time as you want in this sort of thing. It just, it really doesn't matter. It's just it's just a visual thing at the end of the day. Well, it looks cool and it's going to be a right here. Now, again, if you want to, if you want to make it a little bit easier for your rigors, one thing you can actually do is, for instance, I can move the pivot point to the back here and then snap this. So the, so the curve is a little bit more easily selectable. So that way you don't select the geometry by any problems and you just select here. Malda, whole thing. Now this thing will only have a point constraint. Make sure that this thing is clean, perfect. Grab the curve, grab the bone. And we're gonna do a, again in the rigging tab, we're going to do a constraint and we're going to do a point constraint with, we can do maintain offset or no moment and offsets and is drained in the same place. It doesn't really matter. Just going to keep it off. Again, better practice. And there we go. So now wherever we move this thing, the lowest string is going to follow. So that arrow's very, very cool because it's going to allow us to do this moment. And since we already know that the only thing that we're going to be moving is the c-axis. We can grab everything here except for the c-axis on the translate channel, right-click and say lock and hide select. Because again, we're only going to be moving this thing back. Now the same thing for this guy. We know that we don't want Scalar disabilities. I'm just going to lock in high select. That way we can only move and scale double. Now, we have a little bit of an issue here. If I move this thing here, the string remains there. Why? Because remember at the end of the day, we also need to have a hierarchy with the controllers so that the controller follow each other. So the group of the string is going to be parented to the route control. Very simple, very straightforward direct connection there. And now if I move this thing, the other controller is going to follow. If I rotate, the other controls is going to follow, so everything is working perfectly fine. The next thing that we're gonna do is one of my favorite things that I learned when I was learning rigging and they taught me this. I was like, that's really cool. I can't believe this exists. And this is called a set driven key. And the set driven key is pretty much, I like to compare it to like an if statement in scripting or in programming. So an if statement says, if I have apples, then make. It's a very stupid example. I know, but it's just something that I came up with this. So if you have something, then something else is going to happen. Well, what I want to say here is if my controller is at 0, then this controllers plural, because we can control multiple of this things with the set driven key are at 0. And then I can say if my controller is at 50, then the rotation of the controllers is at 10 degrees. So the cool thing about set theory and keys, as you can kinda get from this, is that we're going to be able to connect to things that are completely different from each other. They're there another self-driven keys or another kind of indirect connection that we can create. And they work in using some animation curves. So here we go. I'm going to go into the Animation tab, and we're going to go into the do where is it key, set driven key. And I'm going to hit here set. So this is the menu for the surgery monkeys. And here I need to select what thing is going to move, what thing? Now, I could of course, move the curve or make the curb be the thing that controls everything else. But again, to keep it clean, I want the bone to be the one that moves things around. So I'm going to select this bone and I'm gonna say load driver, which is going to be the thing that's going to dr everything. Then I'm going to select all of the arms. And I'm gonna say it low driven. And you can see all of my arms are down here. So all of these guys are going to be driven by this bowstring. And what is it that I'm going to do? Well, I'm going to select the from the bowstring. I'm going to select the translation on z in this case, because that's, that's what I want. I'm going to say translate C. And I'm going to select all of the things here. And we'll see the translation of c is going to change the rotation of y. Remember that the y was a rotation that we use for these guys. And I'm going to say key. So now there's an indirect connection between the translation C of this bone and the rotation why of all of this boss and widget. But the thing is we just set up like the first. Think about this as like key poses. So this is the first key pose. So when this thing is at this value right now, which is minus 12, 923, because it's the distance that it has from its parent at this position, all of these bonds are going to be exactly the same. Then I can move the controller back and say, You know what? I think this is probably that they'd say minus 50 is probably going to be as much as I want to pull the, the bowstring out. So at minus 50 and then I'm going to grab all of the arms here. I'm going to rotate them. Let's get rid of discrete rotate. I'm going to rotate them until you get a nice curvature. Like, let's say something, probably something like this. And I'm going to say, Okay, now I'm going to keep this again. So I'm going to key the current translation C of the bone to the current rotational why of all of the arts. And I'm going to say key. And there we go. So now if I grab this little gallery here and I move it forward, see that it automatically blends in between those two positions. So they have no, I don't want to add a little bit more. Usually, when you should have bot the string, we'll go a little bit farther down. So I'm going to probably go with like they're grab all of those guys here and just like push them slightly forward. Probably like so. And if we check this, we're just going to copy this again. And there we go. So now this thing can go from 7.464 all the way to minus 50 and it will blend the thing. It can go further, you can go even further down than, than 50, but the bot won't bend anymore at this point is just like the string that's going to go. Otherwise this will snap or something. But as you can see with the set driven key, we can control this movement and he will happen automatically. So you don't have to worry about animating or, or doing any sort of controllers here on the PBO. Some people might see like, Well why not that a single controller for each bone, it will be too much and it's, it's, it's way too much for something as simple as doing investing right here. Okay, so that's it. That's pretty much it for this, for this exercise guys, for the bot exercise. Again, as I mentioned, this was going to be a short exercise, is just combining and adding a couple of extra techniques to the whole thing. And we're going to be using all of this. We're going to be using soft the formers with the scheme we're gonna be using the centering keys. We're going to be using this mirror thing that we did for the joints. So make sure you finish this exercise, make sure you have it, everything clean, and I'll see you back on the next one. Bye bye. 14. Zombie Hand Retopology: Hey guys, welcome back to the next part of our series today we're going to continue with the next exercise. And this is going to be a little bit different to what we've done before. We're going to be working with this hand, this sum behind, you're going to find your your file on your folders, files folder and your Scenes folder. There's going to be one called Zombie hand start. We don't have any lights yet because we're going to be done something a little bit different. We're going to be doing read topology. Now, read topologies. One of those things that usually has to do with modelling and sculpting and texturing. However, I do think they, they good rigor or someone that's learning. Reagan should know why we model the one we read topologies, things in certain ways. This is the only character we're going to be doing. That only are we topology that we're going to be doing because it does take a little bit of time. But hopefully you're gonna get a lot of good information out of this if you want to skip ahead, I advise against that because there's going to be some very cool things in here, but I just want to learn how to rig this thing. Then jump ahead on to the next chapter where we're going to be looking at the joints. I love controllers and everything. I am going to be texturing this hand. You probably saw it on the on the intro video. But we're not going to be covering texturing in this session. So later on, I do recommend that you use the provider hand. This is just again for information and so that you know, why we do things the way we do them. So read topology is the process by which we Read, create pretty much the mesh that makes up an object. And the reason why we do that is, of course, we can not animate and skin something these habits is really, really heavy week could, I mean, Maya could handle it, but having almost a million polygons right here, It's really, really heavy. Any of you wanted to animate things, we'll be animating very, very slowly. So what we normally do is we generate a low poly mesh. Now we then add render time or using normal maps for displacement maps will get more resolution at the end. But for animation purposes, we usually like to work with simple meshes. So I'm going to click this option right here, which is the make life. And we're gonna be using a tool that we don't have here. It's on the Poly Modeling tab, which is this one right here. It's the quadro tool. Now the quadrate tool for those of you who have not used it before. When you have this thing selected the leaf surface, it will start placing dots anywhere on the surface of your object and you move, you shift and click inside those four dots, you're going to create a face. And then you can just start building the face pretty much all the way through. So what I want to show you here are the most important parts of a hand, which is a really good example to demonstrate the white topology. So important, we know from anatomy that hands are made out of bones, muscles, tissues, and all of these different things, right? And we already have here on the scope marked where this thing is going to be bending, which is right here on the fingers. Now fingers aren't made out of three bones called phalanges and pressure. It's pronounced that way. We have the proximal, medial and distal, so meaning closest out the midpoint and farthest away. And those are the places that we're going to usually use to bend our fingers. Now those places are going to be super important right here where we have the little crevices there because that's where we're going to be placing the joint. The gene is going to be there and that's where we're going to bend. And therefore that's where most of that information is going to happen. This area is right here, it's a little bit flatter there. They're not going to have as much information because that's the pretty much the length of the bone. Right. So so we're not going to be moving anything here. And that's one of the first principles that I want to teach you when you're doing the topology, any area that's going to bend, you need to be extra careful about how you how you approach that specific area. So let's start with the finger. What I'm gonna do is I'm going to draw a box right here, where the edge of the box is going to be right there on the border of the finger. So I'm going to just for faces. You can see here 23. And if you can't find it, you can press the Tab key. And if you press the tab key and this is set to reset, you're going to be able to extrude this edge. And then we can just paste it on the other side like this. So very important that the edge here is right there on the little line like that. Then we're going to extend that box until the very end like this. Don't worry about the bony part there. We're going to I'm going to show you what to do there in just a second. Now on this side, for instance, that's where we have the line right above there. Let's extrude here. To get this. Let's extrude here as well. Make sure that these things are connected. There we go. And there we go. Now the front here, which just finished up. And eventually we're going to have a little box there. If you're having a hard time trying to match it, one thing you can do is just isolated and then select those faces and say mesh, feel hope. And that will fill in the yellow thing. Now, that's the beginning of the finger. That's just like the basics of the finger. What I'm going to do next is I'm going to add a one line here and one line here. What that will do is it will divide the finger into eight sections. So ADC, really good number for fingers. In my experience, it works really, really well. And the reason they works nicely is because it gives enough room and the formation for the proper volumes of thing. Now here's the interesting part where you're going to have the divisions. We need to add a little bit of an extra edge loops are a couple of extra edge loops to hold this form in a better wave. We just leave it like this and we tried to bend this. It's going to be very, very like a segment that effect we're going to get a very sharp turn and it's not going to look as natural. So I'm just gonna have one line here and one line here, two lines, those we call support edges. And as you can see, they helped me support this area of the NOCl. I'm going to do the same here. So one line here, one line here. I'm going to do the same here on the base. I'm just going to add one line because eventually we're going to have the other line over here. And there you go. That's usually what we need for a topology or for handling topology. If we're low, low budget, then I would strongly advise, or I would actually advise you, go this way, would just enough polygons to make this work. But if you have a couple of more room to spare, you have more polygons and then adding a couple more here will definitely help with that information. So I'm going to add two more here. And of course over here with F18 to other couple more to properly like capture the silhouette of this like crazy finger. Okay. So yeah, I mean, we were doing this in a more controlled way. I will definitely add a couple more geometry points so that we could handle this a little bit better, but I think this is perfectly fine. Let's add just a couple more there just to hug the surface in a nicer way. And that's gonna give us a good result. I'm going to be perfect right now, but it's going to be good enough. Just to pretty nicely captured the little bone there. There we go. So this finger is now going to vent very nicely. I know some people do the following thing, which is completely fine. I personally don't think it's super necessary if your character is not going to be having close ups or anything. But some people like to create a little bit of an edge loop here on the under, not cool to add a couple of more extra loops data we'll be able to hold a form a little bit better when you bend the finger. To do that, It's again, very easy. I'm just gonna select this four phases, which are the knuckle faces, saying, for instance, on this side right here. And it's going to hit Control E to extrude. And we're going to use offset to create this little sort of like square thing. Now, when we go back into our quadro, smooth this out a little bit. And again, that extra square, that extra topology there will allow us to do really, really emphasizes the NOCl on the character. The only thing I don't like about this process or this thing is that it does add a little bit more geometry. So when you're working on a project where the poly budget is a little bit more restrictive than you definitely need to be careful there. So that's, that's the, that's the finger topology that we're looking for. Now, I'm not going to do the rest of the fingers like this. All of this four fingers here on, on video just to save a little bit of time. Otherwise, it's going to be like a, like a 40 minute long video. I'll do this off camera, but I'm going to show you how we would connect everything else. So on the wrist, we're going to have another bend. You can see it right here. So I'm going to start adding some edge loops here. And usually for the race, I'd like to go again with some sort of like even number, like 12 or 14, depending on how much geometry we're going to have. I think 12 is going to be fine here. So I'm just gonna go like this, like this, all the way around. There we go. And just smooth this out so that it can press Shift to smooth out if you've never used this tool before. And a quick way to know how many lives you have is by getting this thing on which you're going to find on display, heads up display, and it's called poly count. So if I select this edge right here, I'm going to get it. There you go. So 12 edges tells us a little bit too little. So I'm just gonna add one more here. Let's add one more here for instance. And now we, we have 12. Okay? So I have 12 loops going around arrest. We should be more than enough to connect properly with the fingers. So one of this probably this one. We'll just continue going straight all the way to the fingers. This is where we're going to have the thumb. I'll show you how to do the Tom in just a second. And the other one, probably this one as well, continue in a very straight line all the way towards the fingers like this. And that's going to create our geometry. Now, the interesting thing here is that we are going to have our knuckles, of course, and all of the loops, the loops per finger that we have, we can't let those eight loops go all the way into the hand because it's just too much geometry and we don't want the arm to be super superdense. We wanted to keep it simple as well. So we're going to do a little bit of reduction. That's what it's called. And the way I'm going to reduce this, I'm actually going to be reducing in this area right here, in this very flat area that's not going to deform as much. That's where we're going to be doing the reduction. So for the knuckles, I'm going to use this sort of like square shape that we just saw on the knuckles. So this sort of like shield. See that very, very clean shape, very nice. You can see it loops around itself. So we have like a little external border there there that covers the knuckles very nicely. That's going to again allow me to hold the form of knuckles. But then as we keep moving like Fort Worth or towards the arm, eventually, right around here, we might have a triangle. Triangles are not bad. Again, there are going to be very useful to simplify and minimize the geometry as long as they flow in the same sort of pattern. So here I'm just going to combine these things to make sure they're connecting properly. And I think I'm gonna do one more finger real quick just to show you how the fingers connected because otherwise it might get a little bit confusing. So. Let's do this real quick. Again, as you can see, a very easy way is start with big things first like big, big divisions and then add the big squares. And then at the divisions, otherwise have used to drawing like each square like what we have here, It's going to take forever and we don't want that. So I'm going to go sure that things are aligned as possible. This is where of course, being a good sculpture is going to really pay off. Because you're going to be able to match everything with the high Pauline. A very nice way. If you're, if you're the rigor and the sculpture messed up and something that's not aligned improperly. You send it back. You send it back and say, hey man, this is not properly aligned. Check your proportions, checked replacement, and send it back so that we can read it properly because there's nothing more frustrating than trying to rake a character or an object that's not properly modeled. It just a lot of problems. So I'll rather spend an extra day modeling something perfectly fine rather than trying to wreak something that's not done properly. So there we go. So as you can see, we add the two lines. So now this is an eight-sided cylinder, and remember two lines here on the knuckles. So 1212, those are the main support lines. And then we're going to have 1, 2 over there, one there, one here on the closest area. And over here we can definitely I'd like a couple more just to get a nice finger-like silhouette. And we can do the same trick that we did before with the knuckles show. Let's just isolate this real quick. Grab 1234. And I believe it's this one was there for x truth offset. You can press control when you're offsetting to it to get a little bit more control. And the and that sits just smooth this out to to get the proper finger bent shape. Just a little bit of relaxed there. That's again going to hold the form very, very nicely, which is going to be good for us. Now, when you're combining two fingers, what do you wanna do is you wanna make sure that they bridge right here on the center like this. So as you can see, we get this very nice flow so that this line is going up, it goes this way. Now you're going to see that we get this little sort of file growth. Here. We already saw what we need to do. We need to create this very cool looking shape where things just kind of loop onto each other. And I always see this shape like a shield, which is a very, very cool shape. This and like that. Smooth outside, it follows the form very nicely and we'll just keep adding this things here. So as you can see near the fingers, there's going to be a lot of geometry, but then we need to start simplifying this. Otherwise we're gonna get a lot of all of geometry. So over here, for instance, I'm going to do the same thing. I'm going to create a triangle. So it's just one click there. And that's a triangle. And as you can see, the line of this triangle is kinda riding the tendons. So that's going to allow me to keep the, the silhouette very nicely on the hand without having any issue on the other. Under the formation of the object. Here you can see another triangle's completely fine as long as it follows a surface and we're, We're kinda like riding the silhouettes properly, then we're completely fine. Like triangles are not our enemies, especially if you know how to use them, but they are definitely a little bit of a double-edged sword. So just be careful with those. Now, what I'm gonna do here, so I'm going to continue this sort of like she'll thing that we have here. And we're just going to keep going to the center like this. Okay. Well, there it seems like we accidentally extra, that's something that we shouldn't have. Same thing here. Oh, really? Very careful though. They're very careful. Don't F more geometry that you need. Just double-check their real quick. There we go. So over here it's something very similar is going to happen. We're gonna have our our main like loops going down. We're not going to need this many divisions over here. And the reason is there's not there. We don't have any knuckles is just as like a fatty pad that we have underneath the fingers. So we're going to do something like this. I'm definitely going to add another line there. There we go. Hands and faces. Are this. They tend to be very dense on there under a tree topology process. So don't worry if things get a little bit dense here. What I'm gonna do as well as for instance, here, after I reach this area, I can triangulate this just to minimize the amount of the face because otherwise it's gonna get a little bit complicated to connect everything down here. So let's keep going. And I'll let, let's imagine that we're doing the thumb here. So I'm just gonna do the first section of the DOM just to connect everything else. Again, I don't want this video to go be like 40 minutes long, Howard, how are we doing on time? Okay, We're fine. Sounds gonna do the, the beginning of thumb, which is another of those tricky, tricky parts of the hand. Let's extrude this guy. Here we go. We're going to have one division here. Here. Here. And here. Eventually we're going to have one division there, there, there, there. Now these side of the thumb, this one, we definitely want to connect to the side of the hand like this. Okay, that's very important. It's very important that there is a connection because later when we do the UVs, we can just select this edge is going to go across all of the fingers and we're going to be able to very easily get a nice you'd be mapped. So following that same approach, this is the side of the thumb. So I'm just going to bridge this like this. And we're going to get this sort of shape. It's going to properly capture this area. Now the tricky part is this. Yeah, I'm just going to again, just do this and to show you how this things generally work. And then, and then I'll finish everything off camera. So the trick here is we have very few faces coming in from the arm like this. And we're starting to get a lot of faces over here. So what can we do? We can do something called looping, where a couple of these phases are not going to follow all the way to the hand, but rather they're going to loop through the hand to another sections, for instance, this phase right here. I'm going to do this and then create this. See this little break this a little bit like five-point star here. Instead of this line going into the arm is going to turn around and it's going to merge itself, as you can see, with the rest of the phases that we're building here with hen. And that way everything is going to be squares. So everything's going to be very nicely laid out. A low poly enough that it holds this lead but not super locally that we're losing everything. And we want to add a little bit more resolution here, for instance, we can just make this line slightly, slightly smaller. Just have that one extra loop there. And it's going to be very easy to just continue here. Now here, there's a couple of things we can do. Like I'm definitely seeing a little bit of stress here on the geometry. We can, of course, heavy triangle there, which again is going to be on an air that's not going to distort as much and that's completely fine. But since I'm seeing a lot of geometry here and this looks very dense and this is starting to look a little bit low poly. Well, I'm actually going to do here is I'm going to move this around and it's going to add one more line here. And let's say one more line like here. Okay, So we're going to have 14 edges instead of 12. It's gonna give us a little bit of an extra, extra breathing room for that, for that topology. And that was just a matter of continuing this thing. So when you flow from the arm back, you definitely want things to be as straight as possible. And then here we're going to start having some triangles, which again is completely fine, as long as the triangles are following the silhouette that we have. So in this case, the tendon, as long as it follows a tendon nicely, then things are going to be flowing nicely. We can always relax, of course. And the same thing's going to occur over here. So for instance, here for the thumb, we definitely want to create a little bit of a loop here. So this is just going to be extremely old way over here. And since this is a little bit too extreme, one thing we can do, here's another sort of like five-point star. That's the five-point star right there. That with this thing just flows, they're there. And again, these are going to be hidden in areas that are not going to be distorting as much. They're going to move with the whole hand. So that means we're going to be more going to be fine. If you see that things are starting to get a little crazy. I'm not unlike five-point star there. It's completely fine. As long as everything flows in a nice way with the bulge is one of those things that you'd definitely get better with practice and time, the more, the more things you do or the more characters you, you'll read topologies that the easier this is going to get. But yeah, just, just keep that in mind then and you're going to be fine. Another thing you could do, of course, is a reasonable j is like the bone here as a separate piece. That's also going to be helpful. But in this case, we're going to keep it like this. So I'm going to stop the video right here, guys. I'm going to finish up the Rita bulgy using the same process I did here with fingers in over here. And just feel everything and we'll take a quick look at it on the next video. And then we're going to start placing our joints, which is the next part of this whole thing. So I'll hang on tight and I'll see you back on the next one. Bye bye. 15. Zombie Hand Joint Setup: Hey guys, welcome back to the next part of our series. Today we're going to start with the joint setup for the zombie hands. So let's get to it. This is the final texture handles I mentioned we're not going to be covering tech shrinks and this is another texture and course, but the texture file is actually going to be in your Assets folder and gives you want to analyze it. That's a very simple, just like our toon shader where I'm using a couple of generators to get this nice effect and everything is now set up here. We don't have the lights yet for Arnold is just a basic cans. You're going to have a new file on your Scenes folder called some Behance. Rick started, which is this one right here. I'm just going to save the scene as the somebody hand. There we go. So that one's going to be cleaned for you and I'm going to be working on this one. Now, here's the interesting thing. We're going to be reading this character or this little hand as a character. So what I wanna do is I want to be able to move him pretty similar to the Adams family hands thoroughly. You've seen that show before. There's a hand that does a lot of things, a little movements. So I'm imagining that this is going to be like maybe like floating or jumping or maybe even walking with the fingers. Like there's some other things we can do. We're gonna do a very simple Forward Kinematic, our array. We're not going to do anything fancy. But I want to show you some interesting things about the positioning of joints in this particular case. So if we think about the anatomy here, I'm going to go into my little grease pencil. We need to understand that the race is composed by bones. There's a lot of bones here. I think there's eight bones. And then we have something called the metacarpals. Okay. So the metacarpals are this very long bones that go from the wrist bones all the way to the knuckles. Actually the knuckles. It's where the new bones, the fallon Gs starts. So we're going to have this big bones right here. And then we're going to have, of course, each finger is going to have its Fallon juice, which is the little section of the fingers, the four fingers that we have here have three phalanges each, and the thumb only has two fallacies to the proximal and distal phalanges. So that's the amount of phones and we're going to need, like if we extrapolate this, we're going to have one joint here on the wrist. And then from this joint, we can't add this union right here. But usually when we read things, it's just gonna be like wants trade bone all the way to here. And then from here we're just gonna go all the way down. Let me just close the tab real quick here. I don't want any messages. Sorry for that. I usually wear headphones when I'm recording, but right now I don't have them with me. So as you can see, we're going to have two bones right here. One bone going from the wrist all the way to the knuckles. And then up here, it's going to be a little bit difficult to see, but we need one extra bone just to be able to move the forearm or what remains of the forum a little bit. So let's start with a position on real quick. And for that, and we're going to go into our little thing right here. And I'm going to select, sorry, an extra ring. We're going to select a joint position. And remember, we always want to have a joint that roots our character into the scene, into the world. That's why this is called a root, because the roots are character into the, into the main scene. So I'm going to call this route on their score. Go scratchy, OK. Now what am I talking about? Gnp joint. And that's going to be my first joint. Now, the second joint, it's going to be the wrist joint. And we need to decide, we need to decide whether we want the wrist joint to v oriented towards the world or do we want to orient it in a different way? I think for this particular one, I'm going to orient it to the world. So I'm just going to duplicate this guy. Let's turn on X-ray here and position it right in the middle. Now this thing is not symmetrical. You can see that the hand is not completely symmetrical. So we need to find the best possible place for this thing, which is roughly about here. There we go. Now, the only problem with this bone right here is we have this issue again, render options. I'm not sure why this is not something that you can set for every scene but whatever. So the problem here is if we rotate this bone and this bone is going to be the parent of all of the hand. Then when we rotate this bone, we're not going to be able to rotate the forearm even if we add like a tip here on the forearm, like rotating this thing won't do anything. So we're going to have to break the anatomy a little bit just to add a little bit more movement to the whole thing. And what I'm gonna do, as you can see here, I'm gonna go to my right view. I'm going to duplicate this bone. And I'm going to rotate this bone so that it's pointing as you can see towards the back there and I'm going to duplicate it and there we go. So this guy right here, this bone right here, this is going to be the main bone for the hand. And then this bone right here is going to be the main bone folder, wrist. Okay, So when we wrote the this thing, which of course, this guy, we're going to parent it to this other guy. Let's turn off geometry for just a second. So now this will allow us to have this sort of movement. And again, we're breaking, we're breaking in them here because this is not how this thing should work. Another way in which we could do it. And again, this is something that you always need to check with your animators if you're rigging. How they want to move things. And I'm deciding to do this because I think it's going to be easier to move this thing around. And then if I want to move the forearm a little bit, I'm just going to move it with this. But somebody might say no, no, no, I want this to be moved like a normal hand. So in that case, we will probably have a bone like up here simulating the, the elbow and then another one up here. And then this one would move the whole hand. And then with this we will move the hand again, since this character is a little bit different because I'm thinking of it like a walking hand. I find it a little bit easier to just do it with this bone right here, even though we break the geometry here a little bit. Another way in which we can solve this is we can actually snap this guy right down the middle. You can have two bones be in the same place and that's completely fine. It doesn't really matter that they're in the same place because they're not going to be sharing the same way. Like actually hear the main bone right here. We're going to call this hand main bone. It is going to have some weight. So it's going to be, all of the weights are probably gonna be back here. And then this guy is going to have the weights like up here on the, on the forum. So you can have two bones exactly on the same place. It's not going to matter. This guy, I'm just going to rotate to the side. Let's select all of them and turn the local rotation axis to see how they're looking. And you can see that my main hand, the hand main bone is oriented to the world which is perfect. Then this one has a little bit of a different orientation, which is also fine. Now let's call this a risk score, G and T. And this is going to be a wrist tip underscore. Gnp. Bone should be, let's just call it hand joint. There we go. Now the hand joint, of course it's going to be parented to the root and the rest of course is going to be parented to the hand. So even though they're in the same place, one is parented to the other. It might be a little bit confusing, but believe me, it's completely fine. Now for the fingers, we already know that we're going to have one bone going from here to here. So it's going to be a connection from the wrist all the way to them, to the fingers. And then each finger is going to have three segments. So we're going to do something very similar to what we did with the bow. I'm going to press Create one bone presses shift to create three more bones. Let's turn on the local rotation axis and the sins, and we're going to be rotating this on the x axis. You can see that this ones are pointing with the y-axis. We might want to change the rotation. I mean, it's fine. It doesn't really matter if, if bones are not pointing in the exact same direction. But usually you want to make sure that everything rotates in the same way. So let's fix this real quick since our fingers are going to have the x axis pointing forward or to the next bone. And one the same thing here. So very easy to fix. I'm going to show you real quick. So let's grab these two guys. I'm going to parent them for just a second. So we want the wrist joint and the and this guy, let's go here. So a driver driven, we're gonna go rigging constrain orient constraint. So our aim constraint, and we're going to point with x. Is x. Worse? The next button, I'm just gonna hit apply. And what happened there? Oh, I have two values there. There we go up like so now this bone is properly pointing towards that guy. See, in this case is on the other side. I think we can point C to the front, so I'm going to get a plane so that the C is pointing towards the front. I think that looks better. And then we delete the constraint. We don't need it anymore, we only use it to properly align it. And then to make sure that this guy is exactly the same as this guy, again, driver driven. And we're just gonna go constraint for int 0, driver driven, constraint orient. And we delete the Orient Constraint. This guy, parents back to this guy, got the whole thing for transformation. Now my bones are clean and x is pointing towards the next bone, which is exactly what I want for those specific ones. That way when I select this guy and I rotate, in this case, we'd why? It's going to rotate nicely. And you can see that the y here, let me just check. C is pointing to the others, but that's fine. I mean, it's it's fine. Now for the fingers, the the one that we're going to be using to rotate. It's going to be, it's going to be seeing, as you can see here when we move C, that's what's going to bend the finger. If we want to keep the sea on this thing, we will just need to modify it but nothing. Why is fine there? Now, this guy, here's where the funding part begins. I'm going to position this guy rightward. This thing is supposed to bend. That's very important that you move the camera around to find the middle point of the volume of the whole thing. So this is going to be my first like NOCl remember the knuckles that we create it? And usually the fingers when you close your fist, I'm going to turn on my camera very quickly here. So when you're close your fist, your fingers actually go towards the inside. See you this so that they're not just going to bend like completely flat. They bent and they curl towards the center. So what we're gonna do here is we're gonna rotate, we're going to rotate this guy just a little bit to the inside so that we follow or tried to follow the direction of the finger as best as possible. Now this guy we are, I'm going to scale it so that the finger or the center of the bone is right there on the knothole as well. And then this guy, we're going to scale it and rotate. Remember we do not move, we scale and rotate. Skilling and rotate is completely fine. It's Gaia thing, we can move it back a little bit so that we were trying to get exactly to where the where the main point of where that were the fingerprints as close as possible. Now if you feel like the radius is making it difficult just to make the radius smaller, that should facilitate a couple of things. The first one that you can move for, the second ones, you're not supposed to move it and you can just scale them and rotate. And then finally here, we're just going to scale and wrote this. So we go to make sure that when you see this from all the abuse, this looks nice. It follows this. And again, when we close as we want, That's why I'm rotating it slightly to the side so that when we close it, that finger goes towards the center of the hand. I'm going to duplicate the whole chain. Just move it over to the next bone position where it's supposed to be. I'm going to follow the same process. Let's just fix the rotation here to make sure it's as nice as possible. That does seem to be where I needed to be. Scale to create the first band. And then from here we scale to create the the second bend. And then we just rotate there. There we go. That's the second finger. Then we can move it slightly in more with you. It doesn't matter if it's not super, super perfect. Like there's a little bit of wiggling room. And that's completely fine. I'm just going to duplicate the whole chain again. Rotate this slightly, I get rho to the worst because I wanted this thing to go towards the center position and what we want. And we started out, we always start from the back or from the first bone all the way to the tip. Because if you move something here and then you move something up there, everything else on the, on the lower stream is going to, it's going to be modified. So something like that, something like that. That we go. And finally the pinky finger, we just position and over here, we rotate it forward. Push the sky, skill it back toward the knuckle. And finally the little tip. There we go. And it's actually a very, this is a little bit of a wonky finger. I could have modeled a little bit better. What's going on? Roll with this. There we go. That's looks better. And for the thumb, we're gonna do the exact same thing. Just ignore the final bone. So I'm just going to position this very important that we rotate the whole thing. See how I'm rotating this elements so that the c-axis is going to be the one that bends. So something like this. There we go. And with my archae are going to position this right above there. And then this one rotates the tip. Go back to this guy, wrote it a little bit so that it's aligned to the whole finger. And then I know that this guy went and of course this lasted would just erase. And there we go. All of her fingers are no properly set up. You can see that all of the bones are looking nice. And one quick way in which you're going to be able to check what are not. This is going to work is if you've got all of the fingers here and your rotate on the z-axis. The hell they open and close very nicely because they're sharing the same location. Wrote to look at local rotation axis. And as you can see, we're getting that thing that I showed you on camera where all of the fingers curl and they crawl towards the middle. So that's going to, it's going to look really, really cool. Now before we parent them, I am going to use the remaining tool again over here, grab all of this and I'm just going to call this index underscore. And we're going to get on their score. It's got to be 0123. All of this are going to be a middle underscore. Same deal. 0, 1, 2, 3. This are going to be a ring, called them the ring finger. Again, 0, 1, 2, 3. This one's going to be put up, up, up, up by the pinky, pinky finger. And just write down the first one. Some people like to change the name since then coming to your 123, they like to have things like like bays, myth than then tip. I think that's a little bit too confusing, so I keep it just wasn't sure One 23. Again, always ask your leaf or your animator how they prefer things. But usually that works fine. So I'm going to grab all of the roots here. And before we parented, I'm going to freeze the transformations so that all of the things are clean. The only things that are going to have some information, of course, is going to be the translation. But other than that, that's fine. And all of them are going to be parented towards the wrist. Okay. Or not. Okay. I'm gonna go to the hand actually. I think I'm going to go to the hand at the wrist remains as a separate piece again, remember I'm doing this raised as a separate piece of just due to the way this hand, this is position. If this was a normal character, you will normally have like an elbow and the wrist and then from the rest all the fingers. But in here, I want to be able to just move the hand and everything moves. I want to be able to move the wrist as a separate piece if I need to give it a little bit more life to the whole thing. And then of course we're going to have all the fingers that are going to be moving as their own little things. And that's it. This is the regular rig is now ready. Dd joints are properly laid out. We can go of course, the first one, freeze transformations to make sure that everything is as clean as possible. And yeah, things are looking nice. So the next step is going to be the controllers or the skinning. We're going to move with the skinning as we did before because I think it's easier to visualize how those joints are going to work. And then we're going to be doing the screening and the, sorry, the controllers and the connection of the controllers to the bones. So that's it for this one guys. Make sure you get all the way to this point and I'll see you back on the next one. Bye bye. 16. Zombie Hand Skinning: Hey guys, welcome back to the next part of the series. Today we're going to continue with the somebody hands. So let's get to it. This is where we left off. This is the final quick rig that we did for our handler, which is looking very nice assignment, if I may say so myself. And that was time for skinning. And here's where we're thinking we're going to get really, really fun. So first, I know that all of my local rotation accesses are fine, so we're going to grab everything and turn them off. And the one that contaminate the scene more than we need to. We can actually go here and change the radius of something like 0.1 or 0.3 so that we see the bones, but they're not as invasive us as well we normally see. And I'm gonna select all of the bones except for the tips. We're not going to select the tips. In this case, we're going to leave the tips out because those tips are not going to have any weight associated to them. And then I'm gonna select the hand. Of course, let's turn on geometry again. And we're gonna go into Skin, Bind Skin, book, mine skin. I'm going to say select the Jones closest distance. We already know the drill. Remember if this is reset that just change this to select the juncture that none of the other ones get any weight. And this are fine. I'm actually going to change the option now I'm going to leave it. I'm going to show you later on the Geodesic Voxel, which is a really cool way to, to read it. But for this particular example, I think we're fine here. So I'm just going to change this to 44. Hit Apply. And as you can see very, very quick, we get this. If we grab the hand and we move it, everything is going to move, which is exactly what we would expect. Even if we grab the wrist and move it, there's going to be a little bit of woman, which is again, what we were expecting just to have this effect. And of course, if we start grabbing the fingers, we should be able to see some movement as well. Now some of the things are going to move a little bit better than others. For instance, if I grab this thumb T2, which is sore thumb one which is the last part. And I do this, you're going to see that the bone is kind of moving a little bit more than it should, right? Like it's given me more movement there. I'm seeing movement here. So for this particular things for characters and creatures like this, the screening process is going to be a little bit more time-consuming. You're going to have to be more patient in order to get a nice skinny. So let's go to it. I'm going to do a skin, I'm going to say Paint Skin Weights. And I'm going to open my tool. And I usually like to start with the tips. So I'm gonna go with the thumb one here. And the first thing I want to make sure is that the whole thumb, or at least most of the thumb here, moves in the way that I expect it to move. So I'm going to change the value and especially here on the tip to one. Because I really want all of these areas to move in a nice way it when I move the bone. Careful there. Anything else? There we go. Then I'm gonna go to thumb through and you can see that we're losing a little bit of effect here. So I definitely want to win it back. I want to make sure that this middle section of thumb is moving pretty much consistently with the bone. This sort of fade out over here, all of this, that's fine. I mean, that's actually going to add a little bit of movement to the whole thing and it makes it look really, really cool shot. I'm not going to mess with it unless we need to. And again, the way you're going to test this out is of course you're gonna select the joint and you're going to rotate it and see how this thing bends. So you can see that we're losing a little bit of volume. This is a very, very common. We're losing a little bit of volume there on the, on the thumbs. Not that much, but it is a little bit. So maybe the area of effects a little bit too much there. However, I'm not going to worry about that just yet. I'm going to finish Polish polishing all of the other fingers first. Like, look at this, this looks very good, right? This looks really, really nice. You can see how everything is bending in a nice way except for that thing right there. So I'm gonna show you how to fix this and the other thing I should do, definitely. So I'm just going to grab this guy's all of the bones. You're gonna give them an animation here with S. And then I'm gonna go to frame 40. And especially like all of the fingers that they share the same like see rotation except for the tips. Of course. I'm just going to rotate them in C so that we bend the hand into a fist. There we go. And that way I'm going to be able to see now since we're just working with that with the thumb right now, one thing I can do is I can just grab the thumb for now. Let's rotate it like this. Probably the most intense rotation, it's going to have something like this. And now I'm going to be able to fix a little bit better because they can go here, go into my Paint Weights, double-click. Let's go to the thumb, thumb 0 for instance here. And then we can just use this MOOC and smooth a little bit like this. Some people like to have overlap here. So for instance, I would go to, to a paint or to replace again, I'm going to lower, I'm going to say at actually I'm going to lower the value 2.3 or something. And I'm going to start adding. Let's make the value and bad lower, and then start adding a little bit of volume here like that. See how we get that and then go to the thumb Ciro, same the on going and just add a little bit of blue here. And go to smooth. And just move this out a little bit. And that, as you can see, it's going to give us for better movement. Because when we bend it, there's actually going to be a little bit of overlap there. And it's going to look like the like the squishy part of the other fingers. So whatever works for you, whatever. Again, the production needs or demands, that's usually going to be a good idea to follow. I'm definitely a little bit perplexed by the amount of influence that this thing has. So I'm gonna go back here. Let's select the geometry paint. Let's go to the thumps hero. So I definitely think I need to have a little bit more and more here. So I'm gonna go back to path. I'm just going to start painting here and adding a little bit more influence in this area. I definitely want the the thumb to move this a little bit more. Careful not to other areas. There we go. Let's give that a shot. So let's grab this guy. Yeah, it looks a little bit better. So moving things a little bit too much. So I'm just gonna go there. Go back to the geometry, go back to the paint. And probably small things a little bit around here. Just a little bit because I don't want to have a little bit of movement like when that when you move a finger and other things in the hand moves that, that makes it look very, very cool because it seems like it's connected with like muscles and stuff. So so that's movement there. I'm not I'm not actually likely to worry about so perfect. Let's, if you ever find yourself in an issue here with the animations, you can always go to the skeleton. Just select the skeleton and say skeleton. Go to bind push or a skin go to bind Post. And everything's going to just go back to the to the post where you usually have. And then you can grab all of the bones here again, just break the connection. And everything should be fine. Let's get moving with the next finger. Now this one's going to be a little more interesting. Actually, that's not bad. I think, I think that looks very, very good. The formation There's, It's nice. I like it. Of course, once we hit this position where the bone is like really going over here, then we're going to have a couple of issues, but before that, it's pretty fine. Let's go here and check this out. Well, it's also fine. Now here what I can do if I want to, if I wanted this like knuckle to remain a little bit more like a hard surface. Here's where those extra polygons come into place because they can go to the middle finger or sorry, the, this is the index finger, Ciro, any fiat, a little bit more weight to the knuckle. As you can see here. The knuckle is going to remain sharper. Say that's why we added those points right there. So by doing this, now, when we bend the finger, this finger right here, the knuckle remains very like sharper now of course that's a little bit too much. So I'm just gonna go here, go back to my tools. Let's move this out. And let's just move this a little bit. So I do want to have a little bit more influence on that knuckle, but not as much. So that when I bend this thing, you can see that the knuckle retains its shape a little better and we get this nicer effect rather than like a sausage thing, it looks a little bit better there. Select joints, Let's go back to bind pose. Let's grab this last one. Same deal here, right? Like we do this, you can immediately see where things are looking a little bit wonky. I'm going to turn off x-ray for just a second. This guy paint, We'd go to index one. Let's go to F. Let's have a little bit of weight here. So the knuckle remains closer to the surface. We can go to index two, for instance, in a little bit of weight here. So we get this interesting effect. Especially in this sort of organic things. You usually want to have things be sort of smooth, gives you a better result. So now when we grab this during red there, you can see this thing. Now. This joint is moving things up here, which that's definitely not what we want. So I'm going to grab this guy again, go into my paint and that just smooth this out or, or just go to index two are in X1, sorry, index 0. And just add a little bit more influence here. Let's move. Because we don't want everything to just move everything. It looks very weird when we have something here. Like that's fine. A little bit of movement there, it's okay. But I still think it's a little bit too much. So I'm gonna go back here, go to index two, and you can see all of this influence here. So I'm going to say replace, let's just turn this off so I'm going to start painting black here. I don't want any influence on that finger up here. You pretty much have to like take each specific like vertex to get rid of the weight. So yeah, as I mentioned, it is a little bit time-consuming, but that's the process. Unfortunately, skinning is one of those things that people even rigorous don't particularly love. Where at least the ones I've talked to because it's a lot of trial and error, right? So script sky again, much better look at that very nice information. Now the information, this is unavoidable if you were to keep growing as a reading artists, the big production houses, this brain works and everyone that does like Dynamics, they actually have muscle systems that they formed a geometry that better wait, that's not something that we can do for games, of course, because we don't have any sort of like a muscle system since idle games yet. And that of course, adds a little bit more complexity to the whole thing, but it will give you more realism. This is just like traditional thing. So here again, the main thing that we want to fix this, that's sort of like that. We call this the candy wrap effect, where the bone is pushing things like way too strongly and we lose some of the definition. So easiest way is just small value here. Let's just push this are rather have an overlap, a little bit of overlap in certain areas like here. Like that overlap is perfectly fine for me. Rather than having the candy rep effect. It looks better. Overlap will look better like that overlap there looks a little bit more natural than the candy wrap effect that we had before. So we go. The candy Rob will happen once the bone hits like a very like 90 degree angle like this guy right here. So that's why it's very important that you post your character and then work on that specific part of the character to try and hide that sort of facts you that just a couple of clicks here and there. And that already gives us a way better deformation right there for our hand. Again, skin to bind both. Just go back and we go to the next one. Let's grab this guy, which I'm expecting have very similar effect. There we go. Very, very commonly happens in the knees. It happens on the it happens on the arms, like on elbows and shoulders. It happens on the neck sometimes like, it's a very, very common thing. This, this element. Let's go, Let's grab it. This guy bend it so that we can get the, and we can see the effect. You can see it there. Again, grab this thing, paint. That's the ring. So the more volume there on the puffy areas Here are the more volume there and there. And again are rather have overlap than than a weird thing. Just grab the bones and the bones. You can grab any bone and go to bind Post and it automatically will jump back into the bind pose. Hopefully with this guys, you're, you're starting to get the general idea of rigging. The way I decided to build this course was to go from very simple exercises like the robot arm. Two more complex, the more complex we're about to jump into some harder stuff. So we're just going to finish the controllers for this hand and then we'll jump into a game character and we're going to do a game character first. It's a floating character, so it's going to make it a little bit easier to again, understand the general principles and things that we want to follow. And finally, we'll do a full body character, which is going to be slightly complex. But hopefully you'll, with all of the information we've learned so far, you'll be able to follow along and create a very nice believable R3. So let's just finish this in here first. Just going to go here. Grab this guy paint. Let's go to the pinky finger. So pinkie, to inflate this pinky one. See how immediately changes the silhouette pinky 0. Way better. And that's why you need to learn skinning and reading this. You just let the software do everything on its own. You're going to get this sort of effects that are really, really bad. So we definitely don't want that. So let's bring this guy. I think the knuckles there looked pretty fine. So now let's go to the bind pose again. So keen bind posts. It would grab again all of the fingers except for the tips. And we make a fist with the c-axis, which they all share. We should be able to create the first, of course, the thumb doesn't go all the way over here. I'm wondering we missed the bones, you know, I don't think so. I think we're fine. Let's just move this here. And there we go. We have a face for our character. Let's turn off x-ray. And the hand is looking very, very nice. So yeah, that's it for this one guys. Let's just go back on the, on the animation there. On the next one we're going to be talking about the DMM. What's it's called the that we're going to be doing the controllers and we're going to do all the controller for the fingers, the ones that the animators are going to be using. Then we're going to do an animation tests like we did with robot arm. And because the fun part about using or creating arrays, it gives being able to use it, right? So we're gonna do a quick animation tests with this hand, and then we're just going to continue with the next chapter. So make sure you tried to get all the way up to this point. All of the skeleton is done now the skinning is looking clean. Everything is moving here nicely. Even the wrist, I think it's looking nice like I like that. That movement just gives us a little bit of flexibility there, which is which is fine. And yeah, so keep on working, keep on pushing. And I'll see you back on the next one. Bye. 17. Zombie Hand Controller Setup: Hey guys, welcome back to the next part of our series. Today we're going to continue with the controller setup for our somebody hands. So let's get to it. But before we jump into the controller setup though, there's one little cool thing I want to show you. And in here, if I go into my poly modeling, I have this Nintendo 64 controller. And this is actually a shortcut that I have for this curve tool Creator. Now, what you're gonna do to get this curve tool Creator and the reason we're going to use it, because it's really cool and we're going to get some nice controller for our brakes. You're gonna go into Google and you're gonna look forward for Maya curve creator. And usually in the first couple of options you're gonna get this one from GMB growth. And if you click on this one, you're going to get this one by Perry like LinkedIn. Apparently things are great. These and he shares a couple of very cool tools for us. And he has this one which is completely free if you want to give him any tip or support, feel free to do it. And right here you have all of the instructions that you need to install it. So down here, you just have to copy the curb recreate or PY file together with the controller perpetrated or WI into the ICL folder right here, my documents, Maya scripts, and then this little text right here. This is the important part. You're going to copy this thing inside of a Maya down here, inside of the script editor, inside the new Python tab. And when you run this thing, if you place the things correctly where they're supposed to be, you should be getting this thing right here. So just follow the instructions here on the file, get this script and you're going to be able to work with this very nice script right here. I actually think though, I don't have the newest version. Probably not the newest one, but this is good enough. Now, the cool thing about this one is we are going to have a lot of very cool curves right here. For instance, this arrow group just double-click, and there we go, we have an error occurred with that one there, which is just a group with an arrow shape without having to. This is going to say it was a little bit time because we're not going to have to rebuild or do anything with this thing. We're just going to have to copy the Caribbean and work with it. And the cool thing about this one as well is that we can change very quickly the color of the curve. So if we want the curve to be red or green or yellow or whatever we just selected here. And that's it. So thanks a lot to our friend Perry, who share this script tool. There are a lot of other tools out there. So if the one from period does not work for you, try other ones, and this is only an option. It's only to get some nicer currency here. You don't need to do this for rigging, you can use just circles and stuff. But we're going to be working with this. So for the controllers, we are going to use one controller. That's going to be a crime curve. I really like this crown group to be my main controller. So I'm just going to create a one controller control gene to keep everything clean. And then this group is just going to scale it up so we get a nice shape for the whole thing. Now this one, as you might imagine, is going to be the controller that's going to control their growth curve. So we're going to call this birth control. And we're going to copy and paste this name and we're just going to be the control group. Then I want to have a normal circle for the wrist and the hand. So I am going to create a or actually, let's see whether we will have. We can do a cube, I think we can do EQ. So I'm going to do EQ on base this one right here. Very, very cool. As you can see, the pivot point is right there. I'm going to group it. And then what I'm gonna do is I'm going to select my hand controller. And then I'm going to select the group that I just created. I'm going to say rigging constrain parent constraints so that the cube, as you can see, jumps straight into that specific place. Now, to get this curve to look a little bit nicer, I'm just going to grab the whole thing. I'm going to turn on this screen rotate. Let's flip this thing around. Now let's just rotate it so that it's facing our hand. I'm gonna go into the Options here, control vertex or Control Vertex. There we go. And let's just create a little box. Now for instance, this guys, and these guys, I'm going to move forward. And then this guy, let's move it down here. Let's go those two points. Move them out. Careful there that there is something called the hearings, your selections. So by default, Maya will try to select the bones. If you do a selection box around it, just be mindful of those and they just move the stereopsis. So there we have this very nice box. Now this box again is completely clean right here. And it has, oh wait, I rotate. I shouldn't have rotated here. I should have rotated the what's the word? The diverts. So let's go back real quick. So yeah, okay, So again, I just hand group constraint, parent constraint, and we delete the constraint. We don't need it anymore. And now I want to modify this thing, but without modifying everything that I have there, there we go. So just going to place the point on the bone and then rotate from there. There we go. Because at the end of the day, remember this curves are only shapes. There are only four. For ease of selection, we want animators to be or to select them in a fast and easy way. So that's why we modify them so that they're visible. And EC2 to see and follow. So let's go there. I'm going to grab this point right there, and this one right here. Let's bring it down and back. Same for this two guys. There we go. So that way, and the mirrors are going to be able to very easily select this guy. And it should be fairly obvious since it's a very big controller that this moves a whole hand. So this is going to be cold hand on their score control. And this one up here is going to be Control underscore group. Perfect. Now of course this is going to be parented to the roots so that where we move the root, the hand control will follow. Fair enough, right? Now, I'm going to create a new curve here. This is just a standard curve, so I'm just going to do the circle, group it, Grab now their wrist joint up here and grab this guy. Constrain parent constraint. Get rid of the constraint. Then now this curve we're going to be able to modify because it should have the proper orientation and everything. So just let's move it, Let's rotate it so that it matches this thing like this. And probably one that give it a little bit that I think that's fine. I think I'll just leave it like this and it's just a circle. So this one's going to be based on their score control and is going to be risk control group. Now, as you might imagine, we need to do the exact same thing for every single curve. We need to do a chain that parents all of the curves throughout our fingers. But that's extremely, extremely annoying, right? So what we're gonna do is something that rigorous do a lot. So if you're going to become an expert rigor after you take this course and keep on learning and more and more advanced stuff about Reagan, you're eventually going to find out that there's a lot of repetitive tasks that we normally do. And whenever you have a repetitive task, one of the things that you can do is invest some time in scripting. That means creating a little bit of code here on the script editor, editor to create and do something cool, right? So in this case, I'm going to show you this script. I did not create this script. I got it from the Internet. Not sure where, to be honest, I don't remember. But we're going to be using this to create a very nice, what's the word? Skip that one. We're going to be creating a very nice just forward kinematic chain. I call this the FK chain script. And even though I did not create the script, I can explain it to you so that we understand what's going on. Okay, so we're gonna go line by line just explaining what happens here. And and that's going to be at, so there we go. So we're going to say here, none for now, there we go. So by the way, this script, let me copy and paste it. I'm going to copy and paste it into a notepad. And I'm going to save this for you. So don't forget here. So in your data folder you're going to find the, let's call this FK chain script. So if you're just copy and paste this, it should work exactly like that. If not, just make sure that you have everything set up exactly like what I have here. So let me explain. What that's gonna do is first it's going to call the Maya commands. So it's going to import all of the Maya commands into Python because Python and see different programming language, Mayas programming language is called MEL, which is my embedded language. And so it's going to import all of the condenser minus so that we can use them in, in, in Python, very traditional and simple command here. Then we're going to create a variable called selection. And our selection bearable whatever it is that we're going to get into this variable is whatever we have selected. As long as well we have select exist. What this means is if I don't have anything selected and I tried to run the script, nothing's going to happen. Why? Because there's nothing selected. But if I have, if I have something selected, that this statement, this variable gets created and whatever I have selected becomes this thing called selection. Then I'm going to check if we have a controller. This is used to create a chain with specific controllers. Right now we're just gonna do circles. But if you want to use the specific controllers such as this boxes or anything, you can use this one prepared, it's going to be important at the end, I'm going to explain why. And then we're going to disobey rules that we're creating by the way. So we're creating a controller brighter, which is non a preprinted bearable, which by default is none. And then what we're gonna do is we're gonna say four. Every object that I have in my selection, I'm going to run this command. This whole command is called A4 for each for loop. So for every article that they have, we're going to run this and what's going to happen first? It's going to select the first object on that selection. And then if my controller is set to none, which right now it is, or if the object $600 set to false, then we're going to create something called Controller 1. And that controller one is going to be a circle. Okay? So if we don't have anything set up here, we're just going to create a circle with the normal pointing towards x, which is, I believe the default. And we're going to name that circle very important. This is why this thing super amazing because it's going to rename everything to stabilise a lot of time. So we're going to create a circle with normal pointing towards x. And it's going to rename it with the name of the selection that I have here plus the name controller. So as you may imagine, what we're going to be selecting are the bones. So when I select, for instance, Ring 0, it's going to create a circle that's going to be called a ring 0 control. Very, very easy right? Now. If we want to use a specific curve for whatever reason, then this state then becomes active. Else, it's going to grab the controller and it's just going to duplicate whether we're controller I have up here. So if I have a box or if I have an arrow or something. It's going to duplicate that controller and it's going to name it the exact same thing. So this little thing right here only exists in case we want to use a different control. Our show you how to use this one by the way. Then we're gonna go here on the group options. So after we create the controller, we're going to group it. So we're going to create a variable called group. We're going to use the command group. We're going to name this group whatever the bonus name. So for instance, index 0 or 0 group. And then we're going to parent the controller to the group. So what this is doing up until this point is pretty much the same thing as creating a group, grouping it, and then renaming this two things to the proper names. That's what it's doing. It might seem complicated because it's a lot of code, but that's what it's doing. It's just creating a curve, creating a group, placing the inside of the group, and then renaming both of them to the proper name. They're easy right? Now comes the magic part. Then what this thing is gonna do? It's gonna do a parent constraint from the bone to the group that we just created, driver, driven. So whatever bone we have selected, which should be like the first or the second one, it's going to point constraint or parent constraint, that group that we just created, this one up here, and it's going to move it to the position. See, this thing is exactly the same thing we've been doing. The same thing we did with this box. The same thing we did with this curve is just making it in a encode, right? Then we're going to delete the point constraint. We've already done that, so we create the variable and then we delete that variable, which is the parent constraint. And then we're gonna do a point constraint. This is very cool. We're gonna point constraint that controller to the bone, and we're going to orient constraint the controller to the bone. So this two extra things are going to be helping us with her job because he instead of having to go with each curve and each bone and connecting both of them. It's just gonna do it automatically. It's just going to connect the point and the orange constraint to the bone. And now the controller is actually going to move the bone right now this guy's, they don't move the move. But if I grab this guy like the curb and then the hand, which is what we're gonna do. And we do constraint point and constraint orient. Now this thing moves the hand around and this thing rotates the hand around, saying for this one, right, like this one, we're going to select the risk controller, the wrist joint. We're gonna say constrain Point, Constrain Orient. And now this thing can move the wrist if we wanted to do like some sort of stretchy thing and it's going to rotate those erase as well. So that same thing that I just did here, this is what these two guys are doing. They're going to be constraining the controller that we just created up here to the object of the list. So the bone that we currently have selected after that comes the tricky part. It took me a little while to understand what, what's happening here. So it's going to check something's gonna say if preparing is not none. So if the program is not set to none, then Jurgen apparent whatever you have under group to the pre parent. So if we have a list, let me I think it's going to be if I draw a little diagram, what the hell? Paint. There we go. So we have bones, right? The other inner hair like this. And right now, by default on our script, the brand is set to none. So when I select the first bone and I go all the way up here and a check say, how is the dependent variable? Is it not none or is it none? If they sit, if it's not none. So if this is true, then this happens. But the first time this runs, the first time I select this guy, It's not going to be true because right now it is not, right. I know it's a little bit confusing, but this is not this statement is not being fulfilled. Therefore, we're not jumping to this one would jump directly to this one. So what's going to happen is for this first joint, since this statement is not happening, this code is not running. It's going to set the preparing to Controller 1. So now this prepared to up here, that's the Watts none when I run the first run. So this one we had none. The second time I run this, which is the next item in our selection. Now this thing, this thing right here, instead of being none, it's going to be Controller 1. And when it gets here to this area, it's going to check in is going to look at this prepayment is not none. And it's going to ask it, is this fulfilled? There is this statement true? And since this is true now because it is no longer known, it now is controller one. It's gonna say, oh perfect. So what I'm gonna do is I'm going to group this group, this, this new group on this one to the controller. So it's automatically creating the little chain that we need so that each controller in each group is parented and in the proper hierarchy, right? So, so this is the complicated part maybe to understand. But what this is doing is it's making sure that when we select one joint or a couple of joints, it will automatically create the parents of the groups that we need so that we again save a little bit of time. So now that we're ready, what we can do is the following. I can go to my options here. I can grab this whole thing, just drag and drop it here, right-click Edit. And I'm just going to go into the shelf option and I'm going to call this FK chain. And I'm going to hit save all shelves. So now every time I need to run this code, instead of having to open the script editor, select it, and then run, I can just click this thing and it's going to run the code. So how does the cowork very easily? You're gonna go to, for instance, the pinky finger. And you're going to select all of the things that you want the controller in, in-order. So 0, 1, 2, and they're going to say FK chant and click. And what that's gonna do, as you can see here, it is going to add a curve to each specific joint, properly oriented, ready with the connection. As you can see, they're already connected to the bones due to the constraints and also parented to each other. So you can see that we have this very nice change here on the pinky side, which is great. Now we're going to do the same thing for the next one. So let's do the thumb, for instance, 0 and 1 FK chain. And then let's go ring this ring 0, 1 and 2 FK chain. And then we're going to do metal. So middle 0, 1 and 2 FK chain. And finally index 0, 1 and 2 FK chain. There we go. So the only thing that we need to modify here is as you can see, some of the curves are a little bit small. So for instance, this one right here, we can just go to the Options and we can change the radius, so make it slightly bigger. So we can see it same for this one. We can actually select all of them like so. Let's say this one, this one, this one, this one, and this one at the same time. And since all of them were created, not duplicated, all of them still have their thing here. So we can go into the radius and just make the radius a little bit bigger. I personally like to scale them in the y-axis, sorry, in the c-axis. To create this sort of like, like it's a little bit of a different shape, right? But it's, I think it makes a little bit easier to select. They're not circles anymore, but should be fine. And I'm just going to select the next row of circles here. Going to the Options, change the radius a little bit. Again, the thing that you want the most from your controllers is for animators to be able to select them as fast, as nicely as possible. And there we go. With this done. Now, Oliver curves are ready. The only thing we need to do now is all of this groups are going to be parented to the head group. So where the hand the group moves or the hand controller moves, everything else is going to move. This one as well. This race controller is also going to go into this guy. So apparently the control group, sorry, it's going to be into the, into the control. So there we go. So where are we move this everything moves. And finally, of course this is going to be moving everything. The only thing we need to do is do they messed up something here? So grab this, grab this, I'm going to say constraint, parent constraint. So now where we move this thing, everything else is going to move. And there we go, our controllers are completely ready and setup. So let's just bring everything back to where they're supposed to be. Something changed here. If I move this ball, looks like I move the bone. When that happens. Okay, that's fine. So it seems like I accidentally moved the bone on this one. Let's let me show you how we would fix it. The main problem about this is I can't just like grab the bone and move it back to its original position. Because as soon as I take this thing and move it, it's going to go back to where it Constraint itself. So I'm going to go to the bone real quick. I'm going to break the connections here. Let's look for the bone and make sure that this bone has no longer a point and orient constraint. So let's delete that. I'm going to move the bone back to its position. That was the position. Now we grab the curve. We need to move that curve back into position as well. Their intention is supposed to be the same. Here we can just freeze transform this guys, so freeze translate. And now we're going to grab the controller again, grab their wrist joint again, and we're gonna say constrain point, constraint point. So now this thing should work exactly the same, but now the hand is properly position. I'm going to change this to Antoni map. Jimmy, just to see it a little bit better. And yeah, everything should be working, which is missing the grouping here. So risk control group goes into the hand and then this thing, and this thing is a constraint, parent constraint. And there we go. Now the final password to clean up, same thing as what we did with the robot arm. Let's lock and hide the skills. I'm going to grab this guy, for instance, I'm going to lock and hide the scales. This guy, I shouldn't want to have stretch the arms. So even though it has the connection, I'm just going to lock and hide everything else. Just leave the rotation on. And for the fingers, we definitely do want to keep all the rotations in case we want to do some weird like twists or something. So I'm going to I'm going to go here show. And that's a none show nurse curves. So they can quickly select only the nerve scripts. We're going to go everything here and just lock in high selected. And there we go, this one, that's fine. That's a little bit of translation. That's weird. Should be clean. Show all. Let's just see what this out. That's the, that's the position. So now let's just check that all the curves are in 0. It seems like they are. And we're just going to grab all of this here, this here, this three things Control G. And we're going to call this sum be hand raise. And there we go guys, Control S to save this. And our hand Rick is right. So what we're gonna do now, what we're going to have one more video with this guy. We're going to do a quick animation setup similar to what we did with the robot arm, just to make sure that we get some nice presentation. And again, where I always think that we'd rigging. The one of the coolest things is trying out the rig and making sure it works. So even though if you have never done animation before, don't worry, we're going to do something very, very simple. So that's it for this one guys. I'll see you back on the next one. Bye bye. 18. Zombie Hand Animation Test: Hey guys, welcome back to the next part of our series. Today we're going to do the sum behind test. I mentioned test, so let's get to it. This is what we have and I'm going to be animating this thing. And at the end I'll show you how we're going to be doing the render. So it's actually going to be very simple. What I'm gonna do is I'm going to pose this thing into different poses so that we can see the whole range of movement. So the first thing I'm gonna do is I'm gonna create a, a control selection or selection can just, I'm going to select all by type NURBS curves except for this group. I don't want to animate the red curve, just disguise right here. And I'm going to say create a set. Quickselect, going to call this C hand because it's the zombie hand. And now we can of course going to select, or sorry, yes, select Quick Select sets, Control Shift, and click the C head to add this into the, into the element and an animate this. So we're gonna get a lot of Frank's as well, similar to what we had with the with the crane. So in frame one is just save it. So I've got the same frame one, S2, give it a and animation. And then let's say frame 50. I want to raise the hand, so I'm going to grab the main controller and I want to move it. And while moving it, I kind of want to like bring this thing down a little bit. Let me get rid of the screen rotate and I'm going to grab the fingers. Let's turn off joints for now. So I'm going to turn off the joints and I'm going to turn off the geometries that we can't select geometry. It's going to make it easier. So let's bring the fingers too close together like this. So let's do this. And that's fine. So, so we've got this animation where the hands just like rises up. And then I want to do like some hand gestures to show that we have a lot of rage. So let's go into frame 70 just to save another like stop here. And then by frame, let's say 90, Let's make them some fun maybe. Yeah, frame nine is fine. Let's do some fast movements. Let's start. We'd like a piece of sign. So we're going to move this finger up. And let's move it back. Let's move it. So it looks like the peace sign. There we go. Let's bring this guy's closer to the, to the hand. It's cross. This guy says, well, this really like point this fingers. Then let's take this guy out. There you go. So we have the length, the peace sign, grab all of the curves and we got S. So we have, has just going to rise. It's going to stay still, is going to do the peace sign. And then I want to go back to this first. Let's just relax it. So let's go to the first one. I'm just going to middle mouse drag. Well, let's call it a peace sign for a couple of seconds. And then relax it. So I'm going to copy this frame right here. And the reason I'm coping it's going to be a little bit researches grab this whole thing. Ain't just like relaxed the hand like this. Let's just move it around. Let's do like like a rock signs. We're just going to grab this two things right here. Bring them down. There we go. But at the same time, I want the hand to kind of rotate and do this. So we're gonna have, we're gonna go from here, which this guys, it should be down. Maybe not super down. So like a claw again. There we go. So very important that we save this. And we're going to do this, see that nice little change their room. We go from this fist all the way over here. So we go up peace sign. We should give it a little bit of a lack of preparation. So let's look a little bit of anticipation here. I'm just going to lower the hand here. This is going to be like up P sign. And then when we do this, let's just move it forward a little bit. Just so there's always a little bit of movement. There we go. And then let's go back to our like this position. So again, let's hold this for a couple of frames. Again, all of the controllers hold them, and then let go. All of the controllers. Middle mouse drag over here S. But now we're just going to keep it open. Let's give the hand open. And again, just have fun with this guy. So it's playing around with the, with our creation, right? And making sure that we can animate it and get a very nice effect. Just don't be, don't be rude done through the middle finger. So let's go to this guy here. There we go. So we have this, and then we go back here. Now we'll just wanna do a like a, like a whole, like if it's holding something. So from here, I'm going to go here. I'm going to grab all of the fingers. Make sure that he makes like a fist. Same with this. Let's keep this like this. So like, like it's holding something. And then what I'm gonna do to give this a little bit better effect, I'm just going to copy this, go again, and then copy this and go again. It's going to be like her. And then at the end Let's do the thumbs up. So from here we're going to transition into a thumbs up. So let's go here. And let's just grab all of the fingers. And let's do a nice little thumbs-up here, making sure that the fingers are not collapsing with each other. And see how this is a little bit too much. So spring it back, bring it back. Bring it back. There we go. We've got everything here and just hit S. So now we see the whole animation. We're going to get this piece, rock. And then thumbs up, there we go. That looks pretty cool. I think that sounds like we can fix it a little bit. It looks a little bit weird here. Just a little bit of extra space there. Oh, I'm doing it in the wrong the wrong frame. So let's go here. You can press this one, jump into the frame. Now it's just a matter of giving them enough space. There we go. This looks a little bit weird. It's like we're breaking it a little bit. There we go. Now, let's fix a little bit of this animation. I mean, this is a nice animation, but I think we can make it better. So for instance, here on the peace sign, you can see that we're transitioning from the peace sign to the next thing very quickly. And, and I kinda wanna go, uh, kinda want to hold this a little bit. So I'm just going to copy and paste the same animation. So we hold it. And then from here we go to this. That's going to look cool as well. There we go. That's very cool, right? So 300 frames, That's about what was it? I think it's a little bit of worth 10 seconds. So it allows us to see the general movement of the thing and making sure that everything is moving and working nicely. We can have a little bit of overlap. This is an advanced technique, but usually when you move the fingers, the first part of the fingerboard first and then the second part of that, the third part. So I'm just gonna show you this. It's super simple. I'm going to grab all of the second, third parts of the fingers, like all of the scripts. And then I'm just going to drop everything and give it like probably like two frames. And then I'm going to grab the tips of the fingers like this for things. I'm just going to give them two frames as well. And what that thing is gonna do is gonna create a little bit of an overlap so that not everything is going to be moving at the same time. You can see how, how there's a little bit of a transition from 1 to another. It makes it look a little bit more natural and it's good for, for our exerciser, for our demonstration here. And the other thing I'm gonna do is I'm just going to grab all of the curves, going to my Windows Animation agarose graph editor and all of this, I'm just going to play this spline. Spline will soften them up and they will give us a little bit of a softer animation. So you can see how they like, just like balance and move from 1 to another. It's again, a very nice way to, to create a clean, a clean animation. So there we go. We have a very nice hand. They're very nice. Animation is showing off that a rig is working and we can pretty much animate whatever kind of thing we want with this character and, and we're ready to go. So one last thing I wanna do here, let me save this real quick. And I want to import the same light scenario that I have for the crane. So what you can do is you can say File Import. And if you import here the robot arm, I believe it's the one that we use at the end. This one robot arm breaks, just going to hit Import. It's going to import everything. It's going to import the sky dome light is going to import the rig. Of course, it's going to import everything. So I am just going to delete the robot rig. We don't need that here, and we're going to have our nice arm here, nothing. Let's check the camera. So yeah, if we're looking at the emission, of course this is not going to work. So this is where we wouldn't need to scale things. So, right, so unfortunately if we scale this up, we can't, because it's actually locked. But we can grab the group and scale the whole thing is going to break the what's the word It's going to break there, Rick. But for now just to keep the lightened scenario as nice as possible, I'm just gonna do it again. This is not what you're supposed to do. I'm just gonna do this for the Render. We're going to be taking a look at scaling later on. But for now it's just for, against, just for veterans and actually just to make sure that we have everything clean. I'm going to save this file, save scene as the sum, and I'm going to save a new scene. Let's call this render. And here what I'm going to do, this trace. So I'm just going to scale this down. I'm going to rotate the group as well so that we are seeing the hand from the front. And that when we see the animation, we get the animation working very nicely here. There we go. Pretty cool, right? And again, if we take a look, oh, by the way, we can actually press number three on this thing, on the geometry. If you want to. I mean, it's not needed, but if you want to smooth it out, you can do it. I actually think it looks better like this. And let's go to this guy right here. I think that looks good. And we're going to Arnold and re-render. We should be able to see a very nice effect should look exactly like the what's the word? Like the crane. So yeah, you can see it looks very, very cool. So you probably saw this animation on the intro file. I'm using all of these animations for the, for the promo video. And, and yeah, this is it. This is the end of our zombie hand exercise. So hopefully with this guys, you're starting to realize how complex and at the same time how cool to know the proper procedure to wreak pretty much anything. We're going to jump now on to the next chapter. Next chapter is going to be Chapter 3, and we're gonna be talking about game animation. We're going to be doing a character rig for games, a floating character. You're gonna see that in just a second. And we're also going to be doing a couple of obstacles and traps that you would find in the game that will be very difficult to animate directly on the engines were going to be creating a week here and we're gonna need doing a very simple animation for them. After that, for Chapter 4, we're going to jump for the full character. We're going to do the full character rig. And yeah, it's gonna be, it's gonna be a cool one. So hang on tight. Make sure to practice, make sure to finish the exercise, and I'll see you back on the next one. Bye bye. 19. Xahnbi Joint Setup: Hey guys, welcome back to the next part of our series. Today we're going to start with the sham be R3. So let's go for it. So for those of you that saw some of our videos in YouTube, there was one where I show you a very old portfolio that I did when I was still a student. And in that portfolio I had a character, and that character I named the champagne. So let's set up a project here real quick. Or do we have it next to it rigging? There we go. And in your Assets folder, you're going to find these sham be low. And the shown below is the low poly that we have for our shammy marrow. Now you can see that there's one that's actually completely triangulated, which is fine. Triangles are not bad. Actually, one of the things I wanted to show you what this example is, that you can actually write things like this and you won't have any issues. Now, the cool thing about this character right here is that EVs is kind of like a mixture between the robot arm that we did and the hand because it's a, it's a sort of organic character. It's a character or it has to have more movement than just a robot. But it's also a solid. It's just rocks, right? So skinning will be a little bit easier for this guy. However, we still need to create some interesting things right here. Now, before we jump into actually placing the joints, we need to think about what the animators might wanna do with this guy. And by doing that, we will be able to understand where we need our bones. So I'm going to print screen this thing. I'm going to jump real quick to Photoshop. And let's do a quick sketch on a what we would imagine an animator might need. So we of course need a root joint. There we go. So we need a real agenda is going to control everything. The head is very obvious is going to need a joint. And that joint will have free movement in regards to rotation and probably I'm sorry, probably translation as well. Okay, So we're going to have rotation and translation for the head. Now this whole thing, the torso, you can see that it's made out of this big chunk of things. There's like a magic crystal here and the insight. And then we have this floating pieces down here as well. So this floating pieces that we have over here, they're going to act similar to what we would expect a foot. So I imagine someone's bouncing or just like moving one foot, we would expect this thing to work similarly. So here's where we need to start making some decisions. Do we want a skeleton that goes from the root to each of these guys first and then to the center of the character? Or do we want to go to the center and then go to the other pieces? Usually, you're always going to have a bone on the center of gravity of your character. And that center of gravity is what's going to move the whole array. So in this case, my center of gravity is this whole thing. So I'm going to have one bone right here. I'm going to place it right on top of this rock so that I know that if I move that guy, which again is going to be movement and rotation two of them. If I move this guy, everything on the rig will move. Then from that position, from that bone will have 123 little bones connected to each of this floating pieces that way, if I went to like make distinct flowed all the way over here or over here or over here. We're going to be able to animate and move them very, very nicely. And now this guy's will also have rotation because we want to make them spin if we need to, and they're going to have translation. So far, so good, right? So we're going to have our root joint down here. Okay, so I'm going to do like a cites team right here. So it's going to be root joint, going to our main joint. And then from the main joint we're going to have 123 so far. Okay, so those are going to be my, my main elements. Now this little sphere right here, I want to have it as a separate piece. So again from this guy, I'm going to have a little bone so that they have, we want to extract or something. Maybe, maybe there's an animation where a character shoots an arrow through the chest and the little sphere goes flying. Well in that case we needed a single bone that's going to control devils here so we can again move it and scale it around. So we're going to have another joint right there. Then for the head, if we want, and this is only if you want to have a little bit more control. We could add a neck joint. So we could have the head right here and neck and neck joint. And then from the neck joint we're going to go to the green one. So it's going to be like here and then hit. Now the only reason why I would add a neck joint is to be able to rotate the head like forward and backwards without having to move it. Okay. Because if I want to place this head like up here, on the front here, I will need to grab this guy and move it around. And adding more animation layers or more curves in our animation can make it a little bit difficult. So if I just have this and just move it forward and then rotate that phase so that it's facing towards us. It's going to look as if he had a neck, even though there's no neck, it will look like if there's a neck. Okay, so we're going to need this sort of connection as well. Then for the arms. We're going to do something similar like this one's pretty obvious. We have here a, what's the word? A shoulder. Now, I'm going to imagine that we have a clavicle right about here. So if we rotate this clavicle right here, we're going to get a little bit more range of motion for the shoulder. And then I'm going to simulate that we also have a, what's the word a, an elbow. And then finally, we're going to have our hand. In this case, we don't have fingers, which is great because we're not gonna have as many controllers where we're going to have this little sequence here. Some of you might say, Well, can we just like a boy having the this thing right here and just move it in some other way. Yes, So we could, but I want to show you a nice little system that is going to make it a little bit easier to work with this thing, to work with the arm. For that specific thing, we definitely need an elbow, okay, and we're gonna do the same thing over here. We're going to have a fake clavicle. We're going to have a fake shoulders. There's absolutely nothing here, so it's going to be completely empty. A fake elbow, and then our hand again because I want to create a system here and we need three bones for that system to properly work and help us with the overall way that this character is going to be moving. Now, if we want to, this is optional, but if you want to, if you check the rig right here, you're gonna see that each individual rock here is an island. So some of you might be tempted to say, hey, why not add like 20 different bones, one for each rock so that we can like exploded in the imploded and do a lot of different animation moments. If you want to. Feel free to do that. I've had some students use this rig for other purposes and some of them were like, Okay, I'm going to add one bone that's going to just modify all of this assumes right here. Other bone's going to modify all of the stones right here. And depending on which one, on how you set it up, you're going to have, of course, more options as an animator, usually I like to keep it simple. The more bonds you have, the heavier is going to be on the performance side of things inside of Unity or Unreal. So if you can get away with simple bones, that's better. So let's start now setting up the, the bones for this guy. And I'm going to start very, very simple. I'm gonna go to my right view. And you already know the drill. We're gonna go to our rigging here. I'm going to create a little joint and I'm just going to snap it to the center. So it's 000 000. I'm going to call this a root. Root or underscore. Underscore GNP joint. There we go. Now, the next couple of bones that we need to assign, they need to be very specific way you can see that the character is kind of like slanted. It's kinda like going backwards. So we need to be very careful about how we place the next couple of bones. So the first one is when venture before the center bone that we're going to have on the tip of this Iraq. And that one, I do want to keep it aligned to the world. So I'm just going to duplicate this guy moving forward and position it roughly where it's supposed to be right about there. I'm not seeing it as go renderer or let's do X-ray joints and the renderer here, remember to change this to alpha ket. There we go. So we have both bones there. This one's going to be called Body G and T. Let's just lowercase bow the underscore, GND. And as we've mentioned before, this bone, it's going to move pretty much all of the areas right here. So all of this rocks right now from this bone, we're going to have bones that are going to be moving here a, Here's where things are gonna get a little bit interesting. Because we want to add some bones that are going to be able or they're going to allow me to rotate this thing in a, in an easy way to, to follow. So, so what I'm gonna do is I'm going to select this body joint. I'm gonna duplicate and there's a button here called Projected Center, Snap to Projected Center. So if we move it and we move it right here, you can see that it tried to, it tries to go to the projected center of the object, which is very, very handy because it goes right there in the middle of the stone. Now, we could leave this as is like the way that we're seeing it right now. But if an animator grabs this thing and tries to rotate it, the fact that this thing is not rotating from this position, but rather from its own position might make it a little bit difficult to, to animate. So here you can decide to orient this joint so that it's actually pointing towards the center. And when we rotate this, for instance, if we rotate on the x-axis, instead of rotating like this, it rotates on its own element. Another thing we can do, and I think this is going to be the best one for us, is I'm going to try to rotate the local rotation axis of the joint so that it matches as closely as possible the rotation that the actual stone has. Okay, see how this stone is like facing backwards and the front view it's, it's kinda like oriented in this way. So if we do this when an animator graphs this thing, if you once the crystal to rotate on its axis, on the y-axis, it's going to be a lot easier to control because it might intrigue to rotate this thing when the axis is oriented to the world, it would be very, very difficult. Okay? So I'm gonna keep it like this and I'm just gonna save freeze transformation so the bone is completely clean. And again, I know that when we rotate this bone specially on the y-axis, this thing is going to spin like a top right? So things are going to be looking nice and it's going to be easy for the animator to understand what kind of function we have. The moment is going to be a little bit weird. You can see it here that the movement of the bonus a little bit weird. I think we can. I'm trying to see if we could change the movement. I mean, it's not going to be super weird. It's going to be moving on the direction of the object as well. So I think we're going to be fine. So I'm just going to grab this guy right here, Control D. Let's move it over here. And then I'm gonna go to orientation and I'm going to rotate it again so that it matches as closely as possible to the orientation of this guy. There we go. And then we're going to duplicate it once more. We're going to go down here. Remember we still have this snap, snap to predict the center. So it would just hover over an object. It should try and get there. And here, let's just move it like this. There we go. So again, we're trying to match the axis that the stone is currently at so that the animators have an easier time animating. This guy's, especially, this is especially important if they won them, make them rotate on their own axis like on their y-axis, because otherwise they will be rotating in a very weird way. So with this orientation now it's going to be a lot easier. So I'm going to grab all three of these guys go up here and I'm going to change the names and I'm going to call this floating stones underscore. Now I'm going to call this one the first one a, the second one B, and the third one C. And all of them are, of course, you're going to be parented to the body. So wherever we move the body, those those joints are going to be moving as well. And of course, the body is going to be parented to the root. So as you can see, we have this now, here's where things might get ugly and myoglobin them or they're going to look ugly, but they're going to be completely fine like this skeleton right here, due to the fact of the length of the bones in mind, start looking very weird. Don't worry about this. Don't worry about this. It's completely, completely fine. The thing that you want to be worried about is the fact that everything is moving exactly as you expect. And right now we're doing a good job. Now. What I'm gonna do here is I need to find the center of the sphere. And they need to find it in the most perfect way. In if this sphere West a, like a traditional sphere, I could just snap it to the point. But right now if I tried to use the same technique to snap, to predict the center, it's not going to work. So what I'm gonna do is the following. I'm going to select the sphere, double-click and I'm going to say Edit Mesh duplicate. So now I have a new geometry that it's just a sphere. This one right here. Okay? Now this fear, I just pressed the center pivot, that's the center of the sphere. So I know that if I rotate it, it's going to rotate very nicely. It's not going to have any weird wobbling or anything. It's going to rotate it exactly on its center point. Now, what I'm gonna do is I'm gonna create a locator. Remember this guy that we did a long time ago? Well look, it was a really, really good because they allow us to create points in space. They're similar to groups because they only have like a transforms element that we're going to be able to use an locators. We're going to be using them more extensively with the full Rick. What they're going to be very cool because they can again hold information. So what I'm gonna do this, we're gonna say driver on the object, driven on the locator. And I'm going to go into rigging constraint and we're gonna do a point constraint. So now as you can see, the locator has jumped exactly where the center of the sphere is. We can delete the constraint. We don't need it anymore. And we can actually delete the sphere. We don't need that anymore because this, I look here right here is holding the information, are aware of where the center of this sphere is. Now, if we just create the new joint, there we go. We select the locator, the joint, and we do another constraint point. That joint has just jumped exactly on the center of the object. So as you can see, if we go to the, to the, to the front view, the sphere is not located on the center of the grid. It's, it's a little bit off-center, which is fine because I think, well, I mean, we could move the character a little bit just so that it's completely centered, but that's fine. It looks, it looks interesting. And yeah. So so now I know that that joined to this new joint that I just created, let's call it call this sham be heart on their score GMT. I know that that joint is living exactly where I needed to live in regards to the position that we need. I think what I'm going to leave it like this. I mean, the head is off-center, but based on the balance of things due to the weight of the shoulders and stuff, it looks symmetrical even though it's not. Yeah, there we go. So we don't need anymore, we can erase it. And now we just parent this to the heart like there. So now wherever I move this thing, eventually the hardest going to follow if I rotate this thing in the heart, it's going to follow as well. And it's going to be exactly on the dead center of this sphere, which is not a symmetrical sphere. So that's why it was very, very important to do the, the, the, the locator with all the constraints. So I'm going to stop it right here, guys, I don't want them to be due to go super, super long, get all the way to this point for the first police. And then on the next one we're going to continue building up the upper side of the character. So hang on tight, and I'll see you back on the next one. Bye bye. 20. Finishing Xahnbi Joint Setup: Hey guys, welcome back to the next part of our series. Today we're going to continue with the shampoo Reagan. We're going to finish the joint setup. So let's go. This is where we left off. We have the basic lower portion. Very important again, just to make sure that the information is clear. We rotated this bones right here, this lower bones, the ones on the floating souls so that they match the perspective and, and shapes of the elements as nicely as possible. And this will again help the animators make sure that whenever we move them, especially on the y-axis, they're going to rotate in a very nice, and I guess that would be oh, having some lapses here. Not believable. It's more like expected. It's going to work in the expected way. We rotate this on the y-axis. I'm not expecting this to rotate on its depth. I'm not expecting it to rotate on its own like orbit, right? So now we need to talk about the arms. And for the arms, one of the reasons we're, we're gonna be doing this sort of like fake elbow. We're invisible elbows setup is because we're going to be using a system called an FK system, sorry, an IK System in bursts kinematic. So I'm going to do a quick demonstration of how these systems work so that you guys can understand. I'm going to create first a box here. And I'm going to duplicate it. I'm going to rotate this slightly. So something like this. I'm going to go to my right view. I'm going to go to my bones. I'm going to create just a single normal chain like this. Okay? So this is a single chain element. Now we have, with this two boxes, I'm actually going to duplicate the boxes and duplicate the chain. And on this first one, I'm actually going to use the exact same script that we used for the hand. I'm just going to select all of the joints, 123, going to buy them. Grab my little command here and run it. And as you can see, we have our curves, right? So Let's just grab all of the curves on to three. Let's kill them out. Let's say raised. There we go. So now if we select this guy and we move it, it moves everything. We select these guys move it looks everything so like this guy move it, moves everything. If we were to grab it like the bones are the boxes here and just parent that to the bones. We are going to have what's called an FK system, forward kinematic system, very similar to what we have on the fingers. Very communist. It's probably the most basic. Reagan said that though we have the basic forward kinematic system and it's go forward kinematics because it starts from the base and it goes all the way to the tip of the system. And you're gonna have just wrote ID one and then rotate the other one and then rotate the final one. And this is a very cool system, is very handy. It worse for a lot of things. But there's also something called an IK System, inverse kinematic. And the inverse kinematic works in a slightly different way. I'm going to parent the boxes here real quick. And what the inverse kinematic thing we'll do is it will work similar to how a puppet works. If you, if you can think about the bumper with a little light wouldn't cross and strings, when you pull on the string, it pulls the hand or defeat and then the elbows and the knees need to adjust to accommodate the movement of that specific part of the puppet. Well, that's exactly what we're doing here. And it's very simple to create. You're going to go into Skeleton and you're gonna go into Create IK handle. You're going to select the first bone of the system and then the last bone of the system. And as you can see, we're going to get this line that goes from the first 12, last one. Now it's very important that we have three bones. That's why it was important that we're going to have this fake elbow because the elbow is going to help us stabilize the whole element. I'll show you how and why in just a second. So if I grab this handle now and I move it, you're gonna see that it automatically tries to position the elbow bone in the best possible way to accommodate this movement, which is very, very cool. I personally like animating characters that have weapons are going to use fists or attacks with IK Handles rather than with IK movement rather than with f k. But the advanced rates, and we're gonna do similarly on the, on the last week. We'll be able, we will be able to switch between one and the other, which is again, going to be very, very cool. So here is the I j hat. Now the reason why we need the elbow is because sometimes when you move the IK Handle to other parts, you might want to rotate the elbow like outwards. So if we wanted to do something like this where we bend the elbow, bend the elbow, and then we want to do this sort of like movement, right? Like move the elbow up, like this. Right now we can't do that. They'd been if I grab the IK Handle and position this in the exact same position, the elbow is still down here. And the reason why that is happening is because there's something called a pole vector constraint. We saw in the first couple of videos, this one right here, we haven't used it before. And the pole vector constraint is very cool because we're, we're gonna be doing with that is we're going to create a controller. And we're going to use that controller to drive the pole vector. So I'm going to grab the IK Handle, going to grab the curve, and I'm going to say constrain pole vector constraint, I'm sorry, curve. And then IK Handle constrain pole vector constraint. And now if I move the IK Handle and I move the pole vector, the elbow is going to follow the pole vector. The pole vector constraint only works for IK Handles is the main function for the whole system. And this is a reasonable, we're going to be using three invisible like bones on the arms so that we can get this very nice effect going on. So I'm going to delete everything here. We don't need it anymore. Let's just delete and delete. And let's go back to our character here. So for the arm, I am going to position three bones are four bonds actually. So I'm gonna say front view and we're going to have a fake clavicle, a fake shoulder. Well, that's a true shoulder, a fake elbow, and then the hand like this. Now if you take a look at this, of course they're going to look very, very weird. So I'm just going to start positioning them. Remember, we can move them, we can rotate them until the elbow is probably going to be like back here. And let's just move it right here. Thing we might have gotten a little bit too far here, so let's bring this back. One I get this guy inside that. We definitely want the shoulder or the elbow to have a little bit of like a church. When I see this a little bit of an angle, if it's completely straight, That's sometimes freaks out the system and makes it work weird. Now the reason why we have this fake clavicle is again, we want to be able to rotate the shoulder, as you can see here in a nice way. The only problem with this is I think that rotation of the shoulders is wrong. So I'm gonna, I'm gonna move it and try to stabilize so a little bit more. So that when we move it, it looks kind of like forward. So I think this is gonna work better. And then let's just go back to this one and use our local rotation axis here too to make sure they hit the place they need to hit. That seems good. I think that's good. Now of course, we need to turn on the local rotation axis, see how this is going. So as you can see, we're pointing with x towards the elbow, which is 5. Y is pointing up, which again is the recombinants. This is working nicely. We have this elbow going down, the x is going to be rotating to the elbow and then their hand, as you can see, it has like a normal translation. Now, I don't want to have to have a normal translation. I would rather have the same rotation, sorry, than the, than the previous one. So I'm going to select this guy's Shift P to M parented driver driven. And I'm just going to say constraint orient. So it has the same orientation as the elbow. And again, it's going to be a little bit easier to understand how this thing is going to move. And we go there. And I would just like repented. Now, sorry, this guy, this guy, There we go. Now let's rename this. This is going to be our underscore clavicle. We're using lowercase, so let's use lowercase everywhere. Joint. This is going to be our underscore shoulder. And this is going to be our underscore arm, G and T. And finally this is going to be r, sorry, underscore hand. Gnd. There we go. Now, even though this is, this guy's not completely symmetrical, we can actually copy it because we don't have any like shoulder anything on the other side. So so we can actually copy this same skeleton to the other side. So I'm just gonna select this guy freezer transformation so that everything is clean. And I'm gonna say Skeleton mirror Joints. And we're going to look for the R and replace it with an L. And we're going to mirror across the x-axis. So that means that we're going to use Y and Z and hit Apply. And this is going to happen very important that we keep behavior on. Remember the bot where we select the one and the other and when we rotate, the behavior is going to be inverted. So even though there are bones here like close to this shoulder and stuff, we actually don't we're not going to have any sort of like a weight assigned to them because the only thing that's going to be moving is this guy right here. But we do need to have this sort of like triangle shape because now we're going to add the IK handles to them. So I am going to say Skeleton, Create IK handle. We're going to select this button right here, and then this last one right here. And this we're going to call right hand IK. And I went into the weekend to mirror this. So you need to do it on the other side. So 12, and this is going to be r or sorry, L, I, K. And now if we select the handles and we move them, you're going to see how the hand smoke very nicely, right? Well, right now it's only the joints, of course, where we are now moving anything. But you can imagine that's going to be very easy to animate. Now I had, because usually we just select the hand and position it where we want that the character moves in the way that we're expecting. Finally, we need to do the head and the neck. So for that, we're going to do the same trick that we did for the sphere. I'm going to select this guy right here. I'm going to say skeleton. Well there's another way in which we can do it. It's actually very easy. I'm just gonna select everything here. And I'm gonna say the form cluster. And the cluster will create a cluster which is a way to select everything. It's kind of like a bind skin that's going to be right there. So now it's just a matter of creating a bone. Excreted bone. We select the cluster the bone, and we do a point constraint. So it's exactly on the same spot. We delete the constraint, we don't need it anymore, and we delete the cluster, we don't need it anymore either. This is going to be called as C, as in central hip joint. And of course, if we go to the front view, you're going to see that this is not exactly on the central. That's why it's very important to use the cluster to get the exact location of the element. And now it's just a matter of grabbing this guy and I want the neck. So I'm going to go right here. I'm going to keep the world orientation. That's completely fine. And this is going to be called neck. Now we grab the head, we parented to the neck. We grab the neck and we parented to the body. Where is it? There we go. She will grab both clavicles, right and left. And we're also going to append them to the body. And there we go. So now we have our full skeleton ready to go. Then again, the reason why I added this one right here is because I want to be able to rotate this down and that's going to bring the whole head down. And then I can just stabilize the head and then make it look forward rather than grabbing this thing and moving it to the front are rather just controlling the width that with the neck. Again, it's just flexibility. And this is something that you're going to encounter. And I actually really liked this exercise because I've done that a couple of times with my students and everyone does a different rate lay everyone tries and change something and sometimes I find something that's really, really helpful for animation. And sometimes we find something that's actually not working at all. So when during production, especially when you're doing your own stuff, you're going to try something, you're going to read it, and then you're going to see if it works. You're going to have tried to add them in and you're gonna be like, oh, I'm really having some issues with these guys right here, for instance. One very common issue is that people tried to do the Rake from the ground up and they go here first, then here, then here, and then to the chest. And then I tell them, okay, move the chest down and they move the chest down and everything else stays right here. So it just doesn't work. It's better if we grabbed the whole body here and we move it, and then the whole skeleton, it's just going to move so that we can control. And then individually we control of this little stones down here. Now just to make sure that we are completely clear on what we're gonna do here. We're now going to go into the arms. Let's clean the, the local rotation axis. We don't need to see them anymore. Well, at least not for now. And you can see that we actually have a new like couple of things disguise this IK guys right here. And the big question might be, well, what are we gonna do with them? We're of course going to be using controllers to control and move them around. But right now the most important thing is that we need to create a group. So I'm going to say Control G and I'm going to call this group, did not fucking touch. And I like to be very graphic here. I normally don't curse, or at least not in my classes. But I like to have very graphic because it's very important that no one touches this a group. Okay? So there's going to be things in this group that we're going to be getting in there. For instance, the IK handles. And no one's going to be able to, or we shouldn't allow anyone to touch them later on. We're going to be cleaning this up so that people can't even select them. But it's important that we have this grid because we can't just parent them to a bone or tweak controller is going to be doing their own stuff on the under the hood pretty much. Okay. So yeah, that's it for this guy. Guys. Make sure to finish the skeleton all the way to this point. Oh, well, one quick thing that we can do, let's do the material's real quick. So I'm just going to go here, I'm going to assign a new material. Let's go Arnold AI standard surface. I don't think we have the proper like Arnold materials for this guy. Let's history. So I'm just going to call this material M. And I'm just going to do the color for now. So I'm gonna go file. And in your source images you're going to find this sham B. And you have the base color right here. So just open. And again, if you press a number six, you should be able to see this. Remember to change this to The until mapped. There is a, a, actually a glow channel. If you want, you can connect it here to the emission, just said the way to 0, going to color file. And we can go again into this guy and there's this emissive map, which is going to make it glow. Again. It's just like a traditional be the game enemy. And of course the normal map. Now for the normal map, where you go geometry, bump mapping, you do a file on the options, just said this is tangent space normals on the file, just like the normal map. And the color space is very important that we change this to wrong. Okay? And now what we're going to be able to see the normal up if it looks inverted, which it sometimes does that. Right now. I think it is inverted. You're going to select the guy can go here into bump mapping and on the place 2D texture. And I'm sorry, there's one on the bump node on the Arnold options. Just flip the RNG and see if that works. I think that works a little bit. Oh my gosh. Sorry. I'm getting my allergy again. So yeah, that's it. Dices it for the semaphore to joints. Make sure you get all the way to this point and we'll see you back on the next one where we are going to be doing a very fast skidding. But I 21. Xahnbi Skinning: Hey guys, welcome back to the next part of our series. Today we're going to continue with the skinny of the shampoo. So let's go. This is the character. We've finished these materials in the last video in case you missed that last little part. And we already have the IK handles are nice group there, so no one touches our IK Handles because we're gonna be using controllers, of course now before we do controllers though, I personally like to do skinning first or close to the beginning, at least to a first pass the skinny just to make sure things are, are looking at behaving the way I expect them to. Now, what I'm gonna do here is actually very simple. I'm going to of course, rename this thing because he doesn't have the proper naming convention. So I'm just going to call this sham beam. Mara. Go, don't ask me what the name means. I just invented it back then. It's supposed to sound like Aztec or my inner, something like very like pre-Hispanic kind of thing. I did use a little bit of that inspiration for the overall design. And yeah, so I'm just going to grab all of the joints, not the root. We do want to draw the body, all of the floating stones we wanted to heart. We don't want the neck though. We don't want any influence on the neck because the next now going to be moving anything. We do want the head. We don't want the clock goal on the right shoulder. We will do on the right shoulder. We don't want the arm. We don't want the hand. No clavicle, no shoulder. Just the arm or sorry, just a hand back here. Okay, so again, recent why we add this guys is just to keep animators a rake a little bit closer to what they would expect. Some of other processes are in some studios doing this like adding extra bones that are not going to be doing any function might not be ideal because as I mentioned before, they are adding a little bit of extra performance. But don't think that we're going to have an issue here. Very well. Now that everything is selected, we're of course going to select the geometry, which again is just the single object to make sure that we only have one skin cluster makes it a lot easier to manage. And we're just gonna go skin, bind skin. And we're going to go into closest distance, select the joints, maximum forces for which again, this, this one reminds me a lot about the robot arm, the width of the first, because all of the objects are, most of the objects are solid objects. So it's gonna be very easy to just make sure that everything is in the same position. So I'm going to select the geometry and go into skin Paint, Skin Weights, DoubleClick of course. And let's start again from top to bottom. So I'm gonna start here with the head. And I'm just going to, I mean, one thing you can do since, since all of these things are their own like islands. If we just make the struggle that really, really big, it's going to be really, really easy to paint everything. The proper color, in this case white. Or you can use the flooding technique as well too, to just feel everything. But again, since all of this art, just like this, should be fairly easy to do, just like paint everything very nicely here. Now the only issue here, one of the issues that we have is actually think there's a couple of like geometries that are wrong. See those like the way they're not painting. I think there are merged together. The vertices are something which shouldn't be an issue because everything is just single object, but just, just keep in mind that the nicer your topology, of course, the better everything is going to result. Go. We're going to be doing some tests as well. And if we detect that something is and it's a little bit more, wait to it or more paint. We'll just we'll just paint. Let's go now to the right-hand. Same deal. Again, we can make the brush bigger and my GIS is smart enough to know that as long as we're not touching any other island, it's only going to paint on the on the islands that we have selected are the ones that the brush is actually going over like that. Now let's go to the shoulder. Same deal. Just paint everything white. Very smooth, very simple. Hopefully by now you guys to understand my way of teaching, some of you might already bought other of my summer weather of my courses and they tend to follow the same sort of process when the right teach something. I find it a little bit easier to go step-by-step rather than jumping directly into like a complete rig. If you, by doing this small exercises that we're doing before, which are completely useful and something that you definitely do on your day-to-day as a rigor. You're also going to understand a little bit better how everything works in the rigging department. Now see this. This is what I mentioned, that I think there's a couple of like crazy vertices. They're not moving the way they should. Very easy way to fix this. Oh, well, those will be born where you just click this button here. Okay? If that doesn't work, just reset current workspace. There we go. So what I'm gonna do is I'm going to turn off bones, like de-select them so that when we are just show and let's turn off bones. There we go. So now we can't select the bones. I'm actually going to grab both the group here and I'm going to hide it so we cancel like the, the IK handles either. Let's zoom back here. And now if we go into select, it's going to be a lot easier to just do like a selection box and it just fluff. Now we weren't totally sure that everything is being selected. Oh, sorry. So select and we do another box here, paint and flood for that little stone. We go for the other one. This one. Oh, sorry, sorry. This is probably the tutorial where I've been most allergic, so I apologize for all of this. Nice. Let's go now to the heart. Very important. And let's go to replace or just select this paint and flood. There we go. And finally we're going to go to the body, which is the other important parts which you can see already has most of the influences as it should, but we need to modify them. Here's a quick tip. You can select this which is select lasso. All right. I think we can I thought we had Select lesson. No. Okay, That's fine. I'm just gonna make a big square here even though we're selecting other things. And then if you just double-click on the islands here, you should be able to de-select of the other islands. And that way we only have that selection, just make sure that nothing else is selected. Go back to paint and flood. There we go. Now we can check the joints really quickly. So let's go to Johns. Let's turn on our IK handles again. And if I grab my left I can handle. We're gonna get this. Very cool. I'm I seeing a little bit of information there. No, it's just the axis, so fast-moving very nicely. Right hand. Look at that, look at that beautiful movement because remember that the top part of the, of the character is going to move because it's the shoulder. So this is one of the cool things the animator will only need to animate this thing. And we will immediately get a little bit of effects up there on the, on the shoulder, which is going to be very, very cool. Let's go back. Let's grab the head. For instance. There we go. Even if we grab the neck, this is what we wanted to do. Again, if I if I wanted to move the head down, I'll just rotate the neck and then rotate the head forward and we'll get there. This very like a hunchback effect, right? Let's go forward a little like the heart. So I'm sure that we can move the heart around. We go wellness, go with this guy's very important in disguise to make sure that the air you go look at that beautiful thing like they're going to be rotating on their own axis and they're gonna be, they're gonna look like they're filled with magic, which is very, very cool. And we can still move them and we can rotate them in any, any direction we might want. And finally, this one. There we go. Let's grab the whole body. So just the main body here. Make sure that everything moves. That's very common. Don't worry about the hands, the fact that there are staying behind us because the IK handles are staying behind, that's completely normal. We're going to fix that with the controllers. But yeah, everything else seems to be working nice. Let's grab the root. And yeah, that's working perfectly fine. So I'm going to save the scene. I don't think I've sent the scene, so let's call this. Show me. Then we go and that's it, guys. Just make sure that you're skinning is clean. Make sure that you move your character around. For instance, this one right here is going to be very cool because we're going to be able to move the shoulder around in case we want to add a little bit more like movement here, that's going to be very useful. Same thing for this one, even though the, the arms down there by moving the clavicle, we can add a little bit with an extra movement goes because you can have the movement on the IK Handle and then you can add extra movement on these areas as well. So again, this just to add a little bit more flexibility and make it look a little bit more natural. And that's it. That's it for this video. Guys, keep on working. Make sure you get all the way to this point because on the next one we're going to start working with D controller. So hang on tight and I'll see you back on the next one. Bye. 22. Xahnbi Controller Setup: Hey guys, welcome back to the next part of our series. Today we're going to continue with the controllers for the shabby. So let's go. This is where we left off all of our elements, joints, everything is ready. The skinning is also done. So now we just need to focus on creating the proper rig that animators are going to be using to move this character around. And it's actually very simple. The cool thing about this character is that we actually don't have AS many things around. But there are a couple of interesting things that I want to show you how to do. So I'm going to open up the controller curve tool that we downloaded a couple of weeks ago. We're not week, sorry, a couple of lessons ago. Let me just reset this. There we go. And we're going to start creating a controller. So let's start with the main one, which is going to be our root controller. And I like to use the crown curve because it has this very nice shape. I'm just going to Control G to group it and scale it up. Or in this case, since this is the main curve, we can just scale it up and then freeze transformations completely fine since it's oriented to the world. So no problem, we're going to call this a route control. And then I'm going to go for the main controller of the actual character, which is going to be the body controller. Now we can do any sort of like a curb that we want. But I usually recommend doing something that's easy to find are easy to follow. And there's one here that I really like, which is this one that's circled pointer. So if we take this circle pointer here, you're going to see that is pointing to the front. And it looks like a, like a controller that I would expect it to have. So I'm just going to leave it right here now. We can of course, snap it to the position of the bone. And very important, we're going to freeze the transformations as well. So this is completely clean. And again, not worried about this bone in particular because as you can see, the local rotation axis of the bone is actually going into proper place. Let's actually display all of the local. Let's display all the local rotation axis is so that we can see where they are. So I'm gonna go here and select all by type joints. And I'm going to just click on my local rotation axis. And yeah, you can see that our main body, or meanwhile, this Local rotation axis is going to the front so that one's working perfectly. I'm going to change the color. I'm going to use yellow. So yellow is going to be my main job. This one over here, I'm actually going to limit the gray because I don't want what's the word I don't want people to just select that. It needs to look on appealing because we're not going to be using this curve to animate. And there we go. So now this one, of course, I am going to group it just to keep it clean. And I actually need to go back a little bit. So let me go back. When we created the curve. There we go. So we're going to group it. And then their group is the thing that we're going to snap to the bone. Remember that's the, that's the way to keep things clean. Now again, the group we can scale it or if you want, you can also go into the control vertices here and scale them so that the kids, it's a CRO transformations as you can see, you're right here. Let's go to object mode. There we go. So it's completely at 0. And let's do the yellow color. There we go. So very cool curve that we're going to have here now, usually I like to create a curve that gives me a little bit of visual feedback from the site. But this one, I think it's going to work completely fine. Now. I'm going to go to the next one and the next couple of curves, which are going to be the bottom curves wrong down here. And I'm going to use this rotation control because it's, again, I think they look very, very cool. They're like this, sort of like circular arrows. And same deal, I'm Xun that create the curve, control G to group it. And then here we're going to do things a little bit different. I'm going to select the bone, select the group, and do a constraint, parent constraint, so that the controller, as you can see, jumps and orients itself to the proper position, which is this one right here. Now I'm going to grab the controller. I am going to grab the control vertex, of course. And I'm gonna make it bigger like this. So as you can see, it's right there. So animators will very easily be able to select this guy and rotate it in the way that they need to eat these overlapping the whole thing, which I don't think it's a, it's an issue. Some people find it confusing. One thing we could do here for instances like wrap all of this control vertex right here. Let's, let's hide the joints for just a second and just I'm just gonna isolate this so we can grab it like all of the resonance here. And then just like bring them up to create Leica, like a capsule looking thing. It's just one thing or one way to do it. You can choose whichever works for you. This is just to, I don't know, make it fancy when people see a rig and they see that it looks really nice, really tight. That also speaks good about your proficiency as a rigor because you know how to make them look interesting and fun. So, yeah, this controller is going to move that guy right there. And let's delete the constraint. We don't need it anymore and let's rename this. So if I remember correctly, this joint was the floating stone C. So we're just gonna call it floating stones C, underscore control. And of course this one's going to be Control underscore a group. Now we can already start creating the connections that we need. It's, it's very similar to what we did with the hand in the last part of the lesson. So I'm just gonna grab this curve, the bone now, the joint. Let's select geometry that we can select the joint and we're gonna do wha, wha, the second bear forgot there. So as you can see, the bones forgot to do a first transformation on the bones. It's the guys telling me that that we can't do this because there is a skin attached. So that's important. That's something that I forgot to do. We should have done the freeze transformation before the skinning. Let me see if we Yeah, it seems like we messed up here. And the and they have that now. It's not the end of the world. It's not the end of the world, but it's also not the cleanest thing to do. So the best option here, and I'm going to do it even if it takes a little longer A's, I'm gonna select the geometry again. I'm going to say we could actually save the skinning. Yeah, let's do that. Let's do that so that I can show you this. Hopefully this will work. So I'm gonna grab this guy. I'm going to go into skin. And I'm going to say this. There's an option here where it's just called export weight maps. So I'm going to export the weight maps and we're going to export them in our data folder. Let's call this a sham be scheme map. And as you can see, we're going to get the 99 scheme maps why? It's weird. Export Skin Weights. Other we go so we're going to do luminance, that's fine. And let's do a, a two K-maps. So 2048. By 2048, Let's do them in like a target file or tiff us better. And we're going to export. There we go. Let's go assets. And let's call this sham be weights, which is not something that you need to do for this particular character. And the recent way we really don't need to do this because It's very easy to just rescinded, but I just want to show you how we would do this. Then I'm going to go skin. I'm gonna say unbind skin. Then I'll grab my route bone again and freeze transformation. Now, that should technically Frazer rotations of everything else. There we go, and we're going to do the same thing we did before. So body, floating stones, heart, head, right shoulder, right hand, and left hand. That's all of the bonds are. We're going to select the, select this guy, Skin, Bind skin. And then I'm going to select this guy. I'm going to say skin, and we're going to say import a white maps. And technically we should be able, here we go to grab this guy and hit open. And that will re-import the previous weights that we have. And therefore, we should be good then we shouldn't have any issues. It's pretty much like reinventing the same information that we had. But now as you can see, the bones are clean, which is the main thing that we want it so little tangent there. But hopefully you learned that tool, very useful tool, especially if you mess something up and you've already done a little bit of painting, you can just bring it back with those paint. The weights, very important of course, that you have UVs because what those maps do is they paint on the UV map. So if you want to have you present, this isn't going to work. Now, we can do what I was intending to do at first, which is grab this guy, grab the bone and do a constraint. And we're gonna do a parent constraint. The reason we're doing a parent constraint without maintain offset is because we want to be able to move and rotate this guy around. So I'm gonna hit Apply. So now this guy, as you can see, moves the bone round and rotates the bone or the geometry. So very cool right? Now let's go for the, for the next couple of rocks. So again, we opened our controller here. Let's greater than other rotation control. We're going to group it. Let's change the name. So this is going to be control, let's say a. And this is going to be controlled a underscore group. So again, same deal. We grew up any bone when this case of course, the a bone, which is this one right here. So grab the bone, grow up the group, and do a constraint parents so that it jumps to where it's supposed to be, which is right there. We delete the constraint, we don't need it anymore. And now we can utilize the control vertex of this thing right here to make it look nicer. So let's go here. Let me select this guys. It's very it's very uncomfortable to work with the bones because you've got to select the bones. So I'm gonna go show and just turn off the joints for now. Select those guys. And those guys, and the cool thing is they are oriented in the proper section. This is going to be very easy to just push them back, push them down. So they're in the same sort of direction. And there we go. So we have that little selection right there. I am going to do it once more. So I'm just gonna go here. Rotation control that we'll click Control G. We're going to call this floating stones B. And then this is going to be holding stones BY group. Now, even if we don't have the bones like we're not seeing the ones, we can still select them here. So bones here, group, constraint parent. So this thing jumps there. We don't need the constraint anymore. We grab the controller. Controller. Let's grab the control vertex. Make it bigger. And same deal. Just grab like all of those guys and bring them up. All of these guys bringing that. This stone is a little bit more irregular than the other ones, but it still looks good. So we're in a good position there and now we can make the connections. And again, you don't need to see the joints of you know what you're doing. Just select DB controller, control and click select the joint. And we're going to say constrain parent, select the a controller, select the, a joint constraint parent. And that way whenever if we were to grab all of this guy's for instance and just rotate them around. Of them, we're going to rotate in the way we expect. So things are working, movement is working. So we have everything in the width. There we go. So that's the, that's the main controller here. And then let's rename this real quick. Let's call this body control. And this is going to be the control group. And we can already grabbed the groups here and parent them to the control. So that if we move the controller here, all of the other guys are going to move. Now you can see there that's a weight issue. So very easy to fix just like let's move this guy here, grab this guy, legos, skin paint, skin weights. Let's go to our, believe it, that's B. And just like paint or just select, select that guy going to paint and say Flood. And there we go. Grab this guy and bring it back. And that's perfect. Now as you can see, the body is not moving. And the reason why it's not moving is because we, of course, have not done any sort of selection here. So I'm gonna select this guy again, the body control. It's going to select the body joint and then we're gonna do a constraint parent. Now when we move this, the whole body is going to move. And as you can see that even the arms are following, picks up the connection. And yeah, so, so there we go. Let's keep on going. I'm going to go for the sphere now for a little like heart. And there's another one that I really like here on the under controller options that we have, which is the 2 to true. We can do the arrow, you can do a circle. I think I'm just gonna do a fear control for this one. It seems to be the most logical one. So I'm just gonna create a sphere control. I am going to Control G again. Select the heart group or junk, sorry, heart that joint. There we go. Select the group and do the constraint parent. Now we've jumped there. We just let this guy, so like the littles here and go into control vertex and just scale this out. There we go. Rest, rename it and let's call this heart control. And this is going to be hard control group. And that's it. So yep, we are going to parent that the group to the control of the body control. So that again, by the controller is moving everything over here. And let's just colorize them. I think colors are going to be good. So for this one, I'm actually going to go with the green color, the same as in the globe. And then this one's right here. Let's go with like Let's go blue. So we know those are like the lower parts of the character. This guy, we had the gray, which was working really good. Let's go for the half. We're going to finish the head very quickly here and then I'm going to stop the video and we'll continue with the arms on the next one because I'm going to show you something. Very cool. So for the head, we are gonna do a, another controller. So I'm probably just gonna do a that's one of the most control. The ViewController is really cool. So I'm just going to Control G again. Grab the head joint, or the head joint right here. Grab the group and say constraint parent. We delete a parent. And on this one we're going to do something a little bit different. I'm going to grab the controller, the curve here. And again, using the control vertex, we're going to move them up like outside of the head. And we're going to scale it like this. There we go. Now one thing we can do is I can actually grab the four points of the arrows. For us. My liver B, which is self-selection, make the distance bigger. And I'm just going to give this sort of like a round look through the whole thing. And you can see there's a couple of points that are not connected, so that's weird. Another thing we can do is we can use a bend deformer. So to the curb, I'm just going to hit the Form Non-linear bent. Let's increase the curvature here. Rotate this around nine minus nine degrees. And there we go. See how that goes down there. That's very nice. Graph of this thing, the history. And do it again. So the form nonlinear bend, bend it a little bit, but we're going to rotate this minus 90 degrees. And then to the front. Like this. Angela, history. And there we go. So now that little purpose, looking a little bit better, Let's do a green color. I think it's good for this. And we're of course going to grab this guy. Go on to the world, let's change the name. So let's call this head control. This is going to be head control group. Now, there's one extra controller that we need, which is the neck control that even though the neck has no connections, we do want to be able to move the neck because as we've mentioned before, it is cool or it's going to be helpful if we can move this guy and move the head like forward without having to just like move it forward because we can, of course, mood for what I would like to just be able to rotate the head with this one. I don't want to move the head. I want to just rotate it. So what I'm gonna do is I'm going to create an arrow, an arrow curve here. This one, we're going to Control G. And we're going to snap or we're going to parent the curve to the neck. So scenic. Their constraint parent. So now the little arrow, as you can see there on the, on the neck. But the problem is that the arrow is not facing the way I would like. So let's fix that. Very easy way to fix it. The only thing I need to do is just grab all the predicts. I'm going to press E and select discrete rotate. I'm going to rotate like this, so it's 90 degrees completely straight. And then I'm going to rotate all the way the other way around. So it's kinda like pointing towards the neck. We can even do something like this. And I'm actually going to move it backwards like this. So that's back here. Let's make it a little bit bigger. There we go. So now this guy, as you can see, the position is right there and it's going to rotate like this. And the connection that we need, we're of course going to rename this. We're going to call this. We don't need to. We've done it this guy anymore. Let's just call this neck control. And this is going to be neck control group. So then that control, we're going to select the neck joint and we're gonna do a constraint, orient constraint. We only want to move the neck around. So when we move this thing, you can see that the whole neck, the whole head moves. And again, this is just extra things that we can give our animators so that they can create other kinds of elements. So if we want to create like an intimidating, like a hunchback thing, we can do something like this and then we would animate this to rotate the other way. So that means that we're going to grab this guy. I'm going to grab the head now. And we're gonna say constraint, parent constraint. So now when we move this, sorry, we can move this around and we can't rotate it around as well. Very handy, but not only that, we can grab the neck and we can book, of course we need to. The head control group is going to be a son of the neck group. So that when we move this thing down, the head moves and we're still going to be able to move their head like this. So we're gonna get an extra range of motion, even though we don't have any geometry and we don't have any skinning, so everything is happening on the bones. And again, that's going to allow my animators to do some crazy things. So instead of having, like, let's say we want, again, let's say that the key receives like an uppercut and we want to bring the head back and then push it back. It's going to be easier to just do this. That animates only two channels rather than going here and rotating and then moving, which as you can see, animates a lot of channels. So there's ways in which we can simplify that effects. So let's go here. Let's just colorize this to finish. I'm gonna, I'm gonna keep all of the central lines yellow actually. So yellow, yellow, yellow, yellow guys are going to be blue. We're actually now since this are like on the middle section as well, to keep everything consistent, Let's do yellow as well. And then one arm is going to be blue and the other one's going to be, usually you want to have two primary colors, one for each, so that it's easy to see. And animate it once we're animating. So yeah, that's it for this one guys. I'm going to stop the video right here. I know we went a little bit longer than usual, but hopefully all of the information hasn't been good for you so far. Tried to follow along, make sure all of your connections and everything super clean. Last thing I need to do cured and that in that control group, it's also going to be parented to the body. So again, if I were to move the body, all of the controllers should move with me in this sort of way. So we're in a very good position. We're going to keep on going and I'll see you back on the next one. Bye bye. 23. Finishing Xahnbi Controller: Hi guys. Welcome back to our next part of our series. Today we're going to be continuing and finishing the controllers for the champagne. So let's go. This is where we left off. This is the last result. All of the curves for the center part of the character are now done. And now it's time for us to add a little bit more controllers to the other parts of our character, which are going to be super, super easy. Now, the body control, one thing that I haven't done before is this body controller should be parented to the route control. So when we move the route control, everything moves. Okay, so now as you can see, we have this very nice little like Cherokee here on the controllers and groups and everything is looking very nice. Let's do the IK handles first because those are very, very important. If you remember, we created this do not fucking touch group, which is the group that we're going to be using to move around the elements. Now, IK handles will only move, as you can see here. They will only move. There's no rotational scientists, so we only need a point constraint because where we place this thing, That's where the elements are gonna, are gonna go. So that's one of the bad things, if you wish about this controller, that there's no connection to the rotation of the IK handle. We can have a rotation and then controller and you're going to see how we're gonna do that in case we wanted like twist and rotate the hand around. But the IK Handle, which is the one that modifies the location of the object, only has a point constraint. So I'm gonna go and I'm going to start with a box. So Kip curve right here. We're going to of course, a group that curve. And I'm going to do the same thing. In this case, the different thing is I'm going to grab my arm, my right arm, sorry, right my right hand. I'm going to grab the group and I'm going to say constrain parent constraints. So now the box is right there. We already know do not need the constraint anymore. You just need the curve here. Wait a second, what happened there? Something happened there. I think I've missed something. So again, grab the hand, grab the group, and we're gonna do a constraint parent. There we go. So we don't need this guy anymore. And we have the cube right there. So let's select the cube, select the control vertex, and just make it bigger. And as you can see, the box looks a little bit wonky, but that's fine. We can adjust it so that it follows the shape of my, this block of a frog a little bit closer. Let's turn off. The screen. Rotate doesn't have to be perfect. Remember, the most important thing about controllers is that they're easy to select. So let's push this there. As long as an animator can select the controllers in a nice way, then we're good. So something like this, perfectly, perfectly fine. Some animators like controllers to be very discrete. They, they don't like, like big blocky containers. I personally feel like this is fine because you can just press all to one and hide them anytime you want. And I find that a little bit easier to just select anywhere and be able to work with it. But again, always ask your production what they want and how they're going to work. Because at the end of the day, the animators are the ones that are going to be animating. So you'll want to be able to provide them with some cleaner weeks. So there we go. And we're gonna select this guy. And if we were to grab the hand joint, the hand joint and move it, you can see that we can't move it. We really can't guess. It's constrained to the, to the, to the element, to the, to the IK. However, we can, I believe, rotate, which is what we want. So this thing right here, the box will move or will rotate the hand. So we're going to select the box, the hand, and we're gonna do a constraint orient, just an orient. Now we definitely don't want to have any sort of information here, so let's keep them until an offset just to be sure that everything is clean. I'm not sure if I move the IK and that's why it's yeah, that's fine. Now we go. So now if we select this guy and we rotate the hand, we'll be able to rotate. And then what we're gonna do is we're going to select the D box right here. We're going to select the IK Handle. And we're gonna do a constraint, point constraint. So wherever this box moves, the IK handles going to follow. So we're going to be able to move the box and then rotate the hand. See that? So again, we're going to be able to create this very nice flow we effect with the whole thing and the elements are going to be moving in a very nice way. So that's it. That's the, That's the IK handle connection here. So you can see our controller is clean and there we go. The only thing we might want to do, and I mean, it's not super important here because we don't have an elbow. But if we had an elbow, we wouldn't need to add some sort of pole vector constraint so that we could rotate the elbow around. We're going to see that with the final break when we have the elements work in a little bit of a different way. But right now, I think we're going to be fine. Now. One of the things that we're not going to be able to control here, or at least not as easily, is of course, this shoulder right here. We can't really control the shoulder because the shoulder will be dependent on where this thing is. So some of you might be woke kicking. We'd like to create another rotation for the shoulder. Yes, we could. But remember that the rotation is tied in to the IK handles, so. We're gonna have, we're compromising a little bit of the functionality from this rake by creating these IK Handle, the other thing would be to do a traditional FPGA controller like what we did with the fingers. And that way we would have control and up on the shoulder. There are ways to do it though. I'm just not gonna go in depth right now because we're gonna be covering some of this stuff later on, on the, on the main and the main character. So now what I'm gonna do is I'm going to create a clavicle controlled because remember we have the clavicle that's invisible as well, similar to the neck. And in that won't actually allows us to have a little bit more rotation, which could alleviate some of the issues that we might face here. So I'm going to use another rotation control. Group it. And then I'm going to grab the right clavicle, the group. And I'm going to say constrain parent constraint. It gives you that, that thing is right there. I am going to rotate the bird next. I'm going to turn on discrete rotation again. So they're facing the outer part like this and probably just move it forward a little bit like that. Now of course we're going to delete the constraint. We're going to change this to clavicle, right? Clavicle control. And we're going to do this right? Clavicle control group. And we're going to select the controller. We're going to select the right clavicle and we're gonna do a constraint orient. So now when we rotate this thing around, the shoulder is going to rotate as well. Okay. Now you can see that the shoulder rotates but they hadn't does not. That's completely normal. Okay. That's completely, completely normal. But the cool thing is we can always just move this thing around. Okay? So you don't have to use a clavicle, but if you want to, it's a good option to have right here. So now this two guys, I'm going to paint breath because this are going to be on the right side, right, right, right. And then we're gonna go to the left side and the left side, we also have the clavicle. So let's do that real quick. Let's just create a rotation control group. It is going to be the same name. It's just going to be L clavicle control. And this of course is going to be L clavicle control group. We're going to grab the left clavicle, grab the group, do a constraint parent, delete the constraint. Grab this guy. Let's scale it up, rotate so it faces the direction. Move it again to a place that's EC2 to follow like that. Skew the green color. There we go. And we're going to select a curve, select the left clavicle and say constrain or you constraint. So again, if we grab this and rotate, the whole thing is going to rotate it because the clavicle list is connected to the element. Okay? Now we're gonna do another box. So let's do another cube group. Control G. Grab the left hand, grab the group. Constraint, parents. Really the constraint. You can make a script about this as well. In case you think this is a little bit too repetitive, it is. But I'm just trying to go through each of the steps so that it's very easy to follow. Let's rotate this around. A little bit bigger. Grew up this four guys. Bring it down to, to bring it up. And there we go again to create a shape that's easy to select for the animators. Now this is what we did before. So we grab this curve, Let's call this a left and control. And this is going to be left hand control group. There we go. So the left-hand control, we're gonna go to the left hand a joint and we're gonna do a constraint, orient constraint so that this thing can rotate my hand if I need to. And then we're going to select the controller, select the IK Handle, and we're gonna do a constraint, point constraint. So I'm where we move this thing. The IK follows, which is not a big deal right now because we don't have a shoulder that's moving with it just for cleanliness of the whole thing so we can rotate and we can move it around and everything's going to work fine. And again, we can move this thing around and we can still rotate the clavicle, which is gonna give him a little bit of a moment. Again, if needed. If we don't need, we just don't use it and that's completely fine. Let's paint this green. And there we go. Now the only issue we have here is a little bit of cleanliness. So of course, the left-hand control group is going to be going with the clavicle. So like your parents, so that if we move the clavicle, now everything should be moving a little bit nicer. There you go. Same with this. So the left or the right hand controllers going to go into the clavicle? Sorry. Again, if we move the clavicle now, everything is going to move very nicely. So we can move the clavicle and then we can hand, then we can rotate the Hamsun. We get all the functionality very, very nicely working here on our character. And finally, what are we gonna do with this clavicles? Well, the usual thing is to just grab the clavicles and parent them to the body. So just to the control and hit P. So now if we were to move everything, the rich should not break. Like if you move everything here, everything should be connected and should be in the place where we haven't. All of the cursor should be zeroed out. So they're exactly what they're supposed to be. So 00, all the movements, everything should be working perfectly fine. And we have a, every guy's like this is a perfectly functional rig that you can rig animated and bring into an engine. And yeah, check up. What would you probably saw that in one of the YouTube videos I showed you a sneak peek about this course. And there were a little bit of, a couple of examples that we did with animations on a previous week. This is not, this is actually a more advanced rake them, the one that I did on that the example. But yeah, like this is perfectly working the way we would expect. We can move things around, then we miss this one. So hard control to her. Where is it? Where is the heart? Shall be hard. There we go, constrain parent constraint. So now this control will move the heart and it will rotate it as well if we need to. And yeah, that's pretty much it. The one less thing, There's one last thing I wanna do, and that's the scale because skills, what are the thing we haven't done just yet? And I want to show you how to do it properly. So the problem here is if I scale, you can see that the curves do skilled properly, like the controllers are scaling properly, but the geometry is and is not. And the reason why that is happening is because the bone, the root bone, that root joint ESA scaling, but that scale is not being transferred to the next bone, the next heirarchy. So what I'm gonna do is I'm going to say Select all by type joints. And I'm going to go into Windows general editors, Component Editor. And here on the Component Editor of those, all of those joints, sorry, it's not the component either. Windows on general editors attribute spreadsheet. The attribute spreadsheet is one of the things that every single thing has, which is the translation of everything. And there's one here. If we go into all, there's one option that has the scale. Where is it? We can just filter It's kill. This one is the segment, the scale compensate. That's the one. So we're going to turn everything off. And that should allow me to scale this out. Now it's not that one. There's one option here. There's one option that will allow me to change the scale of the elements. Now another thing I can do, which I think I should have done that actually, because if I, if I do this, if I scale their curve out, you can see that the controller is the scaling, but if we check the root joint, the skill remains the same. So what I'm gonna do is I'm going to select the joint or the root component. Select the root joint. I'm going to say constraint, and I'm going to do a scale constraint. So now, there we go. Now it works. So it is that option that I mentioned, it's this, it's called Where was it? I always lose it. Skill, control. And select all the joints. This one segments scale compensate is the option segments scale competent. So you're going to select the all of the options here, the segment scale compensate and you're going to set that to off so that when we scale the first one, the root joint, everything else is going to scale with it, okay? Now of course this is going to go all the way to 0, 0, 1, sorry. And now finally just the final bar we need to clean up, do a little bit of cleaning. So for this guys, for instance, we know that the only thing that we're going to be moving is translated and rotations. So we just lock and hide selected. This guy's. We also know that we just want location and rotation. So lock and hide selected. This guy. Same deal. So pretty much I think all of them is just what's the word? It's just a translation and rotation. Like this guy, same deal, just translation and rotation. Some animators, Mike ask you like, Hey, I might want to do the hard like bigger or smaller, actually the hardest. One of the things that I think could benefit from becoming bigger and smaller because we can make it disappear or something. So in this case, I would probably grab their curve and grew up the heart joint. Hard, hard, hard, hard, hard. Her heart where you sit? Um, I was lucid. Where is it here? I'm going to do a constraint, scale constraint as well, so that we can scale the heart and gaze. We need to do something like right now that texture that the heart has is very ugly, but that we could do like some, like rooms and stuff that are going to make it a little bit better. And again, this is not going to be affected by the general skill. So we can scale this thing. And we can still scale this thing because the first scale, that one on the root is the thing that's driving everything else is like a master scale. Okay? So that one, I'm just going to hide the visibility. So welcome. Hi. This guy's definitely only ones rotation, so grab everything board rotation, lock and hide selected. This one, same thing and probably just wanted rotation. So lock and hide selected. And then this one, we can have rotation and translation, can hide selected. And I believe that's it. That's pretty much it. Final thing that we're gonna do is we're going to grab all of this guy's control G to group them. I'm going to call this sham be Mara rate. So all of the things from the rake live inside of this little folder right here. So there we go. Our rig is working perfectly and nothing is moving where it shouldn't. And that's pretty much it. We're going to have one more there with this guy. We're just gonna do a quick animation test to make sure that everything is working. We're going to do like an idol, like an idle animation. And, and that's it. That's it guys. We're ready to jump on to the big leak. So we're now going to jump into the main character. We're going to be doing a full character rig with information and hoping it's going to be tricky. But hopefully we're going to be able to get a very nice result out of it. And you're going to learn all of the things that you need to know in order to reach any kind of character. So hang on tight and I'll see you back on the next one. Bye bye. 24. Xahnbi Animation Test: Hey guys, welcome back to the last part of this chapter. We're gonna do a quick animation tests to make sure that everything is working as we would expect. And we're gonna do something very simple. It's just gonna be an island bows and the end that say that either one of them make it super, super complicated, like what we did with the hand or with a robot arm. Since this is a more complex rake, the most important thing is that everything works and it looks the way we're expecting a two. So what I'm gonna do is I'm gonna go to frame 1. I'm actually going to make it super, super short. Just going to have three frames. Three frames right here. There we go. So I'll frame number one. I'm going to pose the character in a kind of like a menacing posts. So let's grab it like dot body. Move it down. Let's get rid of this great rotate. Move forward. Let's grab the neck. Move forward. Bring the head down. The arm. The arm to be on the front here, kind of like a fist. Here we go. And this one polygon to have like about there. Now this little stone right here with affiliate to move it up, move forward. Let's keep it a little bit straighter. And there we go. So that's going to be my, my first post, the first kind of like pose that I want to have for the character. So what I'm going to say them, so I'm gonna go select all by time. There's actually one thing that I forgot to doing the cleanup section. We need to hide the the IK handles. So remember you can just hide the group. And that way people are not going to be able to select them. So I'm going to go Select all by type curves Napster's, except for the first one. Let's create a select set. So select or sorry, create set, quickselect set. Let's call this sham be. Okay. And that way, whenever we need to select all the controllers are going to be here very easily. So I'm going to hit S. So that's going to be my main post. And then unframed three, we're going to have the exact same pose. Now on frame 2, what I wanna do is I want to make sure that there's a little bit of a change on the position. So I think I'm going to go down as if it was like preparing. So I'm gonna go to frame 2. Let's bring the head down a little bit more. Bring this thing forward. This arm, I think I'm going to bring it down. And this arm, I'm going to bring it up and back. And then this things, Let's bring them down a little bit. So they kind of life touched the ground. There we go. Grab older curves again, hit S, and now we have 123123. Now the body, um, I wanna do something with the body. So let's just like bring him forward a little bit. Says 1, 2, 3. So say he's kind of like his breathing, right? Even though it's a, it's a inorganic character, it looks like he's pretty. Now the trick that I'm going to use here, if you've seen our animation course, It's something that we do pretty often. I'm going to grab all the controllers here, shift and select all of the control of that though the difference here. And then just scale this up. Probably gonna go to like 60 frames or something. There we go. So now when we animate, we're going to have this. Okay, so just a very slight movement here that looks very, very nice. Now what I'm gonna do to, to have a little bit more time because right now this is just only 60 frames. Is I'm going to give myself more time. I'm going to grab everything here. Copy, go to the last frame and hit paste, paste, and then go here, paste and paste. So that way we have 3 times the cycle. So it's like up, down, up, down, up, down. Now it looks good, but it looks a little bit fake. So let's do a little bit of overlap here. So I'm going to grab this guy and this guy, I'm going to grab yeah, let's do the neck as well. So hence neck and maybe even like this little guys that are floating around, I'm going to grab all the frames. I'm going to move this a couple of frames, like two frames. And I'm going to grab the head. And let's say Last one of those guys. Let's give it two more frames. So now if we grab any, any position here in the center of the animation, like if we start the animation with family, say 15. And we ended up frame, let's say a 140 book. So 5040, we're going to have something close to a cycle. Okay, Cool, right, So it's just a, it's just a simple movement there that's going to give us a little bit of uniqueness to the whole thing. Now we can also keep it simple like you don't need to duplicate. I'm actually going to pull back real quick here. Because one thing I forgot to do is I need to snap this guys. So they're in like exact frames. In this case it's 54 frames. And I mean, since we're gonna be doing, I'm going to be rendering this as a cycle. So I really don't need to render all of the frames. I can just render this first part and that's gonna be, that's gonna be it. But I do want to do the trick that I show you. So I'm gonna select everything here. Control, Copy. Oh, careful there. Since frames, yes, so let's crop everything here. And let's snap them. There we go. So I can grab everything. Copy, go to this guy. Paste, paste, paste, paste. Now the number, the magic number was 54 because that's the The size of the first cycle. So I'm gonna go to, let's say frame 40. And then I'm going to finish on frame and 94. And this is a cycle because it's the same 54 frames. Actually, I think we might need to yeah, we need to remove one of the last frame. So frame 9, 3 goes away because frame night before in frame 40 is the same one. So you can see there everything is as a cycle now, you don't see where it starts and where it ends. It just keeps on going. Now, what I'm gonna do is I'm going to grab all of the curves and we're gonna do the little bit of offset. So I'm going to go into animation Editors, Graph Editor. And let's grab, I'm gonna just look this up here so we can see. Let's grab the fists. Sorry, the fist, this guys right here. The neck and the head, and all of the frames. Let's give them two frames. So 12. And then I'm going to grab the head. And the last one of these guys, which are the things that are further away. And I'm just going to do 12. There we go. So now if we take a look, There's going to be this frame or this leg movement here that looks very, very cool. Now there was a couple of more things I want to add, which I think are going to be very cool, which is movement on this things. So I'm gonna go here. I'm going to go to my rotation in y. And I'm going to say Break Connection. So we don't have any animation on the y-axis. And then unframed 40, I'm going to what's the word? Give it a keyframe. And then on frame 93, I am going to rotate this guy's 360 degrees. I'm going to go of course, to the graph editor. And I'm going to grab the rotation in why they're shown, why rotational, why of all of them. And I'm going to make the curve linear so the irritation is continuous. And then I'm gonna go curves, pretty infinity cycle with offset curves post infinity cycle with us. So now those guys right there on the y-axis only will have a continuous animation. So there will, no matter if we were to expand this animation into like a really big number, this thing would continuously rotate around. And as you can see, we get this very, very nice idle effect. It looks like a small drill, right? Like that's going around. Now. I do think that that's a little bit fast, so I'm just going to grab all of these guys, go back into the graph editor, grab that point right there and just expand it. As you can see, that thing moves it away. Well, actually if I do that wouldn't work. I don't think it will work now because now the 40 frames will not be enough and yeah, it's gonna jump. So now we're going to have to keep it at a 360. One thing we can do though, is if we select this guy's instead of having 316, we can have half of it. So let's say 180. Same same deal. Yeah. No worries. So yeah, in this case we're going to have to keep that speed. We will need to do the cycle, a longer cycle. You want those things to be smaller. Now this thing is, well, I would like to have a little bit of an orbit going around so we can rotate it, of course, like we can have a rotate and I think that's going to be good enough. So I'm gonna go to frame 40 again, hit S and then go to frame 1903. And just, let's give it a rotation on the y-axis 360 degrees, but also rotation on the x-axis 360 degrees. So let's go rotation here, here. And this guy's, especially that this guy is just keep it linear. Let's delete all of the other ones. So it had, because they were constants, so that's fine. And then this guys, we're going to say curbs, pretty infinity cycle with offset curves, post infinity cycle with us. And now if we take a look at the whole thing, we're gonna get this little hardest rotating. They're very fast, which I think it's cool. It gives a little bit more visual interest to the whole thing you remember, you can press all the 12 to get rid of this. And one thing that we're going to see is once we do the animation, the emissive, it's actually going to be contributing to the whole thing. So let me set this up very quickly. Remember what we did before. I'm just going to say File. We're going to import and we're going to import the robot arm lights. No, that's not. So to start this one, with regard to import, which has the render setup already set up for us. There we go. You can see that the red there, so that was way too small. That's fine. So let's lead the robot arm, Rick. We don't need that here. And here's the cool thing. Our, our rate is actually made out to work with scale. So we can scale this out, bring it into position. So let's say panels. Look to select it. Let's rotate so that we're seeing it properly. There we go. And everything's going to work exactly the same. All the animations and everything are going to be working nicely. This is what you guys are going to see, of course. So there was frame 40 to frame on 93. And I only need to render this guys because you're going to see probably a longer animation, like 33 cycles or something. But I don't need to render all of them because it's going to be way too much time. So I just need to render this and just paste or copy and paste them in the edition of software which I personally use After Effects. So, yeah, that's pretty much it. Let's just finish up the material setup because I think that feels a little bit incomplete. I'm going to grab the character here. Let's go to the Options here, and let's go to the material. So the color is set up. Metals, we don't have any melanin so that we really don't need to get anything, anything in there, but we do have a roughness. So I'm gonna go here file. And under songs folder or a 100 folder, you have this one. Now this one's a little bit more complicated. And the reason this one is complicated because this materials are meant to be for or real this character. Originally, what's going on? I went to unreal. So what's going to happen here? You can see that the base color is properly, so that's perfect. The normal maps also setup properly, I think that's perfect. The emissive, so the appropriately as well. So we have this, the roughness metallic right here. And the roughness metallic has three channels. It actually has the ambient occlusion, the relevance and the metallic. And it saves each of these channels on each of the channels of the image. So it right, the red one is the conclusion, the blue one is the roughness, and then the green one, sorry, the green one is the relevance and the blue one is the metallic. So we could plug this in into maleness. Let's break this connection. And we can plug that green one on specular roughness. Now let's save this real quick and let's give it a shot. Let's make sure that this is set to GPU. And let's say Arnold render. Let's see how this looks. Let's just give it a couple of seconds for this thing to loath. I'm right next to convert the textures. The textures always convert it to txt files. That's something that most of the renders nowadays do. It's a way for them to save the information and have a better like Yeah, that looks good. Make the normal Everything looks pretty good, I would say. Now, one cool thing we can do with the glow. So I'm gonna select this guy right here. And on the emission tap, the weight, we could actually multiply it like higher than it actually is. And that will make the glow more intense. So you can see that the contribution there on the, on the inset. So that's going to make it look way more menacing. Now of course, I'm gonna change this to a common tap. We're going to change this to full HD. And on the Arnold Render Settings, we're going to change the adaptive sacrament is just going to turn this on. 20 is usually a little bit too much. So we can say 0.05 and something like 10. It's usually gives us a good result. And of course, the bigger the image, the nicer and more HD, everything's going to look right. Things weren't looking a little bit blurred on the previous one. But you can see here, this is looking very, very nice. And of course, once we see the animation, well, this is going to look at Mason. So that's it guys. This is it for the, for this character right here. This is it for the, for the shammy Mara, hopefully the full information and it's good for you. And the reason I wanted to include this on the tutorial level of reading tutorials usually just go into like a main character and that's it. But there's a lot of other monsters, creatures, elements, building some things that she's, something's need to rig. And just by knowing how reading works, you're going to be able to create some amazing Rick's like this one right here that will be very flexible. You will be able to do some very cool animations for your game or for your production. And as you saw, it's really not that difficult journey to plan things out, get your proper joint so the readings, skinning and just do everything else. We're now going to jump onto a small chapter before we jump into the big chapter. But we're going to do a very small chapter, Chapter 4, and we're going to do traps. I have three traps that I want to show you, and I want to show you how we can read them so that we can create some very nice effects because there's a lot of things that are not characters that we ultimately, and the thing with this Trump says you're going to be able to, to see some concepts that we're going to be utilizing later on for our character swell. So hang on tight and I'll see you back on the next one. Bye bye. 25. Traps Rig: Hey guys, welcome back to the next part of our series. Today we're going to close Chapter 3 with the very cool exercise. We're going to be doing some reading. So let's get to it. In your folder and your Scenes folder, going to find this cold trap start. I'm going to save this scene immediately now. So I'm going to Save Scene As I'm going to call this traps rakes. And we're actually going to be reading all of them in the same scene. I want to show you a quick way in which you can do this. You look at, of course, like split them into separate scenes by them. We're going to be rigging this guys and they're super, super simple to rake. I just want to show you a couple of things that you need to keep into consideration. The first of them is a scale. So this tracks were originally made for a little game that we were planning here in the studio. Unfortunately, we didn't have enough time and resources to finish it, but we did have some prompts that we were able to create a little bit of a proof of concept. So I'm going to create a cube here, and I'm going to change the scale of the Q2, a 180 in y, 50, and 50 in, in x and z. So this is roughly the skill of a human character. And as you can see, this traps right here I rigged to kinda fulfilled or got going close to the, to the distance of a human character. Because we're, we're gonna do this in a real, and we were using the basic ThirdPersonCharacter template to do so. So let's start with the easiest one, which I would say is despite strap. So the first thing I'm gonna do is I'm gonna make sure that this thing is set up in such a way that the spikes are below the ground. So I would say roughly about there. And I'm going to freeze the transformations on this character. So let's freeze the transformations. And worse, we're going to start ringing. So I'm gonna go into rigging and then create a single joint. We're of course going to 0 this joint out, so that's right there. And that my friends is going to be, let's call this spikes on a route, which is going to be my root joint. Now, I need to think about how many joints do I actually need to create whatever movement I want? And to be honest, it's just one. So just going to duplicate this guy, snap it to the top here and let's go render view-port. Change this back to. Off. There we go. I'm going to say File and Save Preferences. Let's see if that keeps everything like working as I expect. And this is going to be my spikes movement. Very easy. Now of course this guy is going to be a son of the routes folder. And now we just need to rig. And in this case we are going to be using the root joint as a rig points. So I'm going to grab both of those guys, grab the geometry, I'm gonna say mesh or sorry, rigging, skin, bind skin. And we're gonna do select the joints closest distance, and there we go. Now of course we move this around. Everything's going to move in a very weird way. Ecs way to fix this is to grab the object, skin, paint, skin weights. We're gonna go to the root, select. We can select everything. So I'm going to turn the bones off for just a second. Just scrub everything, go back to paint, heat flux. So now the root has all the movement and then I'm gonna go here. And I'm going to select the points of the elements here. Let's sue wireframe. I don't remember where this guy's this guy's this guy's, this guy's almost this guy. So here, there we go. And let's just make sure that we're not selecting anything that we don't want to think I am selecting a couple of other ways, just like shift and double-click the little or vertex here. That should only select the islands from the spike. So very easy selection here. Just one there, there, there. There we go. And I'm just gonna go into spikes movement paint, and we're going to flip this guys. And there we go. So now if we take a look at the bones again, so let's show joints and this bone will move the spikes up and down. Now we definitely want to create a little bit of a control here because we don't want animators to able to move this thing all the way, right? So We're gonna do that with a curve. So I'm going to go back to our poly modeling and let's go to our curve creator here. And I'm going to use, I'm trying to say which one will be good. I think the arrow controller is fine and we're going to use the same process that we used before. So Control G, we're going to call this spike control. And then the group is going to be, of course it's by control group. We're going to grab the bone. We're going to grab the group and we're going to constrain parent. Now we select the curve. We can grab the control vertex. Let's turn on discrete rotate, rotate them so they're facing upwards this and just make them really big so the animator can select it quite fast like that. The curve, as you can see, it's completely clean. So I'm just gonna grab this guy and grab this guy and it's going to be a constraint point constraint, right? But we don't wanna do this as you can see if I do a point constraint right now, what's going to happen is we need to keep, maintain offset on right now. So what will we say? Oh yeah, we're going to get rid of the constraints. All right, so there we go, there we go, and we do a maintain offset their ego. So now if we move this thing around, we're going to be able to bring this up and down. So I know that this one right here, this point is the highest that the spikes are gonna go. So otherwise they're just going to fly off the board. And what I'm gonna do then is I'm gonna go to my, this is going to be translated why? Lock and hide selected on everyone. And I'm going to go Control a to D spy control to the limit information and the translate on the y-axis, the maximum amount is going to be 0. And then the minimum amount, it's going to be a think. Think it's about like minus 20. Let's see. Yes, Probably mindless anything we can go like minus 30, probably. Now we'll go yet monastery works perfectly fine. So as you can see, we do have a little bit of an overlap. If we want to have no overlap, then that seems to be minus 25. Seems to be like that. Dilemmas. You're going to see a little bit of the spikes there, which is fine in a game. Like seeing the spikes is a little bit of a good communication. And then we're going to have this. So now we can animate this and just have a consistent like up and down motion where the character is going to have to time the jump properly. We could do a little bit of programming Unreal, where if you touched the platform a, we'll just get the what's the word? You'll get the the effect of a couple of cycles. Like there's a lot of things you can do an animation in this case, since I do want to have a little bit of an animation here, I'm just going to do a quick up and down. So I'm gonna go like frame 0 down, frame 40 up, and then frame AD down again. And then of course I'm going to go to the Graph Editor. So Windows Animation nature of graph editor. Grab this curve and I'm going to say curves, pretty infinity cycle, curves post infinity cycle. In this case it's a cycle because the first and last frame is exactly the same. So if we hit Play, we're gonna get this. It's a little bit too slow, I'm expecting and distributed like a, like a butcher thing. So it's going to grab this. You can actually scale this thing directly into view port here. And we're gonna get a nicer effect. That's a little bit better. I still think it's a little bit too slow, so just middle mouse drag and makes smaller. That's a little bit better. And there we go. That's our, that's our spike trap. So of course, I wouldn't save this as the animation that will save the basic brick and then animate it in another scene. But I'm gonna keep it like this in this particular scene. Just going to Control G. This group's going to call this spike trap. And there we go. So that's the, that's the first trap. So let's jump into the second one. And again, we can just go here. And technically, oh yeah, the geometry, of course, the geometry needs to go in here as well. And then when we press H, everything's going to be HD. So that was our first step. The second Trump, I think the easiest one, it's the head cracker. And the reason why this is relatively easy is because we're going to have a movement going from the upper to the lower part. Now here is one of those cases where having the root bone be in a different place might not be that bad of an idea. What do I mean by this? Usually the root bonus down here, right on the, on the, on the basis of the objects. But in this particular case, just to snap this to the center, there we go. In this particular case, having the root bone up here might be slightly better because that's usually where we're going to be positioning the object. Again, you should always ask your rigors and the art directors how they want, or do your animators, how they want things to be rigged. Some might say none, that'll give me the root bone right here and then where you have another one up there, It's completely fine either way. So I'm going to do the second option that I just mentioned. So we're going to create a joint here. There's going to be my root joint. Let's call this cracker or root. And then I'm going to duplicate this, move it all the way to the top, and this is going to be cracker, let's call it a fixture. Fixture. And then the thing that's going to be moving, It's pretty much this whole thing with a little like, what's the word? But a little like threads, right? Like this is another event that you proper threads just like a minimalistic kind of threat. So I'm just going to Control D and duplicate this and bring it probably closer to the middle of the head. Now the cool thing about this is all of the bones, as you can see, are in the same direction. So I'm just going to call this cracker body. Parent this up and parent this up. All of them are oriented to the world which is fine, like the local rotation axis are working exactly SI would expect. And let's do the curves. So the first one, I'm probably gonna do a crown curb wears the crown curve. There we go, The Crown curve for the head. So I am going to adjust, since this guys again are oriented to the world, we can actually just position this thing the way we want and then just freeze transformation. And they're going to have the exact same rotation axis as the bones. So that's fine. I will do, I will create a group here. And I am going to move the, the point of the group to the bone. Just to keep it clean. Asks if we were doing a string and this is going to be a cracker. I am calling it the cracker because this trouble is called head cracker. So cracker body control. And of course it's going to be correct for both the control group. There we go. So the skirt. To the body, we're just gonna do a constraint and we're going to have a parent constraint because we want to be able to move the body and rotate the body. Okay, So, so this thing right here will move the bone and they will rotate the bond so we can add a little bit more animation here and there. And, and yeah, that's it. So that's pretty much the only curve that we need. We can add the route, of course. So let's add just like a circle. Circle pointer is fine. So I'm just going to grab it, scale it. Let's make it a little bit bigger so we know that this is the main curve. You can right-click and freeze transformation on only the scale, which is the only one that we moved control gene just to have a nicer control here. And we're going to call this cracker control. And the control group. There we go. So, yep, so now we can start doing the parents. So this guy and this guy is going to be a constraint, parent constraint. And then this guy, and this one already has it. So now we're just going to grab this guy and this guy is not the root and the geometry. And we're gonna say skin, the skin. And we're going to jump into the paint skin weights. We're gonna go to the Crocker buddy. I'm going to go to Select. And we're just going to select the elements that we need. Which is like the spikes here. This thing right here, the cylinder and this spike seeing the inside. And we're going to say paint fluff. It seems like we miss one. Let's go back to here. Select Paint flow. There we go. Then we go to the cracker fixture, which is it's just this big block over here. Grab the whole thing, paint, fluff. And that's it. That's pretty much it. Not much else that we need to do here. Let's go to the textures. And now you can see that this guy, It's going to be moving this thing up and down, and this thing is going to be rotating as well. So a quick little animation that we can do here. We're just going to move this thing to the top. This is going to be the starting point because I really like this as the, as the finish point. So I'm gonna go, I'm actually going to start here, S. And then let's say like a 100 frames of preparation. We're going to go up and we're going to rotate like, let's say 210 degrees. And then very fast in like probably like a second or so, like 24 frames here. Well, let, let's wait a little bit. So let's go here. And let's wait with the animation. So it's going to be electric. We wait. And then I'm gonna do a small like, like it was going to go book and then boom, it's going to like uncork very quickly. So we're going to go back to 0 and back to 0 here. So let's take a look at this animation. And that is going to be let ship. Okay, so we're going from here to here. There's one definitely needs to be faster. Like both of them to faster. And then I'm going to just like go to this first one and get a couple of frames, like five frames, S. Just to give the new element there. Let's go here and see any mention this is going to be doing and it's going to fall weight and then fall completely. I think that's a little bit too fast. Let's see this now. So we got this. So imagine as you're going into the level, so used to this thing go up, you have your chance to pass and if you've missed it, then boom, you just get hit by the whole thing. One thing I can definitely do, so I'm going to go into the animations. It's a little bit from animation and animation tutorial. Thanks. So we can make this go a little bit faster here. So I'm just going to grab this and go like really sharp here on the Fall. Same for this one. We're going to break the tangents, just make this fall a little bit more like a, like a step kind of thing. So now we're gonna get this very soft transition going up, and then it's going to be like a small fall. And then of course, we would see the cycle again. So after this, we definitely have like a couple of friends where this stops. And now we can go back into the options here, grab the whole thing. And again, we can do curbs post infinity cycle. And the cycle is just going to keep going. So no matter how many frames we have here, this thing is just going to go up. It's going to wait a little bit. It's going to fall a little bit, and then it's going to fall it real quick. The only issue, as you can see, they're overextended, like there's a little bit of a frame there That's overextending. Very easy to fix is the Translate Y. So you can see this big D right there. So I'm just going to go here, break the tangents and make this a flat tangent. It stays completely flat. We take a look again, and that way we're animating a cycle. That again, you can just keep on your scene or keep on your background. There's just gonna be moving. There we go, and then just goes back. So simple animations guys are always really, really good to show off the kinds, kinds of tricks that you can have here and say the Mayas just grab everything here with the cracker thing, Control G. There's going to be the cracker trap. Perfect. And I'm going to stop to be the right here guys. And we're going to do the bear trap in the next one just to keep everything in small videos a little bit easier because the bird sharp does need a little bit more thought. We need to think a little bit more and it's going to be a little bit trickier. So just hang tight and I'll see you back on the next one. Bye bye. 26. Traps Rigs Bear Trap: Hey guys, welcome back to the next part of the series. Today we're going to be finishing Chapter 3 with the bird trap. So let's get to it. This is the last trip that we're going to be reading here and that the church was actually not that good. But just ignore that for a second. I mean, we get this like sort of like grayish metal look right? So I'm not really going for realism here. I think my art is messed up or the UVs are wrong here because you can see a lot of the styling. However, that's only important thing. You can actually read a lot of things without detectors and then add the textures later on. So not a big deal. So the interesting thing about this particular element is that we can make it as complex or as simple as we want to. The simplest thing would be just having root bone and have this thing go up on that side and up in this side. However, you might be able to tell that we actually have this little chain here. What if we wanted to rate the chain to drag it a little bit more like a movement later on, maybe the trap of jumps. And you're going to see a little bit of a movement there on the chain. So I am going to give you the whole reason. We might not do the full animation, but I'm gonna give you the whole way in which I would break this thing. So I'm gonna go to my right view, front view. And I'm going to start placing bones. So the first one that I'm going to places of course going to be my route bone. We're just going to be on the 00. Nothing nothing different there. And we're going to call this bare root. Careful with the naming conventions. We always want to keep things as clean as possible. Now, I definitely know that we're going to have 1, 1 rig or one element moving this whole thing, this whole section, like upright, like this. And I know that the point from which this is going to rotate is going to be like, let's say the inner, the inner thing right here, the inner cylinder. So I'm going to duplicate this guy. I'm going to keep it exactly there, but I'm just going to snap it to the point here, right there. So you can see that's a snap exactly on the outer side now it doesn't, doesn't really matter where you place it, but you should place things in, in areas where animals that are going to make it, it should be fairly obvious for an animator on what each thing is going to do. So I'm actually going to bring this back to the center. Okay? So I, I position it on the pivot point of the cylinder, but I'm bringing the joint back to the center. I'm going to call this Br spikes a. Then I know due till the way this two cylinders are positioned that they're pretty much exactly on the same place. So the only thing I need to do is I need to duplicate this guy. I'm going to call this spikes be. Now both of them are going to be parented to the root as its own. A little arm, right? Very, very simple. And other than that, the only extra thing that we need to check is the chain right here and the treatments and a little bit tricky because if we want to make this thing move realistically, we're going to have to have pretty much one bone per each link so that everything moves in a nice way, other ways, other way, we would have this sort of like bendy chain, which is not what we want. So I'm going to go into my bones here and I'm going to start creating my chains where I would expect the things to have their rotation point which is on the union of the last chain. So something like this, this, this, this and this. The, we have a thing again with the viewport. That's weird. There we go. So that's it. So in order to make this a little bit easier, I'm just going to grab all of this guy, so I'm going to rename them bear bear chain on their score. So it's going to be 012345. So you can see it's then chain links, which it's definitely going to break my, my earring a little bit higher in the, in the performance side of things, Let's shouldn't be that much of a deal. Now we need to make sure that everything moves in the proper way. So let's go on to the skinning real quick. I'm just going to grab everything here now in this case, we do have or we don't want to have everything. Are Rick what might want to change the rotation of this bone right here at the end. You said it's closer to the link. Most of the other ones are pretty straightforward. So grab all of the roots, grab our geometry, and again, skin, bind skin. Now, this is where things are gonna get a little bit trickier because we're going to have to do a little bit more work and it's not that big of a deal. I'm just gonna go into skin Paint, Skin Weights. In the skin Paint, Skin Weights. I'll come on my own. Why are you doing this to me? There we go. So I'm going to go to the, to the root first. And I definitely want this main circle. I want this like, sort of like base here, this one here. And there's a little bit of a weird, I'm not even sure. I didn't model this by the way. My team did. I'm not really sure what that thing is doing over there because it's overlapping whenever we're just going to go into paint and we're going to say flood. So there we go. Now we're gonna go to the breast big spike a, which I'm going to use this one on this side. And that's going to be the small circle. So I'm going to do a small circle, this half sphere and the spikes. We could also just use our selection here. Since this is not, we're not going over any bone. Remember that the reason why we don't normally select things is because when you go over bone, the bone gets the selection goes to the bone instead of the of the object. And it's a little bit annoying. Now we're gonna go to spikes B and we're going to do the same thing. So this guy, this guy, the big one now, and each of the spikes very quickly here. There we go. We go. And we go, and there we go and we go to paint and we flood the whole thing, missing one, so that one paint and fluff. And now for the chain links, that's the, that's the ones, those are the ones that are going to take a little bit longer. So I'm gonna go to the first one, select, just select this one and fluff or faint flip. We can try doing it manually. Remember that Maya sometimes like Andra stance that we only want to do certain things. But to be honest, I just find a little bit easier to just go like this. Third one. Select Paint flow, especially since they're solid objects. I think we're going to get a better result this way. Paint flow. Number 4, select Paint, float. Number 5. Select Paint, clip. Number six. Select double-click paint flow. Number 7, select Paint. And number 8, select Paint. And number 9, select Paint and float. And finally, number ten, select Paint and fluff. There we go. So finally for the controllers, we want, again, easy-to-use controllers show I'm going to create a big controller first. So let's go to our controllers here. Let's do another circle pointer, a group it, scale it. So this is the main controller right here. Grab the controller, grab their route bone. Again, controller and well, this of course call this bare root control control group. And grab the controller, grab the bone. We're gonna do a constraint, parent constraints. So again, when we move this thing, everything moves. For the arms. We're gonna do a rotation control, something like this, single rotation control, control G, R. And actually actually we combined the, this controller to both, to both elements. Like it would just want to like move one of those guys and automatically get both of them to close, which is usually how you would animate. We can do it and it's very easy. We're just going to grab this goal, this clause or spikes control. And we'll actually, i'm, I'm trying to see whether or not it's a good idea to do that. Might be a little bit counter for this productive, productive. Let's give it a go. So the way we would do it is we would grab this guy, grab the births by a bee and say constrain orient constraint so that when we rotate this controller, the spike rotates. However, the problem is if we were to do the exact same constraint on the other bone, on the rotation of a. What's going to happen is that since it has the same orientation, it's going to relate the same way. So one way in which we can actually modify that by rotating the bone 90 degrees. However, as you can see here, that is going to that's going to everything, the whole thing right now, and that's not something that we want. So for that particular case or that particular recent, I'm just going to grab this guy right here and delete this vertex right here. That this guy is going to rotate this guy like that. And then what we can do though, is I can actually duplicate this Control D, rotate it minus 90 degree the group. So that when we grab both of this, they're going to go into the same direction and then just grab this guy, grab the burst bikes a, and do a Orient Constraint again. So now. There are sharing but there are mirrored. We're gonna get the exact same results. So it's strict curves. So it's going to be two animation layers or 20 emission occurs. So as you can see, it works very nice. Now, again, I didn't mold does one. So as you can see, this bikes don't actually line up, so I would probably just stop it right here. Which means that we should limit this guys. So I'm gonna go to the first one. I'm going to go to the spikes control. And the rotation on the x-axis is going to go to minus 75 and 2 0. So now this guy can only go all the way to there and back. And the same one for this where you're gonna go to minus minus 75 and the max is going to be Ciro. Clean up a process for this guys, just scrapped everything here except for the rotation that next and lock and hide selected. And now when you grab this two guys, we're going to be able to rotate this very nicely. Now for the chain, you might remember that we have one very nice code, line of code that we can use, which is the our FK chain, right? So very easy. Just grab the whole FK chain and going to our element here and run the code. And that will give us, as you already know, all of our curves right there. And again, the cool thing about this is all of the curves were created as individual curves. So we can select all of them, go into the nerve circles and we can change the radius. So it's easy to select and their parent in the proper order. So if we were to grab this and move them around, now this chain can actually move around in a very, very nice way. So again, if we wanted to do an animation where the whole trap just kinda like, uh, jumps and snaps, then everything's going to work nicely. The only thing we need to do, of course, is grab this guy and parented to the main controller. Grab both spike controls groups and presented to the main controller as well. So when we move this whole thing, everything, whoops, and that's it. That's pretty much it. That again, as I mentioned, I'm not going to do an animation with a curve because it's a little bit more tricky. The wanna do a quick animation on the, on the body. So let's go for it. The way we're gonna do this is very simple. Oh my God. I'm sorry, Sorry. I'm just going to add a keyframe right here. Move a little bit further up. And let's click on anticipation. So we're gonna kinda like tip it over here. And then very quickly typically all recite. And then over here, click it again, typically again to one side and then tip it to another side. So as you can see, what this is gonna give us is this like. Now of course, I'm going to grab all of this, scale them down and get them really, really close. So we're gonna have this sort of like by burning effect, but can actually grab all of this guy's copy and then go to this one and say paste. And we should get this effect. Now, I am going to snap them. Close certainly comes, let's say 30 frames. So I'm going to right-click on snap all of the keyframes. And we're going to get this sort of effect. And now, right now, the thing that's happening is my strength to soften things up. So I'm going to go into Windows, animation Editors, Graph Editor. You can see how everything is trying to be soft there. I'm just going to keep it linear. So it's a little bit more like a solid object. And then after that last one, we're just going to snap. So right here, let's say this one, frame 35, and then to frame 40, we're going to go like that. And we're going to get this. So a little bit slow. So let's definitely make this way faster. Probably like two or three frames. And let's move this so that it snaps. And then after a while, well, that's a couple of seconds here. Let's give another frame. And then kinda slowly, we're just gonna go back. So we're going to have this sort of like and again, we already know what we can do here to get this into a cycle animation, I want to explore this as a cycle animation, to be honest, this is just for demonstration purposes here. I'm just going to cycle, it skirts post infinity cycle. And let's see how this looks. Okay, it seems like we missed a frame here or there. Yeah, we need we need to add a frame on this guy as well on the, on the bottom thing. So its frame 65, 64. So here just, so it remains static and then we keep going. So now we should have the cycle. Okay? So let's grab both of these guys again, this guy here, all of this and say Curves post infinity cycle. And let's see if it works the way I'm expecting it to work. Okay, It is working. However, we do need to add another frame here to this guys on the first frame. So that's starts a closed, it goes and it opens up again so that the cycle repeats. And now we see that. Now we go. So very basic animation. It's not super policy is just if we think as you saw for you, just a couple of minutes, but you can see how this thing would work, right? And the cool thing about this is now we have all the four traps ready. So let's just grab all of this control gene. Let's bring the other guys up for the game. And we can grab it like this guy. Oh yeah, of course, a thing we forgot to do, this body control group goes there and then this one goes parent it to this one right here. So now we can move the whole thing. So let's move it to one side. Let's grab our bootstrap. Same thing will go to one side. And yeah, we have three traps that are working together. Oh, okay. Yeah, I'll get that. This is definitely gonna be a problem. And here I'm just going to go into translation x. I'm going to break connections on this one so that there's no animation and the most right there. And there we go. We have a very nice cycle where all of the straps are working in the way we expect them to. We got it and then this should be falling down, sudden falling down. Stop it for good. Oh, there we go. We're swaying for that. And there we go. So Reagan guy, so this is what I wanted to teach you with all of this things. Reading these not only about characters and creatures, you can rig so many things and in adding this sort of information to your toolkit will make you a better artist. Because sometimes even reading something as simple as a door, a live Voc, a camera, whatever you can think of that simple, we'll give animators more range and more options to animate. That will be very difficult to do with just like a normal geometry. So that's it for this chapter guys, Chapter 3 is done and now we're going to jump into final chapter, which is Chapter 4. And we're going to be doing, we're going to be doing a full character. We were going to be using the soldier from the stylized character creation of course that we have. And it's going to be fun. So hang tight and I'll see you back on the next one. 27. Soldier Leg Joints: Hey guys, welcome back to the next part of this series. Finally, we're in Chapter 4, we're going to go to the big lakes now we're gonna do a full rate. So either scenes, you are going to find this scene coal Doo-doo-doo-doo soldiers start, which I'm immediately going to save as a soldier, a cylinder rig, which is going to be the final thing that you're going to see on your file after we are done with this. Now, this character is from our series, from the stylized character series. I did this last year. So there's definitely a couple of things that I would like to change. But what was more worried about in this, the reason why I picked this one is I wanted to make sure that this guy have what's the word, the good topology. So I know I rig this guy, so I know that topology is going to work nicely for our rigging purposes. And as you can see, we have this basic light setup here. So if you want to have your license now, feel free to do it. If not, that's completely fine as well. There's supposed to be a normal map here. Let me check if it's there. No map. Yeah, it's supposed to be there. To do very quickly. Let me check. Yeah. That's that's the one I'll, you know, way way they changed. Remember, normal maps should always be set to wrong. And on the place 2D texture, I think I changed the amount or something, but there we go. So as you can see, this topology is a game topologists. Semi load topology. It's not completely low, it's only 16 k triangles, but it's good enough. It like this, this could work in a mobile game, No problem. So one of the cool things about this character isn't he is asymmetrical. So we have this cross-section here with belts that we have this like a neat bad over here, which really doesn't change the way we're going to rig. It just changes the way we're going to weight everything and gather. Headphones. Are things properly so that I'm not sure why I say elephants. Anyway. So I'm going to start with the leg setup and we're gonna go here into the rigging section. Of course, I'm going to create my first joint, which is going to be my root joint. Now, usually when you write this sort of thing, you don't need to write what the character is like. What we did with the traps. The only reason I did that for the Traps was because we were going to have several joints on the same scene. But usually this is completely fine. We see roll this out and that guy. So of course going to be oriented to the world. We're going to be using a lot of local rotational axis now. So, so make sure you have those there so that you can quickly check them out. Now, the ligase tricky here because we're faced with something called as I rotate that leg right so the leg is not moving in the same blend. You can see that it's roughly rotated like 35, 20 degrees. And the problem with that is if we were to grab a normal, let's say right here for the leg, what we want is we want the leg to be completely straight like this. However, we would need to rotate this thing around, like if we were to, let's say use the Projected Center option and create like a tree joints here. You're gonna see that they're not going to be rotating in the same axis. So if I grab this one right here, the y-axis is not the same one as the y-axis up here. So I'm gonna show you a little strategy that they use for this, and it's actually fairly simple. What I'm gonna do is I'm going to create a lecturer in here. So I'm gonna start at 123. So that's hips, knee, and ankle. And then from the ankle we're going to go forward to the ball and then to the tip. Okay, So this is the ball of the foot and this is the tip of the foot. Now this one right here, I'm going to move it. Let's turn this off. And I'm going to try to position it close to the center of gravity where I would expect this leg to rotate, which is right about here. Let's turn off the screen rotate. Now you can see that my bones right now, if I were to turn on the local rotation axis, they're using the X to point downwards, which is fine. We're going to be using x, that's completely fine. And we wanna make sure that everything else is also clean. So as you can see, this knee is not cleaned because the y-axis is pointing in a different direction than the ones down here, but we're going to be fixing those. So I'm going to start with this one and I'm going to rotate and move this thing around so we create the angle of the knee. So remember that reading is about like a joint positions. So if this was a, like a character here, this would be like the pelvis, like this. And we would expect the great trochanter to be right about there. So that's why we're partitioning this right about there, which is where, again, where I would expect that the rotation to work from and the knee, of course. Well, it's going to be right there at the middle of the knee. Let's clean this out. So I'm going to grab this guy and just move it around. Probably. Let's go and let's change the rotation to object rotation. There we go. So we are weight. Let's go to the scale and recent tools. There we go. So it's going in the same direction. So it's going to be right about there, the knee. And then we're going to grab this, we're going to rotate and we're going to push it to the ankle, which is a little bit above the shoe layer. There we go. And then from the ankle. Let's shake this thing. I'm not sure why that does not save a little bit in line, but that's fine once you do it, I think it keeps itself there. And then this one we're going to push forward, which is going to be the ball of the foot. So where you would normally like heavier foot supporting it the rest of the foot. And then this thing, finally, we're going to rotate up and we're going to have it like that. Now as you can see here, there's a little bit of a rotation, so we need to account for that. Which means I'm going to have to rotate and then bring this thing closer to the center. Let's rotate this guy here. And then this one, Let's rotate out like this. So now the skeleton is working nicely. We had positioning them in a nice way, but the problem is that we just broke pretty much every single rotation axis. You might say, well, it's not completely broken, right? Because if I see the angles, all of them are pointing to the next part. And yes, that is happening. However, the problem is that they no longer share the same plane. They're not moving in the same plane. So if I rotate the y here and I rotate the white here, there are two different y-axis planes, so we're going to have to fix that. And it's actually, it's easy to do. It's just a little bit confusing at first. So let me show you first we need to rename. So this is going to be hip, this is going to be L and E. This is going to be L ankle, and this is going to be L bow. And finally L TO, okay. So let me just double-check here. Yes, so this is going to be our ball and this is going to be the total. Now the toe, we're actually not going to be moving. We're going to be using it though. We're going to be using a tool to support the toast. But most of the movement is going to come from here. Like if we wanted to bend the toast a little bit, we're going to use the ball here to do so. Now what I'm gonna do is I'm going to grab the geometry. Remember, to hides the geometry. I'm going to grab all of my bones here and I'm going to hit Shift P to get them all into a different or get them out of the parent. But before that, let's freeze transformations real quick. Very important that we freeze transformations. Otherwise we're going to get those transformation notes because the scales were different. There we go. So what we're gonna do is we want to create a new plane where all of the axes are pointing in the same exact direction. It is going to be super important if you guys nailed the local rotation axis of all the joints from the initial setup for the whole body, then the rest of the things that's just technical things, it's just technical constraints and connections and stuff. The most tricky part I would say, it's making sure everything follows exactly like we want. We're going to be using a constraint to aim this guy's in the proper direction. So we're going to go constraint, aim constraint, and we're gonna say driver, driven. And what I wanna do is I want to point to the x-axis. So the aim vector is going to be X, but I'm going to use another vector. In this case, my APP vector is going to be C. I want C to 0.4 words. So I'm going to say up is going to be C, but I'm not going to use scene up. I'm going to use object rotation or object up, sorry. And on the world up object, I'm going to replace this name with another bone. In this case, let's use ankle. And I'm going to use the ankle to stabilize the whole system in here. So again, where you're selecting this guy driver driven and then we can apply, you can see how this thing now he's pointing the x to worse the next bone and the seat backwards trying to find that heel bone in the best possible way. I want this to go forwards though. So I'm going to say minus one, I'm gonna hit Apply. And that way we're going to have our C pointing forward. Now we could have other things pointing forward like maybe why? I think why it might be better. Let's do negative wipe. I'm going to try and make all C's go to the left. I think that's going to be easier. So x is pointing to the next bone and z is pointing as closest CT scan to the, sorry, the intersection. Now we're going to delete the same constraint. We don't need that anymore. And we're gonna repeat the same thing we're going to say. Driver driven. But now instead of instead of using the ankle because that's one of the bones that's inside of this system. We're going to change this left ankle to left hip. And if I hit Apply now you're going to see that this thing is trying to orient itself in the best possible way to the same orientation or the sea and pointing with x to the next bone. Now we're going to do the same thing here, so it's driver driven apply. We need to flip this out. So let's flip it and he'd apply that way. The C is going to be pointing to the same direction like that. And then I'm gonna say this guy or sorry, this is driver driven. Apply. There you go. You can see how it stabilizes very nicely right there. Let's delete the constraints. And finally, this last one is a driver driven and we're going to say constraint, orient constraint. It didn't work and then work because I think on the Orient Constraint we changed the maintain offset. There we go. So driver, driver driven and orient constraint. Now there's one copies the exact same one as that one. So now as you can see, all of these guys are flowing in the exact same plane, which is, it's great for us because now if I just parent all of these guys together like this, and I grab all of the bones at the same time and rotate will not Let's not do the route yet. If I grab the whole leg and rotate the leg. You're going to see that they all rotate in the same plane c. So if we can imagine like a straight line going through all of them, All of them are going through the exact same part so that that right there, like getting that to work, That's your main concern right now. So now it's just a matter of grabbing the first one facing the transformation so that there's no real dangerous. And I think there's just gonna be translation. If we check the elements, everything is good. Now some of you might be concerned about this, like hey, isn't the fact that this has rotated at bat for us? That's slightly I mean, the bones here on the what's the word on the actual foot? We could rotate a little bit to the other side. We can go to the joint orient and see where this is going. So for instance, this guy, we could rotate it just a little bit, let's say minus five. And yes, this are not going to be in the exact same orientation, but we're going to have a little bit easier to manage. Rotation like animators won't have as much problems here. In this case, I'm just going to leave it like this, like this. I don't think we're going to have that much Phoenician. Because at the end of the day that controllers are other ones that are gonna make, are going to be doing most of the work for us. Now I'm going to grab the first one right here, and I'm gonna say Skeleton Mirror Joints in very important, we're going to look for l in this case and we're going to replace with R. And we're going to look for behavior apply that way if we select this one right here and this one right here, and we mirror, they're going to be doing the opposite direction, right? So way things are going to be working the way we want them to work. So that's it for the, for the legs. I'm just gonna do one more thing here, which is the the beginning of the torso here, which is the spine. And the spine, you know, we have the pelvis again, we have the Thor. So some people like to do a curse. I personally like doing the straight spine. That way I was taught is the straight spine. So we'll have a little bit less information that needs to process. So I'm just going to start creating a spy right here. I think we did this before with the, with the bot. So we'll just create a whole line right here. And I'm going to move it right where it starts roughly about here on the center of gravity. So about there I would say, let's go to the right view. And the most important thing about the spine is that the torso itself. And we can check this out in an anatomy book. If we take a look at the bones of the torso, we have the ribcage right? And the rib-cage does not move that there's no there's a little bit of breathing room of course, but it does not flex. What's going to flex the lower back. So we need to have more bones here on the lower back and less bones on the upper part. So here I'm gonna grab this guy would like 1, 2, 3, 4, 5. And I'm going to bring them back like this, scale them down. Because if I were to imagine where the rib cages will be right about there. So this right here is going to be the beginning of my ribcage. And I'm going to really extrude this out because this is going to go all the way to the back of the head, the neck there, this one, we actually don't need it. Now one important thing here is if we check the local rotation axis of this elements is the polar axis. Axis is, I've been saying throughout the lesson and I'm not sure. You can see that they're not pointing the way I want. So we said that we want to point C to the left side. So I'm just going to rotate this 90 degrees, the first one. And that way all of the bones are going to be rotating over there. And then this one, let me just bring back the rotation here. And we're going to rotate back like this. So that's going to be my, my lower back. Some people like to have the lower bag like the symmetrical in the distance. So for instance, this one right here, let's say 8. And then let's grab probably like a 10. So 10. And then 10 is just to, again, keep things clean. Remember every single number that you have in Maya, every single element will carry information and the information is cleaner than most of the things that are going to be clean as well. And that's it. We're just going to grab all of this guys. I'm going to call them C. I like to use C for central. I'm going to call this spine. So this is going to be my hips are not hips. This C-spine 0, That's fine. It was these points here, right? And then spine 1, 2, 3, this is the chest. So C chest. And this is going to be my neck. And there we go. So that's it for this one guys. I'm going to stop it right here. Make sure you get everything nice and clean on your R6. And I'll see you back on the next one where we're going to be doing the joints for the torso. Buh-bye. 28. Soldier Torso Joints: Hey guys, welcome back to the next part of our series today we're going to continue with the dorsal joints. So let's get to it. This is where we left off. We had this character right here. And now we're gonna do something for the torso. And in the torso we're going to need four main bones. We already saw this when we did the shabby Mara, which is the clavicle, the shoulder, the elbow, and the wrist for the hands, we're going to do something a little bit different. So the main thing I want to find here is I want to try and find the middle point of each of the sections here, right. So I know that the elbow is going to be like right about around here. So I'm going to use locators for this. I'm going to bring this luckier up, which is just this little cross thingy. I'm going to position it where the elbow is supposed to be, which is about there. I don't need to rotate them or anything. I just want the location of where the elbow is supposed to be with this carriage was a little bit tricky because he has this sort of hoodie on the deal. So something like that. I'm going to duplicate this locator and I'm going to bring it in the center of the wrist. So right about there, That's my locator for the wrist. You can also turn on Projected Center so that it goes exactly to the center of the wrist. You definitely want to check topology though. For instance here I can see that the topology where it's going to bend so a little bit lower. So I'm going to try and bring this a little bit lower. Again, tried to find the place where this thing is actually going to bend. That looks a little bit better. Then we're gonna go to the shoulders. And the shoulders are right here. So the shoulders like this very round things. I'm just going to place this around there as centered as possible. So again, I try, I'm trying to imagine where the humerus would connect itself. It's roughly about there. And then clavicles Barry by characters and characters that have like a very wide bag or a very thin back. And we'll have the clavicles in different places, but usually a good place to place as the clavicle is right about here, like on the inside of the chest. Not exactly where the clavicle would be like the clavicle up here. But you don't really want the club. We go all the way down there due to the deformation. So when this, the character bends from here and it's going to look like he is raising his whole shoulder. So that's about it. Now what I'm gonna do is I'm going to create a little chain here for bones. And with Snap to Point, let's turn off the geometry. I'm going to snap each bone to its respective locator, like this, this, and this, and there we go. Now of course, the problem with this guys are the problem with this chain that I just created is that it's completely broken in regards to the local relation axis. If we take a look here, you can see that they're not going word I need them to go. So something that definitely needs to be fixed. Let's go all to hear. I think that makes a little bit too far back. Should be about there. There we go. So to fix this, we're going to use the same process that we did for the leg. And hopefully got you a little bit confused. This one's going to be a little bit easier. So first thing I'm gonna do is we're just going to freeze transformation, rename things. So this is going to be left. Clavicle, is going to be left shoulder, there's going to be left elbow. Elbow, and it's going to be left erased. By the way, guys, this region that I'm showing you here, this is a, let's call that is a production ready rate, but some basic rig, there's, there's way more complex drinks that you can doing later on, which are going to include things like a stretchy arms and legs, deformations for like facial expressions and stuff. This is a, a very traditional Rake that's really good for basic character animation. And hopefully with this, you're gonna get excited at the boundary again and get to learn a little bit more. But yeah, so now I'm just going to grab all of these guys. I am going to Shift P to parent them. Let's turn off the geometry EG and two, and we're gonna do the same trick. So it's driver driven constraint, aim constraint. And instead of using the hip to orient the system, we're going to use, for instance, the wrist. And I'm going to say apply this as you can see now, I'm pointing with my ex Towards the next bone. The C, however, is pointing back and I'm not sure I want that. So I'm going to try and see if I can change this. Let's do this. No. There we go. That's a little bit better. I want the C2B pointing kinda like forward so that one of the arm is completely straight, all of the CSR pointing down. So now we just delete this guy. Driver driven addressed is fine still, so I'm just going to hit apply. And as you can see, this is going to point the x axis to the next part, which is this one. And then driver driven, we need to change here. Let's change this to the shoulder, but and hit Apply. So now this thing points towards the shoulder. It's on the same plane as this guy because it's using the same sort of like orientation with the C axis. And then finally, to get the wrist into a better position. We're just gonna driver driven constrain orient constraint. So now that the race has the exact same orientation as the, as the upper area right here and all of the CSR pointing forward, except for this one. This one, it's looking a little bit weird. I mean, I'm not super worried because this clavicle, this part of the different systems, like part of the torso system. So. Not that big of a deal. So just grab this guy and this guy here, PPP. And that's gonna give us our very nice arm connections. So again, the good thing about this is if we want to bend this, we're going to be able to bend it using only one system 11 edge, which is the y-axis. In this case, the first one, freeze transformations and we're going to mirror this thing to the other side. Again with behaviors so that when we grab one of them and rotate, they're going to be rotating in opposite directions. Now, some of you might be wondering, do we need to take into account the fact that this guy has a more volume here with the rope. Not really because everything here is going to be moving at the same sort of like distance with the rest of the, rest of the elements. So It's important that we, that we don't worry that much about this. Now, the hands we've already did the hands with the with the somebody hand. And that's why I had an exercise a couple of chapters ago because I wanted to prepare you for this process right here. And you already know the deal. This is going to be 1, 2, 3, 4, 5 because it's the metatarsals. The yeah. No, Sorry, metacarpals. First value, second fallacy. Third fallacy and a little tip. We're going to cover the first one. I'm just going to snap it to the index finger. Very important that we take a look at the Local rotation axis because we again want to share everything. So I'm going to try and make sure that the c-axis, as you can see, it's pointing to the front, like whether we're doing with everything else. And let's start with like positioning. So remember with the fingers a trick was the weekend move, sorry, we can scale and then we can rotate, but we cannot move. If we move the things, we're going to break the local rotation axis of the objects and then things are not going to work this well. So the metacarpals are bones that are usually like very close to the, to the wrist. If we take a look at the bones of the wrist, you're going to see that the metacarpals get all the way until here. So that's usually where do you want to places and the metacarpals are gonna help us with a little bit of movement on the other wrist. So that's important. So we're going to position this is right around here. Very important that we tried to follow the same plane as the finger. So we need to rotate them first element a little bit. That's fine. Let's get rid of this thing. So think of a right about there looks good. And then we are just going to push it. There's going to be the first knuckle, which seems good about there. And then this is going to go rotate here, push it to the second knuckle. You can see that the topology here, it's a little bit lower, Pauline and the hand, but it's still clean. We have the three loops that we talked about and everything. So hopefully this is going to work. Us were expecting I personally like to give the fingers a little bit of a bent. I know I mentioned that straight this a little bit better, but the band will help me understand where things are flexing. So just a small little bend there. There we go. So that's going to be my index finger. Grab this Control D, move it forward. Rotated here. Rotate the plane a little bit. Position it. And this is the index fingers is going to be a little bit longer. So about there. We've grabbed this one, skill it in. Then this one was killed. I think my fingers are a little bit on proportionate. I remember when I did this, everything should be proportionate, but they do feel a bit like shorter. Like the last family seems a little bit short. Which again, not, not the end of the world. You're going to have weeks where monsters have like super long fingers are super stealthy fingers. So it's not it's not a problem there. The rigging works exactly the same. It's just a matter of like the sign. So let's go here. Let's push it, rotated out, scale it in a little bit. And seems to be working on it seems to be a little bit out of the axis. So remember we, we, we turn them around a little bit so that when we close the hand, the fingers come together towards the center. Very, very important. They're scrubs this Control D, will this out. Skill it in a little bit because the pinky fingers usually small. And again, as I mentioned, there are some hands systems in reading that are a little more calm, more complex than what we're doing here. It will all depend on how, how much work you're going to want to put into it, of course, and also how much you need for your production. For a lot of the things I've done like this sort of like simple rig is usually more than enough Control D. Now, for the thumb, I did have figured this out a little bit too late on the on the Sunday hand. I am going to have like an extra bone here like this one right here. Because I think we did miss that one on the on the bone on the on the sun behind. And that gave us a little bit. Of a movement limitations. So very importantly here to again give it the proper orientation to the thumb. So that when we bend this on the c-axis, everything vents nice and clean. Let's grab this guy right here. Scale it in, bring it down, and then just fill it out. There we go. So of course we're not going to need the last one. And there we go. So we're going to grab all of the chains here. The first one, the fall of the chains, we're going to freeze transformation super important so that all of the scales and older rotations are working in ice. So you can see, look at those beautiful local rotational axis old pointing into the very, very clean direction. And, and I'm actually going to delete the right arm for now. Let's rename this guys over here. So let's start with this chain. So this chain is going to be left. Thumb, C or 1, 2, 3. This chain is left. Pinky, 0, 1, 2, 3, 4. This chain is left ring. Consider 1, 2, 3, 4. This chain is a left middle is 0, 1, 2, 3, 4. And finally this guys are left index 0, left index 0, 1, 2, 3, 4. So as you can see, guys, most of the things that we're doing now, they're, they're very similar to the things that we've already done with the, with all of the other examples. We're just putting everything into practice now and making sure that all of the things are very clean. So I'm going to grab the first fingers off all of the bones here. We're going to parent them, of course, to the wrist. Now, we can't orient the risk to any specific one of those because of course the race, this is different elements. So just P there, there we go. And now we can grab this guy and just going to Skeleton and remember joints. And there we go. We have a very nice elements here. Now this two bones, the clavicles, are going to be parented to the chest, not to the neck, to the chest all the way down here. Okay, very, very common. Let's do a freeze transformation just to make sure that all the scales and everything are correctly. We don't have any elements. We can grab this two things and parent them to the hip. And we can grab the hip and parented to the root. And as you can see, we have pretty much most of our armature or by the already done. If your skeleton looks like your character like with the proper gesture and stuff, then you're doing a good job. And that means that we're not in a good situation. If things are not looking super tight, then you might want to check things out before moving on because otherwise, you might get some stuff wrong. So that's it for this one guys. This is it for the for the torso joints setup. We're now going to go into the head setup, the Southern Florida for the head, which is very easy to be honest. And then we're going to start working on the different systems. So hang tight and I'll see you back on the next one. Bye bye. 29. Soldier Head Joints: Hey guys, welcome back to the next part of our series. Today we're going to continue with the head joints of our character. And as I mentioned in the last one, they're actually quite simple. It's, it's probably the one of the ECS parts for our character. So that we're, we're gonna do this is I'm gonna go to my joint here and I'm going to create a one joint right here where the neck is starting. And then one in the middle of the neck are probably like to if I want to have a little bit more like a moment and then one on the center of the head. And that's it. That's pretty much it for the head. Because with this, four bones are like this box right here. I'm actually going to delete. Oh my God. Let me turn off selection. There we go. So with this one right here or this first few bones, we're going to be bending the neck and we're going to have a soft like movement. But at the end of the day when you move the head, you usually move just one bone and everything moves with it. So no need to go super extreme there. The other bones that we are going to be using are the bones for the eyes and the mouth. And those ones are a little bit more interesting. So what I'm gonna do here is I'm going to create a new bone. There's going to be oriented to the world. And this new bone is going to be on the ice now, thankfully, this eyes are spheres, so it should be fairly easy to find the exact center of the elements without having to do any sort of constraint or anything. And it's very important, very, very important that we get that perfectly fine. So we're going to call this left eye. I am going to mirror this guy. So Skeleton Mirror Joints to the other side. We're going to have the right eye with a mirror elements. We're not going to need the mirror elements. All right, I think we might need if we wanted to like a cross IE or something. But usually that works. Now I'm going to go to a right view. I'm going to create a one more bone here is going to be my jaw bone. The jaw, it's usually right around here beneath beneath the year. And we're going to be using this jaw bone to move the jaw down. So I think about there is fine. If we want to, this is an optional thing that we can do. We could do a bone for the tank if we want him to bring the tongue out, it's not very common to be honest, but if you want to do it, one way to do which is to draw like a, like a little change here for the, for the, for the tongue. And then this is going to be like them, like the Tang joint setup. I'm not gonna do it just because I don't think it's necessary for this particular character. But if you wanted, That's just a very simple joint and all of this joint so that I just created here since the jaw jaw joint are going to be parented to the head. So this is going to be my head joint. We're going to rename this. So this is C and this is a C head tip like this. So this is going to be neck. So C Next 0. This is going to be neck and neck two. And again, we need a couple of next year just to keep everything clean. Now, we're not out of the woods yet. We need to find a way to make sure that all of these guys are clean. So let's check this little local rotation axis right here. And immediately what I see is that the sea, it is pointing the way I want, which is perfect, is pointing to the other side. The y is pointing to the back, similar to the one on the on the spine. So I'm gonna keep it like that. I think I think that's good. And then of course, the jaw are the joys is actually pointed where it's supposed to be. Now, this one, we can leave it there. Or we can combine that with this one right here. Like if we delete this one right here, we can just parent this whole thing to the chest. So careful there and see. Seems like we have transformation issue. Very important to clean those up. Yeah. Okay, So I'll show you what's happening there. So one of the problems that you're seeing here is this transform nodes which we don't want. And the reason why we have this transform notes is because we did not freeze the transformations on this things. So let me phrase it to information and phrases that information. Now when we repair them to the chest bone, we shouldn't get any sort of transformation. Okay, so let's leave this scenic, the original scenic. And I'm just going to repairing this to the chest. And we're pretty much rebuilding this. And the reason why we're building this is the one that we had before. It was just a tip that we use to get the the base of the neck. But now this are the actual bones that are going to be controlling the neck of our character. Some, some Greeks have this thing where you can actually like a rig the hair and make it move a little bit. This character is not made for that because as you can see here, that there's a lot of like weird textures and things that are not supposed to be seen. So we're not going to be animating. But again, in a very similar way to how I showed you the tongue, you would just create like a little chain that goes towards the parts of the hair. And that will be the, the way to do it. And I'm going to grab both eyes here. And this two guys are also going to go to the, to the hand like this. And there we go. If we take a look at the rig now, this is all we need to have. Let's turn onto local or rotational axis where this guy's, the only reason why I kept this local rotational axis parallel to the world. This because it's easier to just rotate them in a world direction. But later on they wanted to change it. We can adjust a couple of things. So this should be guys, the first thing you need to make sure that you have right on this part of the exercise. What's going to happen next is we're going to be debiting the character into sections, okay, we're going to be working on different sections of the character. And you want to think about this thing that I'm going to show you as a systems. So reading at the end of the day is understanding how bones, constraints, and connections work to create different things that you might need under production. And there are certain systems that are very famous for the characters. For instance, on the arms, we're gonna do something called an F K IK system. We're going to start with that. We're going to start with the arms. We then FK IK system. And that will create a little system that will allow us to switch from one option to the other. I think we've already talked about this and why they're important. So we're gonna be doing a NFPA IK system for the arms, fingers. There's going to be an FK system. We've already done that one, so that should be pretty obvious. We're gonna do a leg system. It's going to be pure F9 on the legs, but we're going to do something called a reverse fault control. That's going to allow us to create some interesting moments here and there with the legs I'll show you in a character. And then we're gonna do a health system. And the health system I wanted to do an AK and FK system as well. So we can change from, from Ikea to FK. And finally we're going to do a spine system that's also going to have an IK and FK system. Okay, So we're going to have several systems going around. And the thing that I want you to pay attention to besides of course, copying it for your own project is I want you to understand that all of the systems can be extrapolated to other characters. Imagine if you're doing, let's say like, I don't know, like there's this, there's this Greek god statue thing. That's very cool. What's the name of it? Monster. Okay, let's imagine we're doing like a Medusa. And she has like a lot of snakes. Snakes are like spines. So we're going to be using probably an IK, FK spine system for each of the different snakes. Let's imagine we're doing like a center or any of this character as well. The front legs might be done with like a system similar to the arms and the back legs might be done with system similar to leg. So all of the systems that we're going to be studying and learning throughout the remaining part of this course can be applied to any different things that you might find, okay, so just keep that in mind. Make sure you take lots of notes. I personally have my own like document is I'm going to be following is like a little chit system that I use to remind myself of the steps because one of the most important things about rigging, making sure that you're following the steps in the exact same way so that you get the exact same result every time you do it. So that's it for this one guys. I'll see you back on the next 11 wr working on all of the systems. 30. Soldier Leg Setup: Hi guys, welcome back to our next part of our series. We're going to continue with the soldier setup and we're going to start adding the controllers. So let's get to it. This is where we left off after the initial joint setup. And I'm going to do something very quick here. I'm just going to grab all of the joints and I'm going to turn on the local rotational axis just to check that make sure that everything is rotated in the exact way that they needs to be. Everything should be located exactly where we want them to be. And yeah, so far so good. Everything seems to be in order. Make sure that all the scale so that everything is correct. And once you have that, you can turn off again Local rotation axis. There we go. Now, what I'm gonna do is I'm actually going to do a quick screen here. I'm not going to care about the tips of the fingers or anything. I just wanted to get something quick here down so that when we move a couple of the bones, we can see how the effect is. It's happening, right? This is not going to be the final skinny. I'm just gonna go skin, bind skin. And there we go. You can even see that with this we already have something like Very nice, like look at this clavicle moving very nicely. Look at the shoulder, moving very nicely as well. Look at this like elbow. Again. Quite nice, right? Like even though we haven't done any proper skinning, things are moving into forming quite nice. And this is due to two very important reasons. One, I know that my topology is good and I know that that's going to form in a nice way. And two, we place the bones exactly where they needed to be with the rotations that they needed. So everything is going to be easier if we follow that specific approach. Now we need to start adding the main controllers for the whole thing. And opposite to what we've been doing with the other rigs, we're actually going to have an extra controller here. So I'm gonna go into my controller told here. And I'm going to use my circle pointer, which I really like. Group it, make it bigger group scale. And this is going to be called a master control. So we haven't had the master control yet. But master controls are really, really useful to, as the name implies, control everything. So I'm going to be using this naming convention with capital letters on the initial parts of the names. And this one, I'm just going to turn gray because we don't want people to animate that. Eventually we're gonna do some connections here, but right now, we're going to leave it like this. Now why is the master controller so important? Because there's a lot of controllers, so a lot of elements that are going to be parented to this controller and they're going to be following in the whole thing rather than the rule or the hips, they're going to be parented directly to the master controller. So very important to have a master controller. Then I'm going to go for a point controller, it's going to move my route around so that we can move the whole character. I personally like this across Control. And I'm going to ungroup it. I'm going to call this a route control. And of course, the group is going to be a good control group. Now in this case, I'm not going to scale or anything. I want to keep everything very clean. I'm just going to scale this directly on the control vertex like this. And there we go. Now this one's going to be yellow. And this one, I'm actually going to start doing some connections. I'm going to use a point constraint here to the word control. So now if I move this guy and move it around, the whole rig moves as you can see. Another thing I'm gonna do is I'm going to grab this route control group and I'm going to parents with directly to the master control. So again, if I move the master control, this is going to be moving. And now this second one, remember, this was a normal parents, so I'm going to be using this explanation quite frequently. I'm gonna say whether it's a constraint or a normal parent. So make sure you take your notes. I am actually, I'm going to show you real quick here. This is my rigging quick reference guy. So I have all of my guides, the steps that I normally follow to make sure that I don't miss a step because reading is not difficult. But since this is the sort of systems that we're Reagan, I need to make sure that everything that we do is, is following a process. And now I'm going to try to explain it in the best possible way. One of the things that I like, and hopefully you already know this by now with the courses that I normally teach ease. I don't just tell you the instructions. I like to explain what's going on so that everyone can understand how how things are going to be moving. So what I'm gonna do now is we're going to jump onto the foot controllers. We're going to create a little controllers that are going to move our food around. And It's actually fairly simple. So I'm gonna go here and I'm going to look for my foot control, just double-click. I'm going to group this foot control. And then I'm going to grab, let's say this guy right here are actually think I want to graph. I'm not sure which one I'm trying to figure out which is the best direction. I don't think we need the direction, to be honest. I'm just gonna move this thing around like the group. And I'm going to snap it to this bone right here and then I'm going to move it down again, snap it. So that's like on the floors close to that Bart. And then I'm going to rotate this a little bit like this, just points to the main area. So the curve, of course it's going to be clean because it's parented to this group. This is going to be called a left foot control. And the only reason why I want this thing to be rotated this way is so that the one the animators grab the controller, the rotation of the controller makes sense. In regards to the direction of the foot, we really don't need anything to do with the bones because we're going to be doing some different connections. So it's okay if they don't share the same rotation in this case. Well, we do need though, is when to make sure that this control vertex look a little bit nicer. So let's make them bigger. We're going forward. I'm actually going to snap them to the floor. So they're lying right there. And that's pretty much it. I mean, you can go as crazy as you want with the, with the silhouette, like making sure it fits the shoe in the best possible way. But usually something like this is really nice. Now the tricky part here, this is the part that confuses a lot of my students, is we need to find a way to bring this controller to this other side, while at the same time mimicking the behavior that we have here on the, on the elements, right? So we know that the legs and the arms are mirrored. And if I were to just like mirror this to the other side, they wouldn't be mirror. That would be just a copy and they will move in the same way and I want them to move in an opposite way. So what we're gonna do here is we're actually going to do something that we used to do a long time ago when the Mirror function was not as good. This is one of the like the old-school method of mirroring things. I'm going to grab this group. I'm going to Control G again to group it. And then I'm going to Control D to duplicate this group. So now you can see that we have two groups with the left foot group. Now on the second one, that group two, I'm going to say minus 1 on x. And that's going to bring it all the way back to the other side. And as you can see now, if I were to select the curves and move them, they're each going to move on their own direction, which is exactly what we want now before we, um, parent them and clean this group. So I'm going to change the name from this to left, from left to right. Then we go and now we'll just grab these two groups and Shift P to parent them. And this groups that we'll use to duplicate, we delete them. We don't need that anymore. We're gonna select this guy. Let's play this red and this one's going to be green. So left side is going to be green and right side is going to be red. I mean, you can use any colors that you want. I usually use those in the works fine. And central control actually going to be yellow. And that's it. That's pretty much it for the food controllers. Now, we're going to create the IK handles. You remember the IK handles that we talked about a couple of videos ago when we were doing the champagne. Mara, well, I'm gonna go into rigging skeleton. I'm going to say Create IK Handle. I'm going to go from the hip all the way to the ankle. There we go. I'm going to do the same thing. We've got just going to press G to repeat the last section. We're gonna go from there to there. We're going to rename this. So let's call this left, left, left PV pole vector. And this one's going to be right. Like pole vector. That would come. Now, as we saw with the shabby, we can't just have this thing's going around here now we can actually see the function there, raising the leg very nicely. As you can see that the formation, this is looking not too shabby, all right, looking good. So the both vectors are going to be controlled by, of course a controller. But for now, one thing that we definitely need is something called the pole vector constraint. Remember this one? So the bowl picture constraint is this specific constraint that we're going to use to properly aligned at the knee of our character of the point that the pull vector is following is going to be aligned to this pole vector constraint. So we need to find the proper angle for this bone right here. And there's a lot of ways to do it. I've seen some people would like duplicate the bone or the bone chain and then just move it forward in that position there. It's exactly what we need. I personally like this one, this method that I learned. And what we're gonna do is I'm actually going to create this guy into a layer, just hide the layer. I'm gonna go into my modeling tab. I'm going to go into Mesh Tools, Create polygon, and with my V key, which is the Snap to Point, I'm going to create a triangle that goes through those three bulbs like this. So this triangle right here. Now the cool thing about this triangle is that we're recreating the plane in which all of these bones are rotating around. Remember that when we created this bones, we aim constraint them so that they are, we're all following the same plane and they will rotate very nicely. Well, this is that plane. This plane represents that specific function. I'm going to isolate it, press D to go into pivot mode, and then press C to go into curve alignment mode. And I'm going to align the pivot point back here on the, on the backside of the, on the back edge. And now when we scale this, it's always going to remain on the same plane as a character. So I'm going to scale it until it pushes relatively high, like right about there. And that's the point, that point right there, that vertex. The point that we need to find, or do, we need to position our pole vector so that the pole vector follows a nicely once we do the constraint. So we need to create the controller. Of course, I personally like using this, a MOOC control. I am going to Control G, group it, and then snap this group to that point right there. I'm gonna go to the curve here, grab the vertex. Let's rotate them forward like this. And then we can go a little bit crazy like we can grab this guy's, this guy's, this guy's, and this guy's push them back and then grab it like that, like the points and push them back as well. We missed this one, switched it back. So we grade this sort of like like a knee pad, right. So I think it's going to look nice because once we get rid of the plane, which by the way, we don't need anymore. This thing is going to be right there. I'm going to make it a slightly bigger. I'm going to probably bring it a little bit further back. Because anyway, at any point in which we grab it, which is going to be able to move it like this. So this is my pole vector controllers. So I'm just going to call this left, left leg pull vector control. And this of course the pull vector control group. Now the same deal, the same thing that we did for the, for the foot controls. We need to duplicate this guy so so they match the proper orientation here. Don't worry about the orientation. I mean, if you want to, we could like like grabbed like the driver driven. The group will be like driver and then driven and we can just orient it. But pull factors only work with a movement. So we really don't need to orient them as long as it's easy to follow for the artists, that's fine. So grab this guy, Control G to group it again, control D to duplicate the group. And then on the second group, we're going to go into scale minus one. So the jumps to the other side. So you can see there we of course change the R here. So R for the lack of control there, there we go. We grab both of the main groups here, Shift P to bring them out of the parent constraint and delete this guys. And as you can see, we have our very nice pole vectors, pull vector elements right there. We can paint them as well. So this is going to be green and this is going to be red. And now comes the constraints that we need to create. So I am going to graph the driver which is a curb, the driven which is the pole vector. And I'm gonna do a rigging constrain pole vector constraint. There's no options, there is an offset, nothing, it should just work acids. And then we're going to grab this guy. We're going to grab the pole vector and we're gonna say constrain pole vector constraint. And there we go. So now when we bring the foot up with the pole vector, because we haven't connected element that yet. We're going to be able to grab the curve here and move it around to modify which rotation we want the pole vector to follow. So super, super important for this IK system that we have here on the x. So that's it for this first video, guys, I'm going to stop it right here. I don't wanna overwhelm you. I want you guys to check it out. Make sure you take your notes and make sure you follow the steps and get all the way to this point. Because on the next one we're going to be creating something called the reverse foot control. And it's a controller that we're going to have down here, which is going to allow us to rotate the whole thing in a very nice way. So yeah, that's it for this one. I'll see you back on the next one. Bye bye. 31. Finishing Soldier Leg Setup: Hey guys, welcome back to the next part of our series today we're going to continue with the setup of the leg, so we're going to work on the reverse foot controls. So what does the reverse foot control? This is a little system that we're going to have here in our food that's going to allow us to control several movements of the foot from the food that they're going to be translating all the way towards the leg. So some of those movements are, for instance, we're going to be moving this like tippy toe thing. We're going to be doing this as if we're worried like turning off a cigarette. We're going to have a moment where we are going to support ourselves on the heel. We're going to have something called a bank. So foot's going to go to the inside or the outside right now it is looking very bad because we haven't done the system, but that's the system itself. And there's two ways to do it. One way is to use this controller here and add all of the attributes that I just mentioned so that you can control them here with sliders. And the other options is using an external controller, which is the option that I actually prefer that we're going to be able to use to modify the actual foot controls. So let me show you how we're going to be doing this. I'm going to create a joint here. So we're gonna go into rigging, create a joint. And then I am going to do limits. You hear him. I'm going to parent constrain this foot control or this bone to the foot control. So I'm going to grab this guy and then I actually going to grab the foot control and then the joint that I'm going to say constraint, point constraint. Of course we need to do, or actually it's a parent constraint. So the jumps and orients itself in the closest way to the other guy. Now this joint, we don't need this anymore. We just wanted this to get the rotation of the element. We're going to move this down. And we're going to move this to the inside of the of the foot right about there. Okay. So this is the bone that's going to allow us to move the foot to the inside and we call this the center bank. So what's going to happen here is we're pretty much going to get this movement, but from that position there, from that pivot point. So this one, I'm going to duplicate and I'm going to move it to the other side right here, just like this. And this one's going to be my edge back. So this is going to allow me to rotate the foot to the other side. Then we're going to duplicate it again and we're going to position it right there in the middle. This is going to be to do the cigarette thing that I told you about where where we rotate the foot from that position. Then we're going to duplicate again. And we're going to move it to the center of the foot right about here. And finally, we're going to duplicate it three more times and we're going to snap this one to the toe. So let me, let me erase this case. So the first one, we're going to snap it to the top like this, the second one to the bulb and the third one to the ankle. Like this. I actually think this one is not on the surface on the on the heel. This one's going to be on the hill because we're going to be rotating from the hill. So we move this right about there. I think it's good. So we now have seven joints. You should have seven joints, orange or reverse food chain. And we need to rename them, renamed them properly so that everything works very nicely. So this one right here, it's going to be called L, That's going left. Reverse. All of them are going to have the reverse. Executive or a suffix or prefix, whatever you want to call it, there's going to be wrinkled. And then this one's going to be reverse ball. And this is going to be a reverse TO this one is going to be reverse. Heal. This one's going to be reverse to center. Oh, no, sorry, pivot. We're going to call this Pivot. Oh, wait, wait, wait. Yeah, yeah, that's, that's the pivot. And then this is going to be reversed. E bank, which is edge bank. And finally, this is going to be reversed. See bank, central bank. Okay? Now here's where the tricky part starts. We're going to cover the first one and we're going to parent it to the next one. And then this one to this one, and then this one to this one. And then there's one for this one. And we're pretty much gonna go from all the way to the back, all the way to the center banks. So the central bank is going to be my first bone, as you can see here. So if I rotate the center right, and we're going to get this, and then if we rotate the reverse edge back, we're going to get this. And then if we rotate that point, we're going to get this. And then we're gonna go all the way to the heel, which is going to allow us to do this sort of movement. And finally, we're going to get the toe, which one is going to allow us to this movement? And the reverse wall, which is going to allow us to the decimal point. So that's the chain that you need to create an integrated all of this chain. And it's very important that you're doing this completely like super, super proper here. Now I'm going to grab this guy. I'm going to go into skeleton and I'm gonna say a mirror joint because it's a joint chain. We're going to look for L and we're going to replace it with R. And we're going to hit apply. And we're going to have our exact same thing, but on the other side with the mirror behavior and everything, which is. Exactly what we want. Then we're going to apparent each of these chains, like they're in a reverse. Seebeck, we're going to parent them like normal parent to the foot controller like this. So you'll grab this guy grabbed a curve and parent controls. So wherever you move this thing, the whole system, the reverse chain system, is going to be moving as well. And that's it. That's, that's the, that's the setup that we need for our, our reverse foot system. Now, we're going to, we're going to pause on this guys for just a second. We're going to finish up a little bit of the, of the IK handles. Then we need to complete. And then we're gonna come back to do all of the programming that we need to make sure that these things work the way we expect variable. So now this is where things are going to get tricky. That's why. That's why I have my little cheat sheet over here because I can't, I, I don't read that much to memorize all of the steps. So every single time I just reference this to make sure that I'm doing the correct steps. So what we're gonna do is we're going to start connecting the IK handles. And I'm gonna do it once for this leg. And I'm actually going to do it twice for the other leg because usually when you see tutorials that you only do one side and then I always think doing both sizes, it's good. So you just go over the whole thing. So we're gonna go to our controllers again right here. And I'm going to create a sphere controller. So soon. It's your control. Just create it. And of course we're going to group it. And this is for your control, is going to be my ankle control. So I'm going to call this a left ankle control. But actually we haven't used this underscore, so let's do this. There we go. And this guy of course, is going to be left ankle control group. We're going to grab we're just going to grab this group and the group, we're going to snap it to the ankle bone. So just as an app like this, no need to do a parent constraint or anything. You just, just as happened. Then we're going to do the duplication thing that we normally do, which is the mirror function. So Control-C, Control-V minus one to the other side. Change the names are and are 0. And then we grab the main groups and Shift P to bring them out and delete this guys. So you should have your chew like spheres inside of the bones right here. And they should be just like waiting for the next part of the process. So now what we're gonna do is we're going to grab the lower leg, this one right here. We are going to grab the the group of the ankle control. So left ankle control group. And we're gonna do an orient constraint. So constraint, orient constraint that way, as you can see, the group, not the controller. The controller is clean. The group is going to be completely oriented to whatever this bone is oriented to. And we're not going to delete this one. We're actually going to keep it. So wherever or however this bone rotates, this little spheres also going to rotate it very, very important that we keep this orientation and this is the starting. Now do the proper connections is going to change that we're going to use for our rig. So this is the first one and then repeated on this side. So I'm going to grab this guy right here, the bone. Then I'll grab the group of the ankle control. And I'm gonna do a constraint orient. And you can see the little sphere switches directions and now it's oriented in the same way as the bone. Now, I'm going to parent this left ankle control group. I'm going to parents so that parents directly a normal parent to the bone that we just created here on the on the new chain. So what are they? It's on this controller right here. So yeah, so you remember that we parents at the reverse food chain to the control here. So I'm going to grab this left ankle control group and normal parent this to the ankle to the reverse ankle bone. So right there. So wherever this reverse ankle bone goes, that little sphere is going to follow. So if I were to grab this and move this, you can see that the sphere is following as well. So far, so good. Let's do the same thing over here. So we're going to grab the reverse ankle control group. And inside of the foot control where we have our reverse ankle, we're going to parent this right there. So again, if we grab this guy and move it, the little spheres is going to follow. Because, why is it following and not staying put? Because the only thing that the sphere has constraint or the group of the sphere has constraint is a rotation. No, no location. Okay? So that's the, that's the parent. Well, let's see here. Okay. So now here's again where there's a little bit of confusion because we're going to be implementing a new sort of IK handle. So we need to create IK Handles for the reverse chain controller, and we only need two IK Handles, but they always confuse my students when I mentioned them. So I'm going to try to explain what they do. Normally. When you have three bones right here, we can create an IK handle. So skeleton or sorry, yeah, skeleton, IK Handle. And we can go from the beginning to the end. And now that IK Handles going to move the whole system, right? Well, there's another type of IK handles that we can create in there. A little bit tricky to understand, but it's not that difficult. When you have several joints like this, you can actually create something called a single chain solver right here. And the single chain silver is a Nike handled that only needs two bones to work. And the way this works is, is very similar. Like wherever I move this thing, you can see how the system back there like that, like the next part of the bones. So they kind of like moving a different direction. So this single chain solver will allow me to create an interesting system that we're going to be using to break up the rotations here on the foot. So that way we again, the way we created this single chain silver is on the skeleton options. The Create IK handled. You're gonna change this to a single chain solver. Yeah, that's it. So now with the single chain silver selected, what I'm gonna do is I'm not going to slip the bones here because I might select the wrong bones. I'm gonna go over here and I'm gonna say, okay, I want a reverse or a single chain solver from the ankle to the ball. There we go. And then g from the boat to the toe. Okay, and hit Enter. So now as you can see here, from the ball to the DOE, me, try that again. So skeleton IK handle from the bolt to the top. Again. So from the boat to the top, there we go. So now we have this first IK Handle whose pivot point is up here, and then this second IK Handle whose pivot point is down here. Okay, very important to check that the points of the IK handles are where they need to be. Just double-check here. Yeah. From ankle double and from both Tutto. Perfect. So if we were to rotate this guy right here, you're going to see that the whole system rotates there and then grab this guy right here. We're gonna get that rotation over there. So things are working good here. Now the only thing we need to do is rename this guy. So this guy right here, who's pivot point goes from Ashley, think I'm not sure if they're correct. Let me let me try again. So I'm gonna go again, Skeleton Create IK Handle. And we're gonna go from ankle to bow. There we go. And then we're going to do that again. And we're going to go from bolt to toe. There we go. So I think that should be working now. So the first one that we created, we're going to call this left IK, or let's call this left where it goes, I'm going to go, I'm going to name it the way it goes. I'm going to call this left of bolt IK. And this is going to be left ball toe. There we go. Sorry, left TO IK. There we go. Now, once we have those two ready, I am going to grab the left will IK and the left will I. K is going to be, normally, we're going to do a normal parent from the left would like Kate to the reverse ball IK. And the left TO IK is going to be normal parented to that reverse TO IK, okay, that's why it was important to name them the way they the direction they were going so that we can easily parent them to where they're supposed to go. The case, the IQs that we have here, the left by k and the right IK here, they're going to be normal parented to the ankle controls actually. So instead, some of you might thought that maybe we just connect this guy's to the foot control. We're actually going to connect them to the, to the ankle control. So we're going to grab this left pull vector constraint or sorted the left pole vector. And we're going to go all the way to the ankle control. So wherever this ankle control goes, the left IK is going to follow. And we're going to do the same over here. So on the right ankle control here, this will vector is going to be normally parented to the ankle control. We need to create the pull vector somewhere here. So let's do that real quick and very simple again, just gonna go Skeleton, Create IK handle. We're going to go from regress ankle to repress bowl. And then G. And we're gonna go from pruritus volts reverse TO there we go. The first one's going to be called our ball IK. And the second one is going to be called our toe. There we go. So there's one that TO IK, normal parents or to the toe, to the reverse TO and this ball-like eight normal parents to the repressible. And there we go. So now, technically, technically, if we grab this control right here and we move it up, the whole foot should follow. And it does very nicely. Of course, the reverse thing is not working just yet because we haven't done all of the programming that we need to do there. But you can see that now by moving the foot controller that the foot starts going up, which is part of what we want. And of course we have this pole vector that's controlling. Let's try this on the other side. And again, if we see this yet perfect, everything is following along nicely. Now, we need to start working on the rotation controls. Okay, so, so we're going to create the little control that I mentioned that we're, we're gonna do all the programming. So I'm just going to finish. I'm just gonna do the rotation controls right now. And in the next video we're going to talk about the, all of the connections because they are quite tricky, not difficult, bit tricky. Just, again, it's just the steps that we need to follow. So I'm going to go into the curves right here, sorry, into my curve creator, this one right here. And I'm going to use my rotation control. But here I am going to group it. And we can just position it where we really don't need to worry about orientations or anything. One thing I am going to do some just going to rotate this minus 90 degrees, so that's facing up and then just freeze transformation. And again, the reason why we don't really care about this, because this is a gizmo that we're going to use for that, for the controllers, we might want to move this so that it matches a little bit closer to what we have. And again, important that the curve is completely clean. The group, you can have as many values as you want. So this one is going to be called a left rotation. Left, Let's call this foot rot control petition withdrawal. And of course this one is going to be left rotation control group. You can see how things are getting quite interesting here in the outliner. That's why it's a very, very important that we keep everything clean because at the end of the thing, we're going to have so many things on the outliner that if you don't have things clean up, then it's going to be quite difficult to, to work with. So there's one same trick that we did before, Control D minus one over this side. We change the right control group. Here. We go. In here. There we go. And that would just select this guy and this guy Shift P to get them out, grab the groups, delete them, and we're good to go. We can use the little tool here to just color them in the proper color. And there we go. So we're in a very good position now. Our left foot control is ready. We just need to start doing the connections to make sure that this thing is going to work in the best possible way. So hang tight and I'll see you back on the next one. Bye bye. 32. Soldier Rotation Connections: Hey guys, welcome back to the next part, the first serious, they were going to continue with the rotation connections. So let's get to it. Now. Before we jump into that, There's one little step that I missed, which is grabbing the foot rotation control groups and we're just going to normal parent those to the foot control. So again, wherever this food control goes, everything else is going to follow her wrongful control. So this guy go there. So wherever this guy goes, the rest of the thing is going to follow. Same thing for this guy. Just scrub this guy presented to the foot control. And wherever this goes, everything is going to follow. So again, if you do the test, you should have something like this right now. The controller, he is not doing anything just yet. So it's time that we start doing the connections. So here we're going to introduce something new, which is a think called the note editor. So everything in my ice actually know Earth-based. And if we create like a cube for instance, and let's say like a sphere. And we grab both of these guys, go into Windows, Note editor. We have here both of them. And the interesting thing about the note editor is that all of the attributes, so for instance, a transformation notes from the, from the elements are going to be right here. And we can do something very Gracie. We can actually connect attributes from one place to the other. So for instance, I can say, hey, you know what? I wonder, rotation of my, of my sphere to control the scale of the cube. And if I rotate this guy, and the cube is going to follow along because it's just going to transform the, whatever information we have on the rotation into the scale of the object. So the Node Editor is a very, very powerful tool and it's direct connections. It's not parents, it's not constraints is literally direct connections like we're, we're floating or we're moving values from one position to another in our elements. So we're going to be using this to connect this thing right here. The little controller that we have, not the group, the controller itself to all of the reverse food chain that we have. So I'm going to go to the, to the controller. Where's the controller? There we go. And I'm going to grab all of the reverse food elements. And I'm going to grab the little sphere and we're going to press this button right here on the note that article, which is input, output, input and output connections. So you're going to see here all of the bones, the Central Bank, external bank pivot back heel, reverse though, all of them. And over here we should have the, this one right here at the left foot control the transformation though, which is the one that we need. And we're going to start doing some magic here. We're going to start connecting attributes from this left foot control so that when we move this foot control, like this, things start moving on to chain. Okay? So we're going to start first, we see option. We're going to start with that with the sea rotation. And what I want to control with the sea rotation is the edge bank and the central bank. So when I move this thing right here, what I want this thing to do is I want distinct to move like this. And when I move this thing out like this, I want this bone or just bone to rotate this way like this. Right now the the the foot's not moving the way it should because the weights are also affecting the whole thing. So don't worry about that. I'm just worried about the skeleton right now. So I'm gonna go here into the left foot, the foot rotation controller right here. And we are going to be creating this or we're going to be working with the central bank and the edge back. I'm going to start by creating something called a condition note right here. And the condition note, as you can see, is a little note that has worse my there we go. Over here on the attributes that are a little thing that we're going to be able to use as a sort of logic gate to tell whether or not something is happening. Okay, so we're going to connect the rotation from C to the first term, which is the thing that we're going to be analyzing. Okay? So what we're going to be checking with the conviction is the rotation in C of our, of our little controller here, this controller right here. And what we want to know is whether or not this rotation is greater than or less than 0. Because if this object is less than 0 or 0, or more than 0, in this case, we're going to rotate this. I didn't. If it's less than 0, we're going to rotate it the other way. Okay, So it's a, it's a way to check what the value of the C rotation is right now on the foot controller. So we're going to again connect their rotation seat to the first term. And then on the operations here for the conditions we're going to check greater or equal. Greater or equal than this value, the same c value. We're also going to inject it on the if through right here. And not, and not in any place. We're gonna wrote a, inserted this on the r-value of if true. Okay? So what's happening here is certainly okay, you're going to check what the value of c is. Any of the value of c is true. That means if it's greater or equal than 0 in this case, then something's going to happen right? Now in the if not true here in the color if false, It's important to keep this, add 0, like this. Now, what we're gonna do is we're gonna connect the The same value here. So the C value we're going to connect it to if false and the G. Okay? So what's happening here? And again, I'm trying to explain this in the best possible way. This a little bit confusing because this has to do with programming. But what's happening here is we're going to check the condition of dc value. If this condition is greater or equal to 0, then this thing, the color if true, r is going to be true and we're going to be outputting information through here the value of c in this case. And if it's not greater or equal than 0, that means it's less than 0. We're also going to be exporting that information, but through the folds of G value. Okay, So it's kinda like plugging different channels and making the information flow from the value of C. The next place where we're going to be connecting things. So we're gonna go now to the central bank, this one right here. Let's expand this options right here. And under rotation of the central bank, we're going to connect the r-value that if true, our value to the rotation in a C right here. Okay? Things might do a little bit weird thing right there, but should be working fine. And then on the center or the edge back, we're going to do the same thing. But we're not going to be connecting the, IF true, we're going to be connecting the out color G, like the color, the outcome of g, sorry, here on the out color. So from the phone. Yeah. So the out color G, we're going to be connecting this to the Rotate see over here. Now to test this out, we're of course going to grab this guy. And if we move this thing again right now, ignore the, the, the geometry. So if we move this thing, you can see that the whole central banks moving in the right way very nicely. And if we move the other way, it's not working. So that means that something's broken here, like the first the first connection is working nicely because we're rotating, we're pivoting from that point right there. But the second one, this one which should be rotating from the edge bank, it's not doing its job properly. So let's, let's very quickly check what's what's going on here. I think I think it's the let me just check here. If false gene for certain conditions. There we go. I was able to figure it out. It's just a simple thing that I missed. It's not, it's not the true R that goes into the central bank. It's the out color art that goes into the central bank. So the outcome or art goes into the sea rotation of the central bank and the out color G goes into the rotation C of the edge bank. And if we do the test, you're gonna see this very nice effect going. Look at that very foreign write like this thing is actually going where it's supposed to be going. And we're super happy because things are working the way we want. So let's keep going now with the next connection, which is the pivot, the connection. But before we do that though, while I was checking this, I just realized that we messed up something very important. Now, don't worry, don't panic. It's very easy to fix. And that was debating whether or not to rerecord everything to keep it clean. But I think it's better to show you how to troubleshoot things while they're happening here in the, in the Hindu religion. So what I realize is even though this is working nicely, this shouldn't be working like this, like we shouldn't be getting this separate things. Bones should remain in the same place. And what I realized is that I messed up the IK handles that we created. Remember it? So this left bowl-like and left TO IK. We mess them up. So I'm going to delete them. And now if we were to do this now you can see that the bones are still not exactly where they're supposed to be. But what I missed is that the IK is we're not supposed to be made from the reverse chain that we're supposed to be made from the real chain, from the chain that we have up here. So let's do them real quick. It's fixed that we, since we haven't done any skin or anything, we can do them right here. So I'm gonna go skeleton IK Handle. And instead of going into the reverse chains, I'm going to go to the normally once here. So we're gonna go from left ankle to left ball. And then we're gonna do one more from left bolt to left. Oh, there we go. Do the same thing for the right ones. So here on the right foot control, right here. Let's delete this guys right here. And we're going to just rebuild them real quick. So skeleton IK Handle, we're gonna go from normal like ankle to ball. And we're gonna go from normal ball to toe. There we go. So now we have the IK handles again here. Let's rename it to see how the boat point changes instead of it being up here. It's it's down here. That's where it should be. This one we're going to call it a left ball. I came. And this is going to be left. Toe is going to be right. Ik, and it's going to be right TO. Now this one, That's why I got confused. This ones are going to be connected. They're gonna go directly to the reverse chain. So the left wall right here is going to be a normal parent to the reverse ball. So left by k to the reverse both parents and left TO I, K2 reverse TO parent. And then write bowl IK to the parent and the right TO IK to the reverse TO parent. Took, that's it. Now, if we take a look at this, now as you can see, the bones remain together. So the chain is actually working as we would expect. We can actually turn this guy on and look at how this very nice effect we're getting here for the movement of the character. I like the foot of the characters actually moving the way we're expecting. Same deal over here. So, well, of course not because we haven't done the connections, we're going to do the connections don't work. So now let's jump into the pivot connections again. So we're just going to open our element here. And the next connection, which is the pivot point connection, super, super simple. It's probably the simplest one of them all. We're going to look for the reverse pivot, this one right here. And what we want to connect to the reverse pivot is the rotation on the y-axis. So the rotation on the y-axis, it's going to go directly into the rotation of the y axis of the pivot, and that's it. So now if we grab this guy right here and we do this, we get this like putting out with a cigar effect, right? So very nice controller there that's going to allow us to get some very interesting effect. Now here's where another of the interesting parts comes into place. We need to create a little bit of a rotation here. And we should be able to from the reverse chain here, there's going to be one rotation where we rotate from the toe like this. And there's also going to be a rotation where we rotate from the bowl like this. Okay, so like a T epitope. And we want to have that option here, but we can't rotate them both things at the same time, it's just not possible. So what we're going to have to do is we're going to have to let's go with that. We missed something here. Why is it rotated like this? No. Weird. We'll just go back there we go. I'm not sure why it up and probably one of the bones that I written it. So just double-check here. Good, good. And we need to do the connection here. So again, from the rotational y to the rotation on whether the pivot 0, okay? Okay, okay, so, so there's something here that's not working as it's supposed to work. And what's happening here is either appears that when we connect the rotation from the Y, we're getting some information, which is weird. Why is this? Why is this happening though? We not oh, you know what? You don't know what happened here. We forgot to do the phrase transform on these bones right here, especially on the earth one. So we have values are now don't panic at thing we can fix them with, for instance, here, right here. Can we know it has incoming connections? Oh my God. That's a big oversight from my part. Sorry. I should have grabbed the first guy right here, the reverse food chain and frozen the transformations. I think a way which we can kind of like cheat our way out of this is on parent this freeze, this rotation has incoming connections where though we haven't connected anything here. Let's see, Let's try this guy right here. Shift P. Let's try the point. And let's see if we can freeze the transformations here. There we go. So we're able to trace it transformed there. And then we just repaired this guy right here. Parent. Grab this guy right here and repented over there. And now, if we go all the way to the node editor again, we should be able to connect the rotation y to the rotation. Why? There's not gonna be any jump and now we rotate this. Everything is working nicely. Now. Yeah, that was a big oversight for my part of the big mistake. I'm not worried about the rotation on the other axis because we are going to be working on the x axis. And as you can see, the x-axis is at 0. All of the other axis do have a little bit of information because we copied the information from the original bone. So again, just to repeat how we're going to be doing this for solving this, I'm going to grab the point here, the joint Shift P to bring up out of the element, shifted P to this one as well. Just go on this guy, right-click. Freeze and freeze or rotation. That's the only religion we needed to freeze. Again, another way that this ones because this is the C rotation that we're using. And then just this guy we repair and back here, and then this guy we repair and back to the edge disjoint. So quick fix there. Again, this is important. That's why it's important to know how things work. Because that way you're going to be able to solve the sort of things when they happen. Now let's go back to the pivots here and let's continue with the connections. Now we're gonna do with the, now we need to create, as I was mentioning, since we are going to be deciding between two different kinds of rotations, either with a tip or with the ball. We need to create an attribute here on this object. So I'm going to go edit, add attribute, and I'm going to call this attribute rep. Pivot. So this is going to be the one that none not read through it. Sorry, we're going to call this how are we going to call this? Yeah, I think that's fine. I'm checking my notes to see if there was a specific name that we need to use. It's just the one that we're going to use to change from one option to the other. So yeah, if they weren't gonna go with this one, Another way we can just call it then it's very commonly in rigging is just white. So I'm just going to call it a weight. And it's going to have a minimum of 0 and a maximum of one. It's going to be a float. It's going to hit Add. So now there's this white attribute that we have here. You can see it's also hour here. And we're gonna be using this white to know which of the two pivot points we're going to be using for the 4D rotation. So another quick one here. The heel, which will be the next one in order. So we have central bank, bank center and then heel. The heel is just the y rotation. Whereas the heel, there we go. So the out color green, although actually we need the pivot point. Yeah, sorry. So we're going to have to build this other thing. So what we're gonna do is we're going to create another sort of condition note here to drive the connections of the next part of the reverse foot control. And we're going to create a, a, another condition. So we're going to do it another condition note, but in this one, we're actually going to use something called a color blend, or a blend colors, blend colors, which is this one right here. And the blend colors is going to be like our mask. That's going to say if it's a 0, do this, if it's at one, do the following. So we're gonna go from here and end from the left foot rotation control from the rotation of x. We're going to add this condition, this condition just in normal condition. There we go. We're going to do the same thing as what we did with the sea rotation. Within this case, we're going to use the x rotation because what's, what's gonna rotate either forward or backward. So this is going to be the term. Again, remember the term that we use in the condition. It's going to launch it all the way over here, which is fine. We're going to have more space over here. So the term that we use in the condition is what we're going to be evaluating. Okay? And we're gonna do something very similar to what we had on Dealer one. We're going to change the operation. In this case, we're gonna do greater than. We use greater or equal on the other one. And this one is we're going to use a greater than, okay? So in this greater than, we're going to connect the same option here, the same like x value. Let's bring this all the way over here. We're going to connect it to the first term. And we're going to connect the color to red. And we're also going to connect it. We're going to have tree connection. So the first one, which is the value that we're going to checking, checking the color if true R. And we're going to connect this to the false green in the exact same way as we did with the, with the edge backs of the elements. So now we have the condition here. We can work a little bit better where my equilibrium we go. So that way we're going to finish this connections over here. Quite simple. It's not that difficult on that setColor. If false, we're going to set this to 0. Make sure that that's set to 0 because that way the condition is going to be false. And then it's just going to bring all of the information to the next part of the sequence. And from the out color green, out colored green. We're going to connect this to the reverse heal, okay? So if the value of x in this case is negative, then out glowed green, which is false. We're going to rotate. I'll color green. We're going to rotate the x here. And we can test that real quick. So if we grab this guy and bring it back, the heel is going to bring it back. If we bring it forward, nothing's going to happen yet. So very simple, very simple stuff there, right? So it's just a condition if the heel or the rotation of this thing is less than 0, the heel is gonna get activated that we're going to rotate the whole foot backwards. Now here's where the, where the tricky part comes into place. We're gonna go with the out color are, which is a true value effects, right? This is the actual R value. And we're going to connect the outcome or r to the color one. Color one our of our blend colors. And to the color two is going to be the color to G. Okay? So here's where. Again, it gets a little bit tricky though. Recent where we're using a blend color is because we need to jump between either rotating forward with the tip, rotating forward with the ball. Okay? And if we rotate forward with a tip, we're going to use this one. And if we rotate it forward with the boat, we're going to use this one. Got it. Now, how are we going to know which one is activated it? Well, we had the weight, so we're going to use the weight from our controller here. And the weight from the controller is going to be connected to the blender note here. Okay, So when the bladder is had 0, we're going to use color one, which is the tip. And when we use one, we're going to be using color to which is going to be the ball. Okay? So now if we're using the first one, we're going to use a color out. Our output are here, and this one's going to go to the top. So here's a toe and against their rotational x. So color is going to be the toke color are. So there we go. And then the ball weren't going to have output a G. Same thing to the, to the rotational effects. There we go. Now let's check it out. So if we grab this guy and we move it backwards, That's the heel. And if we move it forward, we're doing the toe. And if we go up here to the weight and change this to one to activate it. Now we're gonna do the tip. Look at that. Beautiful. So I know this is super confusing. Don't worry, we're gonna do it once more. I'm going to record the next video for that right foot. So this is the big explanation of video. If you want to really understand what's going on, then check this video out. And if you just want to do the whole thing step-by-step, then the next bit is going to be a little bit clearer because we had to do a couple of fixings here and there. But as you can see, now what we have are and what we want to have as an option to move the food up and down. And we can move the foot up and then we can grab this little controller and do this sort of thing. Like if we were kicking a ball or something, do this thing to the back. Very nice as well. Rotated as if it were like turning like a cigarette on or off. We can do a central bank role or an edge back row. Also very nice, which of course we're going to eventually use our knee to stabilize the whole thing. Now we're kind of like breaking the leg. So if we grab the knee here, I can move it like this. And we have like our, our bank or it can very nicely, of course the weights later on are also going to help. But yeah, like all of the controllers are working again. Central bank, edge bank, little tip there. He'll relation. And then we change the way to 0. We have the bending from the toe like this. And that's it, guys. I'm going to stop the video right here. Give it a couple of loops. Make sure that you have all of your steps. And we're going to repeat them exactly the same for this other side. So hang on tight and I'll see you back on the next one. 33. Soldier Foot Rotation Recap: Hey guys, welcome back to the next part of the series. Today we're going to do a quick recap on the rotation. We're just going to connect the left part now because as you can see it, this one, of course, it's not working at all, but we have over the connections nicely done over here. So we're going to be able to control our foot in a very nice way with this controller here. So we're gonna grab this guy right here. We're going to grab all of the bones, like the reverse bone. So we need we need pretty much all of them except for the ankle. We really don't use the angle that's like the tip of the element. And this guy right here, and we're gonna go into Windows and note editor, we're going to clean all of this up and we're just going to get this in. So not the left foot control where we selecting it. Seems like we were selecting it again. So one here, always selected the left one. Okay, scope here and map this out. There we go. So we've got the foot control and let's start with the first part, which is the banks. So for the banks, remember, we're going to use a condition note which is going to tell us where the rotation of which element is going. And we know that the first one is the c. So the first term is going to be our relation. That's what we're going to be checking. And we're going to have two inputs here on the, on the options that we'll click here. This one, remember, it's set to greater or equal. And if it's greater than or equal to 0, very important. Here, we're going to get the true rotation. So C is going to go to if true are, It's also going to go to if false a G. So depending on which one we have, we're going to get either true or false at G. So if the option or if the element is 0 or greater than 0, it's going to rotate with the central bank. And if it's not like it's going to rotate with the edge back. So on the seed bank here, which is the Central Bank, we're going to use the positive x, so that's the out color are to the rotation x or c, sorry. And then the reverse, the edge bank is going to be the outcome or GI, rotation c and we test it out. So for grab this guy and we rotate, see, we're going to rotate in and if we rotate out, we're going to rotate that. So everything working as exactly as we expect. Very simple. Again, the condition is checking what the value of the C rotation is. If it's greater than 0, it's going to go one way. If it's less than 0. If it's gonna go the other way, then the next one is the pivot point. Very simple as well. We already did the clean up for the, for the thing to witness their rotation. So we're just going to plug in the rotation y directly into the rotation y. And we should get a super clean connection here and get this effect working pretty nicely. Now we're gonna do the heel, the toe, and the ball. And for that, remember we need to add an attribute here. So we add an attribute, we're going to call this attribute the white is going to have a base of 0, and it's going to have a maximum of one. Just going to add it. There we go. And we're going to use another condition note here. And this condition note, we already know what we're going to be using. It's the same thing that we'd use up here. The only difference is instead of using greater than or sorry, greater or equal, we're going to use greater than. This one was greater or equal to, greater than. And we're going to be using the rotation x as the term that we're going to be evaluating. So let's bring this all the way back here. Actually like to connect things first over on this side. So the value of x is gonna go to if colored true r. And it's also going to go, I'm not sure what this thing does, this thing where it moves everything to the other side. And we're going to have a false G. And then from here we're going to have a color blend, color blend color. There we go. And the blank board is going to allow us to select which one of the elements we're going to go to. Now, we already know that from the out colors, the outcome or G, which is the false negative, Pretty much. We're going to go into the rotation of the reverse heal. So I'll color G goes into rotation of the x value here. And we can test this real quick. If we go here, the heel is going to go there. And then the positive needs to decide whether it's going to go to the color or the PTO or to the ball. And of course we're going to decide that thanks to the blender, the weight that we just created here. So that's going to go into the blend colors right here, the blender and we need to connect the result are 22 points here to the color one is going to be color one R. And that took a little color B is colored to g. So it's two values that we're outputting there to make sure that the connections are flowing in the proper direction. Now, the output is going to be the red output out color r is going to go to the top. So I'll color art to the rotation of the toe. And then I'll color G is going to go to the rotation of the bowl. Of course to the x, right? So G, two bottlenecks, and we can test it out. So if we rotate this forward right now it's rotating from the ball. And if we change this to one, we should be rotating from the tip. There we go. Look at that. Beautiful and that's it. That's all we need to do to clean this thing up. The controller is completely clean. All of the elements are working nicely. We move this thing, everything moves forward. Everything's oriented in a nice way. We have the pole vectors there as well as some people like to parent that the pole vector groups to the, what's the word? To the actual legs. But we're not going to do that. We're actually going to do another kind of clean up. So follow me on this one. We're going to normal parents at the foot control groups. So the foot control groups, they're going to be normally parented to the master control. So grab the foot control group, going up the master control parent. Grab that right foot control group rather than massacre took parent. So when we move this thing, everything together. And we're also going to grab both pole vector control groups and parent them to the master control. Again, if we move, the master control of the system is going to be moving with us. And it's time to just clean some of the stuff off. So for instance, this guy, the foot, we can use it to rotate, but we don't want scale invisible literature and we're just going to say lock and hide selected. Same for this guy. We don't want any of you submit. So Locke and high selected this two guys. We don't want any translation or any scale or visibility, which is 12 rotations. So welcome, hi, selected. That way we're only going to be able to rotate them around two to generate the effects that we want. No scalable, nothing. Pole vectors, we usually only want translation. So just select everything here and lock in high selected. Because usually when you move this thing around, the only thing that you're going to do is move the pole vector out to a different position. And that's usually it. I think I do want to add to one or grab the group here from the pole vector. And I'm just going to push it forward a little bit more and and that's fine. I'll skip it there because I think I'm a little bit concerned about this thing. As I've mentioned, some people, some people like to parent the pole vector to the foot. So when we move the foot, the pull vector also most, I personally don't like it. I prefer to have it here even if I need to move it. But again, that's something that you're going to have to ask your, your, what's the word that you're animators now, something very important, the IK handles. Remember that we had this group, this very important group. Now we don't have the, what's the word the do not touch group just yet because the IK handles are actually hidden inside of the break, but the IK handles are there. So we tried to select things. You're going to see that we select the icons and I don't want that. So I'm going to grab the IK handled here. And we can go to the display option. And we can turn off the visibility. So just grab the IK handle and turn off the visibility. So now the a candle is still there, so everything should be working exactly as what we had before. But we're not going to be selecting the IK handles. Well, we have a couple of other IK handles here. So same field, just turn off the visibility, just select Facility, select, turn off visibility, select turn off visibility. And that way we're not going to see the icon. We're not going to be able to select a gowns and we can only select bolts right now, which is super important because we don't want animators to be selecting things that are not what they need to select. And that's it guys. This is it for the system. So I know this first system was like, whoa, that's a lot of information that's way more complex than what we've done before. But hopefully you understand how everything is like following and how the connections are happening. Believe me, this is probably the hardest part, like the reverse food system is one of those things that the first time you see is like, damn, that's a little bit tricky. You even saw me having a little bit of an issue here. I need to check my notes because I don't remember all of the connections. But very important that we understand that why we're doing the things that we're doing. So just keep on pushing, follow the directions from this video. Go back into the past videos if you need to, to just review some of the elements, and I'll see you back on the next one. We're going to jump now onto the onto the spine. So yeah, it's gonna be fun. I'll see you back on the next one, guys. Bye, bye. 34. Soldier Spine: Hey guys, welcome back to the next part of our series. Today we're going to continue with the spine of the character. So let's get to it. The spine is going to be an interesting system because we're actually going to be combining an FK system and an IK system both in the same place so that we can get some very nice interesting movements with the whole character. So I'm gonna go here into the Create curve tools, and I'm going to create a CV curve, but I'm going to change the options here to one linear and I'm going to go to the first one, or actually I'm going to snap it is not V to the first and then to the end of the torso. Actually, let's just hide the geometry because we're getting somewhere that we don't want. So V, snap to the hips and snap to the torso. And there we go. So now if we check this curve, this curve is going through the bones and this is the curve that is going to actually move the bones around. Now one thing I do is I need to rebuild the script. So we have a little more divisions, a couple more of the missions, and that's gonna give us a nicer result. So I'm gonna grab this guy right here. I'm gonna go to Curves, Rebuild, and we're going to rebuild, let's say three cubic OneSpan option here. So if we check now the control vertex, you're going to see that we have 1, 2, 3, and 4 controlled breath. So number of spans, 10213 cubic. And if we move this thing around, you're going to see that we get this very nice soft transformation of the curve, which is exactly what we want. So that curve, It's going to be driving our IK system. And that's one of the things that we're gonna be using. So let me check this real quick. Now, what we need to do is we're going to create a new joints. So I'm going to create a new joint spine here. Let me go to the top here. We're going to want to 34. Let's grab the curb. And we're going to grab the first one. So actually I think we can just like I'm paranoid them, that's fine. And this guy, we're just going to grab all of those guys. And then this guy, we're going to snap it to the beginning here. One thing we can do here is we can actually select this curve going into the play. And I believe it's a nurse, I'm gonna say CBC so that we can see the CVs. And now we can just like snap them to the CBS. There we go. So the first one, the second one or third one, whatever. Fourth, 1, third 1, and the fourth one. So all of these bones are now located exactly where the CB. So if the curves are now of course, the problem with this guys is that local rotational axis that they have are completely wrong. So I'm gonna grab this guy right here, the first one, I'm going to grab the first joint. I'm just going to say rigging constraint and we're gonna do an orient constraint. So now this one right here, Let's delete that constraint. If we isolated this guy's internal rotation axes, you can see that this one has a proper rotation, so we're just going to copy the rotation. So driver driven constraint orient, driver driven constraint orient, driver driven constraint orient. And we're, of course you cannot delete all of those constraints. We're going to parent this guys back together so that we have this very nice curve. And it's pretty much as if we duplicated the spine, but you can see that the position is not the same. So that's why, that's why it was important to, to rebuild them. And but now they have the proper orientation and they are going exactly where the CBs of the curve are going as well. So once we have that, we're going to go to the first one, we're going to freeze transformations. Of course, one of the things that we've forgotten in the first video, and we're going to rename this, this whole system and we're going to call this C gets in center FK spine. So we're going to have C, F case binds 0, 1, 2, and 3, going all the way for now. So I'm gonna go to my old spine right now to the original one. I'm just going to hit H to hide it. I don't want to see that one right now. So I actually think I selected the wrong one. So there we go, so high that way the second can just go here, C spine and h, the height. Where are we? There we go. So now we are only working with the JFK spine for now. So I'm going to create the nerve circle, just a traditional curve here. I'm going to group it and I'm going to position it on the second FK joint from bottom to top. So I'm just going to snap it. It's not that group there and position it right there though, the curve. And then I am going to select the joint, like the second joint, select the group and do of course, a constraint, orient constraint. Why? Because I want this curve to be exactly oriented in the same way as the bone. I am going to duplicate this group. Let's delete the constraint. Of course. Duplicate this group, a. Snap it to the second part here, and do the exact same thing. So I'm going to grab the bone, grab the group, and we're going to do a constraint, orient constraint to make sure that it's oriented in the proper way. Which in this case it is. Just delete that one. And there we go. Now of course, things are looking a little bit wrong. Like the orientation of the circles is wrong, but we're going to fix that later on. And we're going to rename this, and we're going to call this C spine. Control. And of course there's going to be CSCA escape the control group. This one's going to be 0 or I think we can, yeah, let's do 0. It's going to be the, I'm actually going to add an underscore here to mixture. It's easy to understand. And then we're going to rename this one right here. And this one is going to be African control one. It's going to be FK controllers one. Now let's bring the character back and I'm going to grab the curves here real quick. I am going to grab the characters will isolate so that we don't see anything else. Grab this guy, control vertex and we can turn on the screen, rotate, snap them so they're rotating in a nicer way. And just let me get bigger. Some people like to have them be like this or like circular. Thanks, That's fine. Any, any way works fine. Do the same thing for this one. So you have the control vertex, rotate them 90 degrees so they're flat. Just move it out because remember when we modify the control vertex, we're not moving the orientation axis. So this is just for visual purposes. And as you might imagine, this guy is going to rotate half of the back, to the front or towards the front. And this one is going to rotate the other half. So we're going to parent the group from the top one to the controller of the lower one to create a little bit of a chain. You're ready, you guys already know how to do FK change. So again, we move this top one and then of course the one on the, on the lower hemisphere is going to move as well. And, but, but by, let me just check your here. And then we're going to appear in the group of the lower one, the group 0 of the FK spine. We're going to parent that to the FK CEO of decimal right here. So p, So wherever this guy goes, the group is going to follow, okay, Very, very simple there. And I think that's it. We're going to select the FK control, this one right here. We are going to select the FK joint that goes with it when, in this case, this one. And we're going to do a constraint, and this is going to be in orient constraint. And we're going to grab this controller right here, grab the bone that we're going to use constraint, orient constraint. And that means that if we move this guy around, we're gonna get this. And if we move this guy around and we're gonna get this now of course, there is no movement from this bones on the character because this are a new chain. As you can see here, the say nutrient that we created, It's not the original spine where we're going to be fixing that shortly. So after the average scrap, this two guys and I'm of course going to hide all of the groups that we don't need. So lock and hide all of the elements except for rotation. And we can select, of course, our little controller thing here and painted the yellow because it's the central element right here. There we go. So that right there, it's our FK spine very nicely working as a so very simple FK spine. And we're going to combine this FK spine with an IK spline, which is the little curb that we created a while ago. This guy right here, which I'm actually going to change the name is going to call this spine curve CRB, just to, just to know what that is. Now we're going to create a, another controller. So we're gonna go here. I like to use again the circle pointer. We are going to group it. I am going to select the FK spine 0, this one over here. I'm going to select the group here. And we're gonna do a parent constraints. So constraint, parent constraints so that this curve jumps right there. We delete the constraint. And we're going to scale this group to the proportions, the winnings. So you can see that the curve is also not rotating properly. That's fine. Just going to snap it together side or like 90 degrees and bring it all the way to the front. The reason I like this is due to the arrow. The arrow to let me know where this thing is actually pointing. And there we go. So the curve is completely clean or actually made a mistake there. I should have gone to the control vertex rather. So grab the control vertex loop and wait. There we go. Where it says, oh, you know what's happening? Since the boot point that gets rotated around, I'm just going to snap this bullet point to like one of these points. There we go. So now the rotation should work as intended because the little arrow is, it's breaking a little bit of the center of the element, then that's it. So that's gonna be my control for the what's the word for the IK spline. So we're going to create now a MOOC controlled move control, which is a little arrow thing where you can find it. Move control. There we go. We're going to group it. And we're going to place this at the base of the spine. In this case, we do need to bring the oldest knowledge. It should be the same, so it's just a spine them. Let's hide this thing for a second, just there on the, on the edge of the spine. I'm going to duplicate this group. And I'm going to position it not here, but on the top of the spine. So right here. So there's there's two groups right now. One on the bottom side, on one of the top sites. These are the groups that are going to control the spline that we're going to be adding. Just make sure that this thing is oriented properly. The group should be oriented properly. I actually think we should orient this group to the world. Because usually you'll want this to be oriented to the world. And as you can see, this is not oriented, so I'm gonna grab that group here. And if I need to orient us to the world, I am just going to orient it the other way the group is actually following the world. And I'm going to have to go back here to this arrows. And again, just move the pivot there. Then we're going to recent way we want this particular curve to be oriented to the world is because that's the thing that's going to be moving the whole character. So we want to make sure that we have the proper control there. So yeah, that's it for that one. We have our two little groups here, which are going to be my spline groups, which are working very nice as well. I am going to grab the base FK joint. So the base FK joint, this one right here. And I'm going to grab the first group, this one right here. I'm going to do a constraint, orient constraint. So you're going to see that this thing stretches positions. That's fine. And then I'm going to grab the same FK joint here, the second group. And I'm also going to do a constraint, orient constraint. Again, the reason why we want to do that is so that the groups and the crypts are following the proper elements. And now we're going to grab their curve here. And we can actually move these things around so that they are, have the proper orientation in this case, like the curves, I mean, and since this is a different system that we're using, we can actually grab this curves and we can just freeze transformations here. No need to do the CBD thing. We can actually just clean them like this and it's going to be totally fine. We're of course going to delete the constraints. We just used them to get them there. So now if I grab the curve, you can see that the rotation of the curve is the same as a rotation of the group. And since this group is following properly, then we don't have any any issues. We're going to hide the ith guy case F case spine now for just a second. And we're going to delete that. They're curved that we use to create the FK spine. We're not going to use it anymore. And now we're going to create the actual IK spline, which is going to be interesting here. So let's go for that. So here's where the interesting things is going to happen. We're going to go back to our original spine. Let's unhide it so that we can see it. The FK spine is now hidden. Don't worry about the names here. We're gonna, we're gonna rename them shortly. And what we're gonna do is we're going to create the IK spline. Okay, so if you remember from the skeleton tab, we have several ways to create things. Like we have our normal joints, which are for FK systems which we've been using. And we also have the IK systems like the IK handle here that we use for the legs. But we also have this thing called the IK spline handles. So I'm just going to click here. And one thing that you need to make sure it's not set is this outer parents, but we do not want that. So we're going to make sure the auto parents curve is off. We're going to have to simplify on. We're going to have Bruton curb on. And yes, Just make sure algebra is off. And I'm going to select the root joint here, and then the chest joint. And now there's a a IK handle, as you can see here, that goes from D. What's the word from the pelvis all the way to the chest? And the interesting thing about this is you can see there's a new curve here. And this curve has burden x. And if we move one of this verdicts at the bones are going to try to follow that vertex in a very nice and soft the way this is the curve that we need. This is the nice thing, the IK Handle thing that we're using. So let's call this, let's rename this real quick. So we're going to call this spine IK. And this is going to be supine. This pine IK curve. Now that's renamed the joint so that we know exactly where they're doing. The first one that we created, this one right here is going to be the body control, which is going to move the whole body. That's why it's bigger. So body control. And this is going to be my body control group. Then this one right here is going to be my pelvis control. So pelvis control. And this is of course going to be my Pope's control group. And this one right here is going to be my chest control. Chest control. And this is going to be my chest control group. Now. Right now this looks completely wrong, of course. So let's bring our geometry back and let's organize them a little better. So this one right here, I'm gonna go to Control vertex, just going to make it bigger. I don't want them to be like super, super big. And some people like to have this thing like extremely huge, but this should be smaller than this one right here. So what I'm going to try and do here is let me see if I can grab the corners here. Just make them smaller. There we go. That's a little bit better. Because again, we shouldn't really like overpower the other ones. And at the end of the day is just like a, like a visual thing. So it really, really doesn't matter how you make this thing look as long as it looks. So it looks it looks good. And I met her, sorry, not having the issue. Animating, then. We're golden. So let me let me do a little bit more fixed here. So for instance, this guy right here, It's definitely make it smaller, push it in, grab all of this guy's homeless guys. Yeah, that's a little bit better even if there's a little bit of overlap. I don't really mind. I think we can we can bring this one out a little bit more. Sounds like we messed up here. Let's That's going to be a little bit difficult to to get this purple line properly. Yeah, that looks fairly good. So that's got this guy again. Isolate. Let's just make it slightly bigger. There we go. And now this one, we can play around with the proportions a little bit. Again, just to make it look as nice as possible, Let's go to the top view. Yes, I imagine this thing is not completely aligned. Let's just eyeball it. No need to be like super, super perfect. So there we go. That's better. Yeah. And we're gonna do the same for the chest. So this guy right here, Let's isolate it, grab the vertices here, bring it out. And probably a little bit smaller like this. Again, I don't really mind if there's a little bit of overlap, as long as the overlap looks kinda nice. So I'm just going to grab this guy right here, bring it out. This guys out here. Or let's try to be as symmetrical as possible. Now we go. This guy, so let's make them smaller. Hello, It looks at it, it looks better. So of course this are going to be yellow. So let's go to our color. And there we go. So now the connections, we already have the curve, we already have the spline world where they have the IFF k. So now we need to make sure that everything is going to be working the way we want. So today, we are going to select the first spine bone or no, sorry, sorry. We're going to grab the last FK joint, which is this FK spine three. We're going to duplicate it on parent it so that we have it floating around just as is. And we're going to rename this and we're going to call it a This is gonna be the chest joint. Just like this chest joint. And then we are going to duplicate this again and snap it to the pelvis down here. Make sure that it's completely snap there on the pelvis. And we're going to rename this one and we're going to call this pill, this adjoint, this to new joints that we just created are going to be the joints are gonna drive their curb, the spline. So it's a little bit weird on how this is going to happen, but we're actually going to be creating a skin from these two joins onto the curb. So we are really snap nicely. The chest bone, this bone right here, There's just joined. We're gonna apparent to the chest controller and the pelvis joint. We're going to normal parented to the pelvis controllers or wherever this purpose controller goes, we're going to get that joint. And wherever this guy goes, we're going to get that joint as well. Now we're going to select both joints. So let's scrap the 0. Careful there. There seems to be some values here. That's weird. So let's just freeze transformation. And again, the chest joint should be parented to the chest controller and the public joint should be parented to the pelvis controller. And that's where we're getting the values. Oh, there's a scale here, so I'm just going to freeze the scale. There we go. So now we grab the Popes, John to grab here, and p. And there we go. So now we grab both joints. We've grabbed a curb that we created the spine curve, and we're just gonna do a simple bind skin. So skin, bind skin. So now what's going to happen is at that joint right there is moving the curvature of the spine. So if we move it around, see how we move the spine. And if we move the chest around, we're going to move the top of the spine. So we've now created a very nice spine IK here on the top. And this is again something that you can use, for instance, for like a snake or tentacles. And then whenever you went to a curb to control the like a chain of joints, using this technique is a really, really, really helpful. We're not done yet though. So I'm just gonna keep on going a little bit more just so that everything remains here on this first video. And there are actually no, I'm going to start right here. I'm going to start right here on the, on the spine joints. And in the next video I'm gonna show you the next thing that we need to take into account because it's a little bit of clean up. So make sure you get all the way to this point. As you saw, it's not that confusing. It's not that's confusing, I think as a reverse foot control, but there are a lot of steps and bolts, so make sure you follow a step-by-step. Tried to pause the video, take notes, and make sure you understand what's going on. Because we're going to be using a similar system later on with the head. So that's it for this one guys. I'll see you back on the next one. 35. Finishing Soldier Spine: Hey guys, welcome back to the next part of our series. Today we're going to continue with the spine and we're going to jump now on to some cleanup. We just finished doing the bind skin and we have this very nice effect, which you can already see here, where the character is moving in this very nice flexible way. And we have this guy right here. So the problem is, or one of the problems that we have is that the FK system that we have over here is not connected to the IK system. So if we move this thing around, nothing happens with those guys, same with this guy like me. Move this thing around that nothing is happening. So we need to start cleaning up, cleaning up some of these things. But there's one thing we need to do first and that's the twist control. So if we were to rotate this guy, you can see that there's actually no twist being applied to the spine right here. And we would like to have that. And fortunately for us at the spine, I K has a twist controller that we can use. So I am going to go into the upper bound, the ice to this finite k right here. And we're going to go into Control a to the attributes. And if we go down here into the spine I, k, and then it's on the spine IK solver. And we have this advanced twist controls which we don't have enabled right now. So we're going to enable it. And something that might happen is this whole thing might flip, is completely fine. We're gonna show you how to fix it. And now we're going to have just like change a couple of options here to make sure that the spine flip works nicely. So we're going to change the world. He said, Have you seen up, we're going to use object rotation up, start, end. And we're going to keep the positive x, which is the direction that our bones are pointing. And then we're going to keep our AP axis as positive white. For now we're just going to leave it like that. And then something that's very important here is we're gonna be using the names of the controllers as the objects that we're going to be orienting towards. Everything tries to remain in the proper twisting position. So I'm going to use the pelvis control name here. So this one right here, Purpose control. We're gonna go to the spine then K, and that's going to be in my world up objects which is going to control be pasted right here. And then my world object two is just going to be my chest controls. We're just going to write the chest control very important that it's exactly as it's supposed to be here, like the naming conventions should be perfect. And if we do that, you should see that things just working. Things are working very nice. Now, one way to test this is if we start rotating this, you're going to see how the spine now tries to properly correct, rotate in a nice fashion. So you how we get this very nice twist there on the chest. So that means that our advanced twist control function is working nicely. Sometimes you see very common error. I had that several times when I was learning and reading. You do this whole thing and then it flips like it completely flips. That happens when your initial bone Cambridge or what's said the pelvis bone, if you buy any by accident, you oriented to the world and it's facing in the wrong direction, you're gonna get some wrong orientation. So that's why, as you can see here, the pelvis bone is not oriented to the world. The only one that's oriented to the world right now is the, is the route control right down here. So there we go. Now it's just a matter of connecting the FK system to the IK system. So we're going to unhide the FK spinous we did in the last video. We're going to normal parents, the FK spine system to the body control. And remember this is the body control right here. So I'm just going to parent this. So wherever this parent goes, the FK system is going to follow. Then we are going to use the permanent control or the Pope's control group. Control group. And we're also going to normal parent that to the to the normal F cases or to the body controller right there. We are going to grab the chest control group. Just control group. And we're going to parent that to the last bone of the FK spine joints. So if we go into the body control here, oh, careful here. Let's go back. Have a little bit of a problem here of case Spine. Control. S has some it's not the case. Find the things that chest one that has some or the bodily control, someone has a value here that shouldn't be there. Where it says that's weird. So again, go here and here, P, we go see how we get that value there. So someone has scale and it shouldn't have, I think it's this one. So I'm just gonna grab this guy, freeze and freeze a scale. Let's see if that fixes it. Because we shouldn't be getting any transform. Yeah, there we go. So now we have the FK spine again on the body control chest control group is going to go It's going to be parented to the last bone of the FK spine. So the chest control groups is going to go to the FK spine. There we go. So if we move this FK controllers right here, you're gonna see that the IK system or the system is going to follow very nicely. So that's super important. And then we're just going to grab the body control, the whole body control and all this. But the control is going to be normal parented to the master control. Like this, again, would grab for the master control. Everything should be moving right now. We're just missing the pelvis control. And of course, the pelvis control group is going to be parented to the body control. There we go. So again, we grab the master control and everything should be moving. So you've got, if we grab this guy right here, which is we're going to be very cool and we'll bring it down. Now the character, it looks like he's doing a squat. And we can bring it down. And then we can use this guy to move a little bit of the hips. So it's very important, especially when you're doing a little bit of extra animation, your characters having this extra controller here, it's going to be super, super important. This guy again moves the whole body down and then this guy is going to control the base of the pelvis. And this guy is going to control the top of the chest. And then we can do the top of the chest. Then we can still do an FK system here to move things around and create even more dynamic movements. And that's it. I think that's most of it for the chest. The colors already there, this guy, I am going to change the color. I'm going to use a different color. So I'm going to use something like a, like a, like fuchsia there so that people know that that's a more important job than the rest of them. And we're going to grab all of the curves here. And we're going to remove the scale and miscibility. The weak lensing. Yeah, this one does want this one. So grab everything, we're going to remove scale imbecility. So this guy's lock and high selected. There we go. And here's where we're going to create our very famous group. Do not fucking touch groups are just going to create a new group called dual not be root. Let's just call it to not touch. Do not touch. All caps, do not touch. And the spine, okay, in the spine curve are gonna go inside that group. Okay? Very, very simple, very simple element right here. And as you can see, most of our stuff is really clear right now. Like all of our torso and legs are looking nice. We can check everything and everything should be, should still be working pretty nicely. The most important curve, of course, is this one like you should move everything and nothing should remain there on the on the scene. And again, you can try that this thing around like you can rotate the whole body around. You can make him a squat up and down. You can grab the pelvis here. Just move it around. Go to this guy right here, move it around, swell. And we can grab our FK system, bent him forwards, backwards. And even though our skinning us not there yet, you can see that the whole thing is working very nicely. I'm going to save this real quick. We're in a very good position. Everything is looking clean on this side. So I'm just going to stop this video right here, guys. And in the next one we're going to continue now with the arms. So I'll see you back on the next one. Bye bye. 36. Soldier FK IK Arms: Hey guys, welcome back to the next part of our series. Today we're going to continue with the arms and the yellow. Let's get to it now before we jump onto the arms, I actually want to show you here real quick in with a little bit of a very crude diagram what we're going to be doing. So we already know that the FK system and the IK system are two different systems that we can have in our bones that are going to move things in different ways. Usually the best thing to do is to have both systems available for you except for the feed feed and usually only use IK most of the time. However, having FK is always good. And what I'm gonna be showing you here is how to create an FK system, end-of-life care system. And they were both are going to control our arms. Okay, so the way this is gonna work is think about having some sort of like close. Okay, So we're gonna have our main bone here, our main bones that are going to be holding the skin. And then we're going to have a clone that's going to be driving the bones in an FK way like this. And then we're going to have another clone that's going to be driving at the bones in an IK way. Got it. And other than that, we're going to have a little box floating around that's going to show us which of these two systems we're in. So if we're in the FK system, we're going to be driving the bones with this system. And whatever happens to this bones, that information is going to be transferred to the skinning bone, to the original bone. Same thing with the IK. Whatever we do in the ICU. If that is active, it's going to be transferred to the main bulb. How are we going to be transferring this? It's very similar to what we saw with the foot controller. We're going to be using a blend color note, and we're going to tell it when you're on the other one, you're gonna do this one didn't number our option a. And if you're at 0, you're going to be using option B. Okay, now for this to properly work, we need to do a couple of things. First, we're going to select the shoulder here. And I'm going to duplicate the whole chain, like just like duplicate the whole chain and everything after the wrist. We're going to just delete. We're going to go up this new chain that we just created, and we're going to rename it, and we're going to call this f k. So this is going to be my FK chain. So I'm just going to grab the first three letters. First Street characters. There we go. Control C. Go all the way over here. Control be good, old or over here, and Control B. There we go. So we have this three f k elements. I'm going to grab this thing against the duplicated again, and now I'm going to rename it. But where again, we're going to delete everything that's underneath the risks. So all of the fingers on this clone of the skeleton, we're just gonna, we're just going to delete. And this one we're just going to rename, we're going to call this IK. So it's IK underscore L, L and IK underscoring. We're of course going to have to do the same thing for the other arm. So whe them do that afterwards. And now we'll go, it's going to go over what's going to happen here is we're actually going to be using a script. And the script that we're gonna be using is this one right here. I'm actually going to copy this real quick. Let's open a Notepad. I'm going to save this for you guys. So on your data folder, this is going to be called Blender box script. And what the blender books script we'll do is, we'll do the following. We're going to select the IK bone, FP bone, the normal bone, and then the blender box which we haven't created yet. And we're going to connect that the IK bone to the first color of a blend. Note the FK bone to the second color of a blend. Note the result of that blend. It's gonna go into the normal bone right here. And we're going to be controlling which of these two is actually active depending on the blender box position. Okay? So we now need a blender box position and that we're going to create it with this little controller here. There's one called the slider controller. It's a very fun controller here. It's made up of three curves. And as you can see, it's just a small slider. So I'm going to rotate it so that it's facing us. And I'm going to position this right at the side of the, of the armor here. And I scale it up and I'm going to first transformation. We don't need to group and constraint and do anything of that source is just the blender box here. So we're going to rename this. This is going to be called a left blender books. This is going to be called left blender, I'm going to call it. And this is going to be cold left blender. Warn. There we go. So now what I wanna do is I want to make sure that when I move this thing, we're gonna go from 0 to one. So I'm gonna grab this little box here, grab the control vertex, snap them to the little corner there because I know that this blender bucks right now is at 0 and that's where I want it to be. Then I'm going to move this one unit like this. And I'm going to grab the control relics and snap them to the little corner right there. I'm going to grab the whole thing that the main blunder box and just scale it up. And then I'm going to grab the blender box or the blender itself and just going to make it smaller so that it's not super big. Something like this, this is fine. Some people like to have this guy's like super, super big, that's fine. Just make sure that you do not, when you are doing this, you do not scale the object, just killed the control vertices on this guy. So that it looks nicer. There we go. So now if I grab this little box here, you're gonna see now we have this movement. It seems like I accidentally move something that didn't want. So that's weird. Let's go here. Okay, so grab this guy, scale it up. Grab this guy. Control Vertex. Just move this down. I'm not sure why the booth, one of these guys over here, we're just going to move it back there. And again, we're gonna go from 0. Actually. Wait a second, what happened here? I'm just going to place a 0 here. Let's try this again. Just to snap this case right there. Grab this guy. Let me just go and do this again because it seems like I broke something. Let's just go for this layer of control again. Just move this guy up right here, rotate it so that it's facing us. Minus 90 degrees is fine. And we're gonna fish transformation. Now again, as I mentioned, I'm going to select this guy is at 0. So I'm just going to grab the controlled birthed from this guy, snapped the right there. And then I'm going to grab this object. If I move it, just one unit, that's going to be the position of unit 1. Just gonna snap that there. And I should be able to just grab this thing. And if I move it here, that's 0. And then if I move it here, That's one. Now, I wanted to make this a little bit longer, so I'm just going to technically, I should be able to just scale this. If I go here, it seems like it's skilling the points shouldn't be doing that. Let me freeze transformations that it, that's really weird. You know what I'm gonna do? I'm actually going to move this down all the way down to 0. And I think when we scaled it from there, no, it's just giving them more distance. That's very weird. Okay. I'm just gonna keep it like this. I mean, it's really not a big deal if things are not like super big or whatever, the only thing that I wanted to be able to move this from 1 to another, from 0 to 1. One thing I'm going to do, so I'm going to go to the curb options here to the limit information and we're definitely going to add a minimum translation here. So the minimum is going to be Ciro and the maximum is going to be one. That way we can only move this from one side to the other. So something like that should be, should be good. Let's rename this real quick again. So this is going to be a left blender, bucks be left of Blender. And this is going to be a left Blender. Blender warning. There we go. So now comes the part of the script. So I mentioned already what the script does. We select the bone, the IK bone, the FK bone, the normal bone, and then the blender box. And this will create a blend colors Note that will make sure that we can blend from one to the other. And it's very, very easy just going to get this into 0. And I'm gonna go IK bone, shoulder, FK bone, shoulder, normal bone, shoulder. Let's open this like this and then blender bucks. We go to our script here, select the whole script and just a run and a blender books has been created. You can see all of the things here are being connected, do the same thing. So IK elbow, elbow, normal elbow blender books. And we run the script. And finally IQ wrist, FK wrist, normal rest blender books. And we run the script and there we go. So it might seem like nothing change. Like if we grab the shoulder and just move it around, you're actually can't move it because now the connections of that shoulder are tied to the blender knows. But if we go to the FK chain, we can just move this up. And you can see that we can move the shoulder, we can move the elbow, and we can move the wrist like an FK, normal FK controller. And if we grabbed a little box right here and we move it all the way, we're now going to be an IK mode. And now this guy is going to move the IK I k and I K. Okay, so the blender box is working perfectly fine. I am going that go back to the normal blender here and let's go to our FK, FK, FK, and just bring the rotations back to 0. Same thing for the IKS. And now that we have this working, what we will, we will be able to do is we're going to be able to properly calibrate all of the elements on this arm that each system works with the controllers that we want it to work. And we're just going to be blending from one to the other. So I'm going to repeat the exact same process, going to go a little bit faster now for that, for the other side. So we grab the main element, we duplicate. Let's open this up. And then everything after the race we just delete. And this one's going to be called FK. So all of this guy would just copy. That's the FK elbow. And that's the FK shoulder. There we go. We duplicate again, delete everything beneath their wrist. And again, remember this system that I'm showing you guys right now, we're doing it for the arm. But you can think about any sort of character, creature or whatever any of you need to have a blend between two, between two systems. You're going to be able to use this exact same process and you're going to be able to blend between each of them. There we go. And we need to create another blender books. I'm just going to duplicate this guy actually. No need to freeze the transformations or anything because this is just going to be my, my right box. Each of those books is going to be oriented to or are constrained to a different position so that they follow the arm. And I know that right now There's little boxes at 0 and if I move it, it's going to go all the way to 1. So everything's working the way I want it. It's there. We're going to open our script editor here real quick. And we're going to do this exact same process. So IK shoulder, FK shoulder, right shoulder of course. And then right shoulder blender box. And we're going to run the script. And then I K elbow, elbow, normal elbow. When they're bucks. Ik risks, FK risk, normal wrist, blend their books and run. Now to make sure that this is working, we're just going to grab the African shoulder, for instance. Move it up, grab the F gable, move it, move it. And then we're going to switch. And we should be able to grab the IK shoulder, move it, I K elbow, move it and IQ wrist and move it. So yeah, all of the all of the connections are working pretty nice. Of them are following the areas that we need to follow and they are blender boxes are working great. So with this, we pretty much have the bases like the, like the foundations for the IK FK switch system. And we have our blender boxes that are going to be helping with us or helping us now don't worry about the little warning says we're going to be cleaning that up later. Now we're going to jump onto creating the IK system first. We're gonna do the IK system first to make sure that it works, and then we're going to jump onto the FK. So hang on. And I'll see you back on the next one. Bye bye. 37. Working on Soldier FK IK Arms: Hey guys, welcome back to our next part of our series that we're going to continue with the arm. So let's get to it. We're going to do the IK system now. And I'm going to start doing it with the left arm us always. And that's, it's actually very simple. The first thing I need to do is I need to create the plane the same way we did it with the leg to find where the pull vector is going to be located. So it's going to turn off the geometry for now. I'm going to go into Mesh Tools, Create polygon, and with my snap key, I'm just going to snap with V key to this elements. There we go. Let's turn this on so that we can see the plane. We're going to move the pivot point of the plane. And they were on the back here. And just scale this up. That should give us a very nice position for our element. I am going to use a little crystal now. So I'm going to go for the diamond, double-click Control G and then just snap to Point or Control G. And Snap to Point that then your group to the position. We can scale it up a little bit more visible. And we're going to call this, of course, left arm full vector control. So left arm pull through control. And it's going to be left arm pull books or control group. We're going to do the same trick that we've done before. This plane. We don't need it anymore. Just grab this group, Control G or Control D minus one and x. And we're just going to rename this before we on parents so that we don't get any duplicates. Here we go. Shift B2 and parent shift P2 and parent graph the two groups and delete. There we go. So yeah, that's the location of the pole vector. Easy, super, super easy. We're going to jump now into the rigging section. We're gonna go into skeleton and we're going to select a IK Handle. Remember, remember to check that you're using it rotate plane silver because the last time we use the IV handle, we were using the single chain solver that might cause some issues. So just go back to autoplay somber silver. We're gonna go to the IK right here, and we're going to click and Control click to create the IQs older. So now if we go here to the IK and we grab our IK Handle and we move around. The arm should be moving very, very nicely. We grab the curve, we grab that I can handle, and we just do a constraint, pull back to constraint. So now if we grab the IK Handle and we move it around, we're going to be able to use the elbow to rotate it around this well, so everything working in ice there, we're going to go to the other side, Skeleton, Create IK Handle where you're gonna go from the IKE shoulder, right? And this one right here. I actually forgot to add the r. There we go. Important, just to keep it clean, make sure that we know what we're doing. Grab this guy, got the pole vector and constraint and the pull vector constraint. Let's give it a shot as well. Smoothness here. Grab the handle, move it around. Yeah, everything's working there. And of course, let's just check that the pole vector is working as well. Perfect. So our pole vector or IK system is working excellently, excellently 500. Now let's rename distinct. Let's call this a right arm IK. And this is going to be left arm IK. And now we need to create some controls that are going to be the controls that are going to, of course, move the pole vector and everything else. So I'm just going to use curves here. I'm gonna go here to our rigging, create a curb, group. It, grab the IK risks here. Grab the group, and I'm going to do a constraint, parent constraints. So that thing jumps were supposed to be this case. We're doing the right side. So let's go here. We're going to scale this group up. We can delete the constraint of course. And I am going to select the vertex here. Just rotate them so they're closer to what I would expect this row like a ring. And there we go. So now the only thing I need to do is I need to get the right arm IK, this guy. So whenever we move this thing, the IK is just going to follow along. One thing I do need to add here is we're gonna create an orient from this IK to the hand. So let's call this right IK control. Right arm, right arm control. There we go. Naming convention. There we go. And this of course is going to be the control group. There we go. So we're going to graph the curve here. And we're going to go to the let me just check if it was the IK risks or D yeah, to the ICU risks. So I'm gonna grab this guy, grab the IK wrist, and we're gonna do a constraint, orient constraint. So we rotate this thing. The rest is also going to rotate. Important there. So we're going to have position thanks to the IK Handle and then rotation, thanks to that constraint that we just add. And there we go. Let's do the same thing on the other side. One thing we can do, of course, is just grab this guy, Control G or Control D minus one. And we're going to have the exact same one over here. Just change the name L. And L. There we go. Shift P to bring it out. Sheath bit wring it out. These two groups we don't need anymore. We know that this IK Handles going to be parented to this. I can constrain. And again, if we move this thing around, everything should move around. And this curve, we're going to grab at a curve and then the L or L wrist. And we're going to do a constraint or it again so that when we rotate this thing, let me see. So just like we mess something up there. Now this working, something's wrong there. I mess something up. Let's try again. So this guy right here, go to the, oh, we hadn't already constraint for some reason. So again, arm control, wrist constraint, orient constraint. And technically we should be able to 0 when we were messed up there. It's IK risks here. What did I do here? It seems like I messed up the why do we have to? Oh, yeah, of course, because we duplicated the thing. We duplicated both elements. So let's just check that this is working, okay, that is working. Suitable vectors to make sure perfect. And now let's just get this back to the position graph, the curve again. So IK arm here and the IK left wrist. There we go. So constraint or in constraint. And now there we go. So thanks for working. Nice. Perfect. So that's the, that's the IK, That's that's it. That's pretty much it. No need to do any, any other fancy things. We're now going to be able to switch between IK and FK very, very easily with this thing. When it is set to one, It's the IK. And whether this at 200, it's the FK, one thing that we can definitely do is grab both of those guys and make sure that only translate is what's the word? Only translate is set to Visible. So grab both of them, lock and high selected. And we could even change the name here. You can go here and I think we can go to Edit, edit attributes, trying to see if we could rename it. There is a wait to read them, but we're a little bit like that. It's just, just for now. So yeah, this is the IK and FK. So switch from one to 0. Now we're going to jump onto the FK system. And, uh, you guys already know how to do the FK system because we did that with that with the zombie hands. So if you guys remember, we have this very nice little script that we used before, which creates our very nice elements. So that's exactly what I'm gonna do. I'm just gonna, I'm just gonna change this. We're going to use boxes. And here's the thing that I didn't show you that time. If you remember in the script, There's a little section on Ohno. Know why I forgot. My has been acting very weird now with the script editor for some reason, I'm getting this crashes. So I'm gonna, I'm gonna stop the b the right here guys. In the next one we're gonna, we're gonna continue them with the FK. I might have to rebuild some of the things because I didn't save, of course, this thing is just going to crash probably. So I'll see you back in the next one where we'll finish the FK and I'll show you what I was talking about with the script. So hang tight and I'll see you back next week. 38. Completing Soldier FK IK Arms: Hey guys, welcome back to the next video. So luckily my dad did not crash and I'm able to continue without any changes, no need to rebuild anything I'm just saving here. Remember, strongly recommend to do an increment and save here just to make sure you have several copies in case one of them gets corrupted. Now, I was mentioning that here in the script editor. And again, this thing is going to stop. Let me pause real quick. There we go. Seems to be like a bug or something. It's probably due to Python 3, which is a little bit heavier than the old Python. So as I was mentioning, we have this script that we use with somebody hand to create the FK chain and we're going to use the exact same script. We're actually going to be using it for the fingers as well. Fingers. There's nothing new about them. They're just going to do the exact same thing that we did back there. There's one thing here, the controller, and we can actually create a new controller here. It could be any shape that we want. I'm going to use the boxes as I mentioned. So I'm gonna go here to this guy and I'm going to use this cube on base. And I know that my bones are pointing towards the x-axis, which in this case, that's exactly what's going on. And I'm just going to grab the name here. I'm going to call this cube controller. I'm going to grab this name. And in the Script Editor, what I'm gonna do is I'm going to replace the controller name with this name right here. Now, what I'm gonna do very easily is I'm just going to grab my FK change. So FK, shoulder, elbow and wrist. And I am going to grab this whole thing and run the code. And what's going to happen is now we're going to get the boxes right there. We have the first box, second box and through books. And of course what we need to do is grab the control vertex and just like scale them up a little bit. So let me change this to like a world. Let me just reset tool here. There we go. So we're going to scale this up, move it. And remember we're moving the control vertices. So, so not, not that big a deal. This is the FK system. It's already connected with the constraints and everything to the bones. So if we were to move this thing will get the proper modification. And some people like some people like boxes, I'm showing you boxes just so that you have more tools seizure in your toolbox pretty much. So. Let's go object here. You can see that we can just delete this guy. We can grab like this bursa here and here and just kill them out so they're kinda break. So I'm just gonna leave it like that. So it's going to be my box for the arm. And then we grab the new box there. The box for the forearm. Same deal. Just got this thing scaled up, up, up. Skillet here, here, here, here, here. And just move it forward. And as long as it's easy to select again, remember that's the, that's the, that's the main thing that you want for your, for your controllers. So not super obtrusive or intrusive, just, just enough to selected. Let's go for the last box, which is this one. And the same deal. Just move it a little bit of a box here, just so that it's easy to select. And there we go. And as I've mentioned, like if we grab this thing right here and move it all the way to F k, remember 0, you should be able to move everything around viscous. It's already connected. Everything is connected and the, and the chain is perfectly working with the rest of the elements. Now of course, if we move this here, all of these things are going to remain there. But the moment we change here, the system is going to change. We're gonna do a little bit of clean up later on where we are going to be turning on and off the different boxes and that's going to of course, make the rig look away. We'd better. So I'm going to do the exact same thing, but now for the right FK, so 123, going through a script editor and just copy and paste the script right here. Boom. Now to properly match the boxes, that's going to be a little bit harder because we're not mirroring them. So I'm gonna go to a right view. Let me grab this controlled verdicts. And I'm going to try to eyeball. I like the size and everything because again, as I mentioned, is going to be a little bit difficult to, to perfectly match. We can try and find like the like the angles here as best as possible. But it's definitely going to be tricky. Again, don't worry too much about this. So some animators are super like picky about making sure everything is as nice as possible. But as long as it's easy to select, I think that's I think that's the best you can do. So there we go. Let's go to the front view. Let's isolate control bugs here. And again, her skin I kind of like I bolded. Move it around and make sure that it's easy to select like this. Yeah, that seems, that seems good. And we're gonna go finally with this one last little box right here. And remember again, one of the cool things about the scripts is it already solves everything for us. Like all of the connections, all of the elements are there, ready. It's just a matter of running the script and understanding why those scripts are super important. And there we go. Let's go to the controller options here. Grab this guy, this guy, and this guy, and I'm going to turn them. That's right, I believe. Yeah, it's the red side. And then this guy, this guy and this guy, those are deck green sites. The IKEA's, I usually like to have them as a different color, so I'm going to keep them yellow. Just so that it's easy to understand that those are different elements. Pole vectors, same color, just red and the green. And there we go. I mean that, that's pretty much it for the for the arms. Now the only thing that we're missing, it's the fingers and already know how to do the fingers should be fairly obvious, right? I am going to delete this guy, the little box that we have down here, the kube controller. So let's delete it. And we'll before we did the fingers, Let's do a little bit of clean up here because we have a lot of stuff. So or actually let me see. No, that's fine. What we're going to continue with that with the fingers and the fingers are very easy. The reason why the fingers are easy is because we don't have any clone of the bones. It's just the same ones. Now, I'm a little bit concerned about this guy right here. What the hell happened here, guys, you see this? The local rotation axis. The wrong. They're all wrong. Why? Oh, it's a very sad It's a very sad situation. I'm not sure what happened here. That's very weird. Did it happen the same on the other side? Yeah. So it seems like at 1 or another, we lost the hated proper bones. Now is this the end of the day? Not really. I mean, we can fix them. We're just going to have to get rid of the skin that and fix them. So let's do this. I'm going to stop the video right here, guys. And in the next one I'm going to show you how to fix the fingers, how to rebuild the rotations that we have here, which is not that difficult, shouldn't be that difficult, but hopefully we will be able to do so. If not, there's a way in which we could import the joints from a previous scene and just like insert them here. I think that's going to be easier to be honest. Let's do it. Let's do it real quick. So first thing I need to go into skin and say unbind skin. Nothing is going to break on the rig, Don't worry. And now I'm going to go to the wrist here, to the fingers. And I'm just going to delete all of them. So grab all of this race and delete them. And I'm going to open a new session of Maya here real quick. And probably I froze transformations or something and that could have broken the fingers, which is very weird. That usually doesn't happen, but not much we can do with, but to fix it, that's important to always know how to troubleshoot. Thanks. So this width, Hello, Wow, there we go. And say file open scene. And I believe like solar three should have the proper bones. Seem not since they seem broken here CDA, see how they're broken. So let's open soldier one. Maybe you look all the way to the back. Yeah, This one This one seems to be seems to be properly aligned. It's weird the local rotation axis. So our, our old broken see that? Let's go all the way back to the first one then. Damn. No, broken. Okay. And let's go to the very first one. Let's see if this one has the proper ones. Nope. It seems like at 1, probably when we parented that we did not freeze transformations or we froze transformations and that broke the fingers. So we're going to have to manually fix them. So let me go back to this scene right here, bring them back. And we're going to have to, again, as I mentioned, manually fix and it's not that big of a deal. So let me show you first I'm going to Shift P. Like, Let's grab this guys. There we go. That guy, that guy, I'm going to Shift P to apparently, and let's isolate them. Let's grab all of them and then show the local rotational axis. Just go all the way here. So I want to see all the local rotation axis. Let me go grab all of the fingers. Let's take a look at the local rotational axis there, there, there, and there. And yeah, so they're all broken. So going to cover the first one, I'm going to go into skeleton and I'm gonna say orient joints. I want to, I don't want to orange, orange to the world's, I want the primary axis to be x, and I want the y-axis to try to go to the upper section, so I'm going to hit apply. And as you can see, the bones are gonna rotate, but now they should have the proper rotation here. Not the best one though. Such a shame, because we have so we have this fingers are worth very, very nice and another old broken. So they are pointing the way we warm. But the problem is if I just grab them here and I tried to rotate them, they're going to rotate around the y-axis when they used to rotate on the z-axis. Let me try using this secondary axis, the c-axis. But yeah, I mean, the problem is that they are, I mean, that doesn't look that bad. It's better. Okay, let's try the c-axis. So I'm just going to grab this guy here, apply, this guy here, apply, this guy here, apply. And then this one here and apply. And then what I'm gonna do is I'm going to try to rotate this so that the c-axis. Now it's not just mess everything up. It's such a shame. I didn't know this, that we we lost this connection. So to be honest, I think the best way for me to rebuild this, and I'm going to do this off camera just to save a little bit of time. But the best way to rebuild this is to actually just go back to the old scene or to indistinct, just create new chains, properly plays them where they need to be and then go back to the cool thing is we haven't done anything with this guys just yet. So I'm just going to literally delete all of this fingers. Build new fingers right here in this newer scene. And then we're going to, in the next video, I'm gonna show you how to how to rig them. So yeah, that's pretty much what we're gonna do. So good just a little bit once we'll just need to rebuild one hand, of course. Because after we do one which is mirror to the other side. So I'm gonna save this real quick here. This is the current state for us and we're really close to finishing this, this guy, by the way, guys, we're just missing the the clavicles. We just need to do the clavicles, finished the arm setup and then the head is, everything is pretty much going to be FK FK setup. So yeah, that's it. Keep on pushing, tried to get all the way to this point and I'll see you back on the next one. Bye bye. 39. Soldier Arm Clean Up: Hey guys, welcome back to the next part of our series. Today we're going to continue with the arm clean up off our characters. So let's get to it. The first thing I did here is I rebuilt at the fingers. Remember that we had an issue with the fingers on the last video where the local rotation axis is where gone, pretty much. So I reorganize this. And what I'm gonna do here, very simple. It's just going to grab all of them are one little chain each time, left thumb and I'm just going to go into rigging, skeleton, do a mirror joints. Careful here, so skill to mirror Joints and we're going to look for L underscore and we're going to replace it with our underscore, remember behavior and all that thing. So we should have the finger over there. We're going to do that for the thumb, the index, the middle, the ring, and the pinky. And then we're going to grab all five of these guys and we want to get them back into the wrist. So it seems like I accidentally got the wrist out of where it was supposed to be. So let's just bring it back. So I'm just going to grab the risks here and then control. Click the elbow right here. Just pee. And let's just check real quick that everything is working here. So we have the IK, perfect, and we should have the F gay or sorry, the FK and this is the IK. And yeah, thanks for moving nicely. However, I did not see the movement there. We break something and we might have broken something here. Let me show you the other side. Oh, I'm going crazy. It's the fact that we destroyed the skin, so the skin is gone and that's why nothing's moving. But we're going to fix that shortly. So I'm just going to grab all of the fingers here and just parent them back to the wrist. The first risk, not any of the I guess, or anything, just a normal parent here. And we can already do the scripts for all of these guys. So I'm going to open up this things, grab all of the elements except for the tips here. So no tips here. And I'm gonna go to my script editor, grab my basic element here. M is going to change the controller here. Remember from kube controller back to none, so that we have circles, just grab the whole thing and hit play. And as you can see now, we are going to have our circles right there. I am. Everything's going to be looking very nice. What they can do here is I could just say show, Let's start off the joints and let's turn off the geometry for just a second to do where he said polygons there go. And that way we can quickly grab the curves on the, on the element there. So curves, which is fine. This sort of like angle where I can select all of the curves for the fingers, not selecting these guys. There we go. And the cool thing is again, since we are using the script, each one of these guys have a radius and we can just like increase the radius, suppress all to, to bring the geometry back. Now let's play around with the radius is something like this. I think it's gonna be, it's gonna be fine. As long again as we can select them and control them easily. Then the were in that position. I am definitely gonna grab this first ones and probably give them a little bit more radius. Sorry, just so that we can we can select them a little bit easier, right? So that's pretty much it. And the cool thing about this is they're already connected to the bones. So if we show the bones here and we move this around, you can see that the hand is moving in a nice way. So that's it. No more tricks now, nothing else we got, of course, a clean them up a little bit. Now the problem is, right now the controllers are just like a floating around all of this controllers for right here, the left thumb group or actually, yeah, I messed up here. Let's go back. So the reason why I messed up is because I grabbed all of the fingers at the same time and that's not what she doesn't know what you should do. You're going to grab the first the indexer, dumb, don't want them to. And we're going to run the script. There we go. And then we'll grab index, index 1, index 2, index 3. Run the script, and the middle. Run the script. And then ring run the script. Because the script, remember the script also parents and things together. And if we were to grab all of them, we were getting like a very weird effects. So now we should have all of the five groups for each specific area. And we can do the same thing. It's just all to two and show joints to turn everything off. Grab my payments here again. There we go. Go to the NURBS curves and just make the radius bigger. Probably something about there. And then just grab it like that. Like the finger curves those guys right there, make them slightly bigger. There we go. So nothing should be working. And again, this are connected to the bones. So the bones should be moving as well. The thing here is that we need to clean this up being that in a way, but I'm gonna do the right-hand first before we do the cleanup. So it's going to grab all of the bones here, like this five bones and go to my right arm now, the rate of grit wrist and just like parent them. And we're going to do the exact same thing here. So just grab thermal walls here. 12. I got the allergies. And I'm just going to grab all of these guys and run the command. As you can see here. We run the command. We run the command, and we run the command. So all connections are going on here. Again, it's making it easier for us because we don't need to think about all of the things you might think doing that manually for each Kirby We'll, we would go insane, right? So that's why it's very important that we're using this sort of technique. And now we're just gonna go here and let's turn all to again, bring the radius up. And we go grab the first circles here. Go back to the magnetic circle and increase the radius a little bit. And there we go. So we now have all of the controllers ready for our character. And the next thing that we need to do is we need to clean up where all of these guys are gonna go. The problem is, if we were to move the arm right now, there's nothing telling this curves to follow that arm. And there's nothing telling the cursor to follow the IK either is. So it gets a little bit complicated, but it's, it's not that difficult. Here's what we're gonna do. We're gonna create a locator. So remember from our little shelf right here we have this locator and we're going to rename this locator. We're going to call it left wrist, a group. Then I am going to select the, The, the risk that has the skin, which we should get by the way. So let's do a quick skinny here, just going to grab everything here. I'm actually going to avoid that the tips now. So the index four in this case, we're going to avoid it because that's the, we don't want any weight associated there. No FK shoulders know IK shoulders. All of this guy's old index, middle, ring being key. No. Fk shoulders, hip, knee, ankle, molto, hip, knee, ankle, Volvo? Uh, yeah. The geometry that make sure you grab the geometry and let's do a quick skin. There you go. So now technically, we should have our, our systems here working again. You should be able to blend between each other. But jazz you can see the wrist is not following, which is a problem. So the way we're going to solve that, it's actually fairly, fairly simple, as I've mentioned, we're going to create this left a risk group. And then we're going to select this, the original wrist that we have on our left arm. This one right here, this one. And then that's the driver driven. And we're gonna say constraint, and it's going to be a parent constraint. So the locators going to jump and he's going to be right there. And wherever that locator moves, That's where at this or wherever wherever their wrist moves, That's where they're located or is going to be following. So now I'm going to select all the controllers from our left hand. So group here, here, here and here, like all of this five controllers. And we are going to parent them to the new locator. So to this guy right here. So just middle mouse drag and drop it into the risk group. So now if we were to grab the IK handle here and move it around, you can see that the wrist and all of the fingers are going to follow both in IK and FK. So if we do this, you'll see that the wrist is following, which is exactly what we want. So let me repeat that on this side, which is again very simple, just create a new locator. We're going to call this right risk group. We're going to select the right wrist. And then at the locator driver driven constraint, parent constraints so that the locators right there. And then we grab all of the finger groups right here, and we just normal parent them to the right locator. So now if we were again to move this thing around, and in FK, you're going to see that the wrist controllers and everything is going to follow. And then we go back to IK or two, yeah, two IK. We can go to the IK Handle. And again, the hand is going to follow and it's going to rotate and everything in the exact same way. So we're going to be able to position the hand exactly as sweet and neat. So yeah, that's that said like all of the fingers are now already. And the only thing that we need to do now is both of this locators. We're going to normal parent them to the master control so that when we move the master control to either side, thinks are going to follow. Now, you can see that there's still things that are not following. That's fine. We're going to be doing one more thing before we finalise the clean up here for the for the arm. Let me just close this up. Yeah. So now what we need to do is we need to do a very simple clavicle setup. So I'm just going to create a little rotation controller here that's going to allow me to rotate the clavicle. We did this already with the shabby Mara and it's super, super simple. So I'm just going to go into the poly modeling, create a controller here. I'm going to use the rotation control. This one right here, Control G. And I'm going to grab the clavicle. Let's start with the left clavicle. So left clavicle is a driver. That group is a driven. And we're going to say, well, really know this constraint, parent constraint. So that means that the position there's going to be exactly where we need. We don't need a constraint anymore. Let's call this a left clavicle control. And it's going to be left clavicle controlled group. And I'm just going to go into the clinical control here. And we're just going to grab the control vertex, move them out, scale them up. Move them up and I usually like to have them point in the same direction as the clavicle or as close as possible. So when we select this group, you're going to see that rotation rate there. So even though the controllers out here, the rotation is going to be in there and it's going to be moving into things the way we want. So the only thing we need to do now is I am going to select this controller here. Let's Control G, Control D to create the other one minus one. There we go. So their merit as well. Remember we changed the names of the groups before we do anything else. R and R Shift P to bring it out, that group is not worth getting worse. It's not doing any function. Shift P to bring that one out as well. And we delete this character here. And the, now, it's just a matter of grabbing discrete clavicle right here, going to the right clavicle. Clavicle. And we're going to do a constraint, orient constraints. So wherever this thing rotates, the clavicle is going to rotate as well, which is going to be very helpful. And the same thing for this one. So it's going to grab a mat, we're going to grab the controller. We're going to go all the way up to the left clavicle right here. And we're gonna do a constraint, orient constraint. So again, if we were to move this guy, everything is going to move with that. So the way we raise the arms, we move the clavicle up and then we'll grab something like this and just move it up and that we're, we're gonna have a better deformation as if we only move the arm up. Okay, So that's why clavicles are super, super important. And that's it, That's it for the clavicles. So now it's just a matter of cleaning up a little bit of this thing. So let's close this up. You can see we have a lot of things here, a lot of groups. So let's just do some normal parents to clean this up. The FK group. So the FK shoulder group is going to be parented to the clavicle controller, of course. So p. So now if I were to rotate this, the whole FK system is going to rotate as well. And then I can just keep on rotating, which is very handy as well. And then again, same thing over this ISO, the FK group is going to be parented directly to the shoulder clavicle. And then the clavicle groups, both clavicle groups, not the controllers to groups are going to be parented to the chest controller right here. So if I were to move the chest anywhere, everything else is going to move with it. Okay. I mean, we usually don't rotate that. We're just moving around, but it's going to give us a little bit of a rotation, especially when we move this thing down like this, you've got to see that everything else is going to follow the way we, the way we want. So we're going to get this, let me limit, bring this guy back to FK. Since we're in African both sides right now. And again, if we grab this guy, we just rotate it around. You can see that the whole body rotates with all of the systems in place. And then all of the pole vectors, constraints. And the case like all of these guys right here, we'll call this gropes the pole vector groups and I case we're going to normal pan those to the master control. And is usually what should happen here is if we move this thing around, everything is going to look like the whole system is moving except for the little boxes right there. The boxes. You can't decide where you want them. I personally like to parent them to the to the pole vector constraint or to the, to the locator. Actually, remember the locator that we have there, like right there. So I'm going to grab the box here. I'm going to parent it to the locator. So wherever I move the wrist, which is going to move with the locator and everything. Let's try this. There we go. So the little thing it's going to, it's going to rotate with it. So same thing over here. We're going to grab the leather books. We're going to grab the look in her there and just parented up on their books to look at her. And they get wherever we move this thing, the locators going to move, if we were to switch the locator to IK and we grab the IK and move it. The little box is going to move as well. So we're going to be able to switch from one and the other end. This is always going to be following. And you can see our little r radius is getting cleaner and cleaner. So yeah, that's a that's a very good position. I would say, let me just make sure that all of my cursor clean. And so to be clear, I'm, I'm a little bit concerned about this, like the fact that this is moving. Not sure if I forgot to, she wrote some rotation means not the end of the day. If there's a little bit of a change here and there, as long as the system works, then, then we're fine. But it is a little bit weird, especially since there's no I don't think there's a rotation anywhere. Yeah. Oh, my cursor. Perfectly fine. So that's fine. And yeah, that's it, guys. I'm going to stop the video right here. This is the end of the arms. I'm going to do one very quick thing off camera. I'm just going to go into each curve and just clean the water we don't need. So very simple, like for instance, the clavicles here. I know that we're not going to be translating them. It's just rotation. She was going to right-click here and lock and hide selected. I mean, we're already doing it, so let's just, let's just go with it. The FDA same thing like the FK is only going to rotate. Like there's no need to to translate or scale. So the other way around. So just here, lock and hide selected. This one, we already have that one. The box of course. And the little warning sign. We want to lock and hide what elements because we're not going to be selecting anything but the box. So same deal over here, just, so everything. Logan High selected. This one right here. We do one translation and rotation, but we don't want scale. So let's look at height selected. Here. Welcome, hi, selected. There we go. And finally the fingers, it's going to be a little bit time consuming. It shouldn't be. We can just turn off the geometry, turn off the joints. There we go. And very calmly grab the scripts here. There we go. And we only want rotation on the fingers. So luckily I selected there we go. Just make sure. So it's like I missed a couple. Look at Height select. There we go. Same on the other side. Just go the whole thing here. And look at High select. Because fingers again, the only thing that the fingers are supposed to be doing is moving from one side to the other. So let's do show all again, and there we go. So now we can actually give it a shot. If I were to grab the fingers here, for instance, and try to bend the hand, we should get this very nice band. Look at that. Very cool. Of course, there's a couple of issues with skinning that we need to fix, but everything seems to be working like the connection sensory weeks, everything is looking good. It's just a matter of the Clean of the we're gonna do later on under skinning cell of things. The full vector constraints are vectors. We only need a translation. So only translation and look at high selected. And there we go. That's it guys. I'll see you back on the next one where we continue with the head and the neck. 40. Soldier Head Setup: Hey guys, welcome back to the next part of our series. To them we're going to continue with the hands. We're almost there, We're in the homestretch now we're just doing the final thing. We're gonna do a very, very simple head. We're going to be doing something called NF chain. So we're gonna do enough kitchen, but we do have to take a little bit of considerations in regards to a couple of things because this is not a finger, it's a face. So it's going to be a little bit more complex than what we have right now. So the way this is going to work is very simple. I'm going to go to my controllers, and I'm going to use our controllers right here. I'm just going to create one arrow or control G to group it. The first base of the neck there, grab the group, constrain parent constraint. So we know that now the arrow is right there, exactly where it's supposed to be. We of course, delete the thing here. We can actually duplicate. We're going to need one to two groups, two more, two more arrows for them, for the neck. So I'm going to do 12. Let's grab the next bone. The next group, constrain parent, constrain parent constraint. And we're going to grab the last bone of the neck, which is this one right here. Constrain parent constraint, constraint, the group and then parent constraint. And the reason we're doing a simple FK chain is usually the head moves in a very controlled manner. So we're just going to keep it that way. I'm going to go here. And now of course you can see that the arrows are pointing the way. There should be. No worries. I'm just going to grab them all. Let's isolate them real quick. I'm going to Control vertex. And with discrete rotate turn on, we're just going to rotate them so that they are facing forward like this. There we go. So facing forward like this, and facing forward like this. And then I am going to move them all the way to the back of the neck. So again, control vertex. Well, it's, it's a little bit easier if we isolate because otherwise we're going to select the joints this back and go to this guy. Grab the vertex. Remember when we move the vertex, we're not moving the, what's the word? The edges or the pivot point. So the point is still going to be there. It's just a selection that's going to be back here. So let's grab all these guys. And I definitely wanna make them bigger. So it's going to go a little bit bigger here. Here we go, so we can easily select them. And we are of course going to rename this guy. So this one is going to be neck control for neck. Let's call this next C, Control. C control group. And then there's going to be neck a, B is the second one. And then this is going to be control right there. And finally, this is going to be neck a control. A control. And this is going to be neck a control group. Make sure that the capitalisation is correct and we're good to go. Now you can check that all of the elements here are completely clean. It's just a matter of grabbing the first arrow, grabbing the bone and doing a constraint. Orient constraint, second arrow, bone, marrow bone and orient constraint. And third arrow bone, or a constraint. That way when we move this guy, the next going to move. When we move this guy, the next going to move, and we want this guy the next guy. Now of course, we're going to grab then the next cgroup and we're going to parent it to them. They could be group. We're going to get up the neck B group and we're going to parent it to them. Nick, C controller, sorry, the controllers and other groups. And we're going to get this nice little thing. So when we move the first one, all of the other ones are gonna move as well. And then we can go to each specific one and give it a little bit more movement if we need to. Very, very nice, very clean here, movement for the neck and the neck. A control group is going to be parented to the chest control. Why? Because if we move the character down, well, make sure that the head follows nicely. And then after we move the head down, we can move the head like two different directions. So we're just going to finish that connection right there, and that's it. I'm just going to grab the arrows real quick. And we're of course going to block everything except for to rotate, just going to hit here and lock and hide select so that we can only rotate the neck, which is usually what's gonna happen. And again, the reason we won three of this guys is if you want to twist the neck to one side, we want to have a little bit more movements. You how? So? We get the soft transformation here because we have more joints rather than just having like a very harsh transitions. So that's pretty much it. Now for the head, we're going to do a box. So I'm going to go back to my controllers. We're going to do a box where the head was, the box. I'm telling you guys this controllers Hive. Q on base. There we go. I'm going to Control G. And we're going to grab the head bone, which is this one down here, the one on the on the on the base of the neck. This is just this actually we're not going to use, we're going to delete later on. So it's this one right here, and then grab this group. And we're just going to say constraint, parent constraint. And you can see that now we have the box there and we're gonna do the exact same thing as we did with the, with the arms. We're just going to make this box bigger so that we can like encompass the whole head. Some people like to give it like a like a nicer shape, like a helmet. It's up to you. I mean, it's again, completely valid whether or not you want to do this sort of thing. It just looks a little bit cooler. It right? Usually you want to make sure that it's not careful there. We're not going to want to move the curve. We want to move the joints. There we go. So I like that. And this of course, is going to be named head control. We don't need a pen constraint anymore. And this is going to be head control. And it's going to be controlled Group. Now the head controller will move the head joint with a constraint, orient constraint. So wherever we move this thing, that head is going to just move around very, very nicely. And of course, we are going to grab the head control group and that's gonna be parented to the last curve of the neck control so that if we move the neck, the head is going to move with it. And then we can of course, move the head a separate piece. So that's it. That's the head controller. And now we're gonna go to some of the cooler controllers here, which is the AI controllers. I really like doing the reading for the eyes because it's, it's really fun. And and we're going to be doing, of course, the reading for the job. So let's start with the jaw. I think the jaw is the easiest one. I'm gonna go here into our ring options. I'm going to create a new curve and I'm going to group it. I'm going to grab the jaw joint. Grab the group. And constraint, parent constraint. Let's check the curve. Of course delete the constraint. We don't need that anymore. It's called this a jaw control. And it's been because this is going to be jaw control group. Now the jaw control, I do want to give it a little bit of a better shape. So I'm going to grab the control vertex here. I'm going to bring it forward down here, and I'm going to scale it. So we get this sort of like U-shape. And then I'm going to grab it like this guys right here and this guys right here. Just bring them back. I'm just going to grab the border here. Bring it back. Let me grab this thing again. So the whole vertex here, just move it up, rotate it a little bit, scale it up with Fort Worth, and there we go. So again, we want to make things as easy to select as possible. So that's why I'm doing this sort of like a mask shape. So that when we rotate this, it's going to be pretty obvious that this thing is going to be rotating our jaw down. And in the same way as what we did, which is going to go here, here, and I'm going to say constrain orient constraint. And now wherever I move this joint right here, the jaw is going to move. Of course, we need to fix the skinning because you can see that it's giving us a complete mess right now. But you can see that the jaw is actually like a moving down. So once we fix the skinning, everything's going to move in a very nice way. We grab the jaw control group and the control group is of course going to be parented to the head control group. See how easy it is. And now that we've done all of the crazy and complicated stuff like hit down here on the rest of the body doing this service connections, it's pretty straightforward and you're gonna be able to read your characters and your creatures in this exact same way you're going to say like, Okay, we can assist them. Do I need to remove any of the spline? Maybe I need an IK Handle and you're going to follow the same exact process. Now of course, there's other things that are a little bit more calm, more complicated like birds and Dragons or they have wingspans and stuff. That's another type of ribbon quadruplets, rigging quadruplets. It's also a little bit different. But for most humanoid characters, this process that I'm showing you right here is kinda work just fine. So now we're going to create a new type of controller, which is going to be like some sort of a classes for our character. So I'm going to create a new curve here. I don't really care about the rotation or anything. This one, I'm just going to make it bigger. I'm going to rotate it forward like this. And I'm gonna say, we're gonna go back to modeling. We're gonna say curves. And I'm going to say rebuilt her. And I wanted to have a little more span. So let's say like 12, Spencer thing's going to be fine. And now we're told Spence, we should be able to model this in some sort of like a binocular shapes. So we're going to do this sort of thing. There we go. So this means oculars, as you might imagine. Wait a second. Why is my character off-center? If we move this? Yeah. Okay. I was getting scarcer there. I am getting scared now. The reason I'm getting us carries, it seems like the root ball was not oriented properly. Okay. I don't think there's a big deal. I'm just gonna wait a second. Wait a second, wait a second. Or is it the domestic ones are all semester much. Okay. Thank God. So yeah. It was a master control loose freaking me out. Here was just not moving. Oh, because we've connected everything else in other places, but yeah, everything should be moving green. Perfect. So everything is centered. I was getting a little bit scared. They're probably thought that I had mess something up, but they're just gonna move this thing downwards closer to the eye level. Rebel here. It's usually like forward facing here like this. And now I'm going to create a tumor curves. So the first one, I'm going to snap it to the eye, the eye bone. And we're going to rotate it so that it's facing us. Like this. Make sure that this is a snap in the same and the same distance as the eye, which right now it seems like it is. And we're just going to bring it forward and make it a little bigger. Go to the front view. And I'm just going to Control G, Control D minus one and x. And we're just going to grab these two guys and she's being get them out, grab all the curves. And it's very important that we clean them up. So freeze transformation. So they're completely clean. We didn't have any main groups here. That's fine. We can add one if we want to, but it's not really necessary because this curves are not actually going to be buoyant to anywhere. They're going to be used to do a different sort of thing. So I'm just gonna grab this two guys. And when I call this the cyst right eye tracker. And there's going to be left eye tracker. Grab the two guys and parent them to the curve here. And this is going to be my ice trucker. There we go. Now what we're gonna do is we're going to grab that bone actually. So we're gonna say this group right here, the eye tracker is gonna go to this bone right here, which is the right eye. And we're gonna do a constraint, aim constraint. And it's very important to remember that when we did these guys, these guys were oriented to the world. So you can see the c-axis is oriented that over here. So I need to make sure that I'm aiming with the c-axis. So I'm gonna go constraint, aim constraint. And the aim vector in this case is going to be the c-axis. And for this one, the up vector is going to be negative. Why? Because you can see that the vector is going down there. So this heat apply. Nope, that's messing it up. In vector. I mean, we can also do maintain offset and that's also going to work. So now it doesn't really matter how we're doing it, it's going to follow. I think that's going to be easier right now. So I'm just going to grab this guy right here. The other bone or dealer curve the other bone and do an aim constraint as well. And now when we move this thing, you're going to see that the eyes are going to try to follow now, right now of course again, the skinning, It's not working in our favor. But you can see that the face is definitely trying to follow this thing. And that's going to make sure that everything tracks every single time. Now the eye structure, of course we're going to parent it also to the head controller. As some people like to have this eye tracker parented to the main controller, actually, I think it's better. So I'm just going to parent it over here to the to the master control. And the reason I'm going to do that is if I grab the master control, of course I want everything to move. Let's go back here. There we go. It seems to have a little bit of scale there. So just, just scrub this whole thing and just say freescale. And yeah, so now if I grab the master control, everything, everything is going to move on the rig. And and we can move the character to a different position, like let's say like this. And he's always going to try to look at this position and then we can just move this thing and position or where we want to animate properly. And that's pretty much it. I mean, it's just a matter of doing a little bit of clean up. So I am going to stop the video right here, guys. And in the next one, we're just going to do the cleanup. We just need to do the cleanup for the controllers. Make sure all the controls are working properly. And we're going to be jumping up to the skinning section, which is the final, the final past to make sure that this is looking as nicely, as nice as possible. And we're good. So congratulations if you've made it all the way through this point, you have with yourself a complete rig. This is a completely, fully functional rig. There's going to be able to use to animate a shore, the commercial, even the game character. Again, as I mentioned earlier, this is a simple rake. It's like the most basic form of a character rig. There's way more complexity that we could add. We can add like a complete facial Reagan, stretchy arms and legs. We could add more deformation on the muscles like there's way, way more complicated things that you can do. But for this beginning courses are beginning course to rigging. I think this is a great, great project for yourself. So I'm going to stop it right here and I'll see you back on the next one. Bye bye. 41. Soldier Clean Up: Hey guys, welcome back to our next part of our series. We're finally getting to the last parts of the, of the whole, the whole thing. So we're going to be talking about the cleanup stages for this character now. And the first thing I'm gonna do is I am going to go into my joints. I'm going to say here show non show joints. And actually we should have the information here. Let me make sure that this things are set up to the 01. I'm a little bit curious about that. A little movement like we shouldn't have any movement going from one to the other. But it seems like there is a tad bit of movement and one of the constraints move that there's something but that's fine. So let's color the things first. So we're going to go into our polynomial here, grab this guy that's going to be green, and this guy is going to be red. And then this two guys are gonna be yellow. This thing is going to be yellow. And then one eye is going to be green. And the other one's going to be red just so that we know which one is which. The arrows back here, they're going to be yellow. Yellow. There we go. And yep. That boxes I mean, just boxes. I would say the box should be gray. Gray. The alarm signs should be a red. Of course, we need to make sure that it's very clear what we're doing. And then the little option box and I'm going to paint it like a look another probably like a cyan or something just so that we know that it's a different sort of controller. And it's known that it's not one of the main controllers. Now we definitely need to do something here with this guys, with this elements. So we're gonna do a set driven key. But for that, we actually need to grab this guy, go into Windows, general editors. But where is it? The channel control? And, uh, we want to change the visibility. We want to access the visibility of the little thing. So let's move it to kibble and on the lock options, Let's move it to unlock. There we go. And this one as well. So this one's gonna go to, or actually it doesn't need to be locked, but we definitely need to unlock it here so it's scalable. And let's go to non luck, Derek. So what we're gonna do, we're gonna do is set driven key. So in the animation tab, we're going to go to Key Set Driven Key set. The driver is going to bid a little box. So low driver, the driven is going to be the alarm site load driven. And it's got to be very easy when this thing is set at one. So right now, the facility of this guy is going to be set to 0. So we just grab both of them and we keep. As soon as this guy moves a little bit like 0.999, let's say 0.999. We're going to turn the visibility of the of the thing on to warn people that this is not where it's supposed to be. And we're just going to key again. And then we're going to move this all the way to the lower section. Okay, that's fine. So we're gonna go to points 0, 0, 1. We're going to key again, key. And then we're gonna go to 0. And the facility of the object is going to be 0. And we're going to kick in. So now when this thing is at 0, no alarm sign, when we're not, That's here. We're going to get that and then we're going to get this. So pretty much right. I think the movement might be happening due to the box, but that's fine. I mean, as long as the systems work, the way that we intend them to work, we're going to be just fine. So there we go. We could also create a set driven key with the boxes here, with the visibility of this guys, but we don't have the visibility yet. So I'm actually going to keep it like this just just so that we can see the whole rig. But if you want to, you can just again just add a set driven key so that when this thing is on, we'll just turn off the visibility of this things and we can't select them. It's going to be pretty obvious, like if you tried to move this thing around, you're not going to see that I actually like having the boxes because they are a visual indicator for me to where the bones are. Of course, when you use IK, things are going to be a little bit different. So we're going to go here, do the same thing. Now with this, we're going to grab the little guy, the box here. This is a driver and the alliance, right? User-driven. So another easy way to do this is just write 0.999. There we go. Two of these guys and say key, and then grab this guy, or this guy, say 0.001 key, and then just go to 0. This guy goes to 0 as well key. And then this case goes to one. This guy goes to 0 again and the key. Now another thing I'd like to do is I am going to grab this and I'm just going to lock and hide it. So now it should still work. The set driven key should still work, but we're not going to be able to select anything there. It's just a box that we're moving. Very, very handy. So same deal here. I'm just gonna grab this guy, right-click, lock and hide selected. And there we go. So now we only have this elements to be able to move. And that's it. That's the cleaner for the little box there. Now let me show you how we would do this. It's actually not that difficult. Although I didn't need to select all of these boxes, and I am just going to go into again Windows, general editors, channel or channel control. And we want the visibility to be kibble. So let's multivariable and let's move it to here. I'm pretty sure we did that for all of them. Yeah. So when we're gonna go back to our set driven key. So key set, driven key set. And we're going to grab the little box is going to be the thing that's going to control. So when this is set here, we're going to have IK. So when this box is set to one. So little driver, remember here we can actually grab like several of them. All of them are just going to load driven. So when this is set to one, all of this is miscibility will be 0. So let's grab this guy's entering the month. So the visibility we're just going to keep. And when the little box is in this case as 0, we are going to grab the visibility of this guys again. And now turn it off. Turn it on. There we go. So grab all of them. So lithium and key. So now when we move the thing, we're going to turn it on and off. And we're going to do the same thing. But now for this little guy right here, so this guy should be on here. So let's load driven. And we also need to select the visibility here, make it locked or taboo. There we go. So let's trim it. There we go. So miscibility. There's going to be just like that. So keep and when this thing is set to 0, this guy right here will have its specific set to 0 and we're going to keep, so that way we're going to switch the controllers. And that way animators are not going to have any issue trying to find the one that's correct to whatever we're doing at that specific moment. Now at this one right here, we should also do the little cleaning here. So lets just grab the visibility, which kibble B, stability, move it and it will load a driven. And same deal. So when it's at, I'd want this guy, we're going to get visibility. And when this is at 0, this guy will have it specific to 0. And we just keep that way. We're going to have a very clean hurray where the two systems switch from one to the other. And we get this very nice effect, okay? So we need to repeat the same thing on this side. I think we can do it all at the same time. So let's see if we can manage to this. We're just going to grab all of the elements, all of the curves here. I am gonna go to this option right here, makes sure that visibility is here and the log is here. So now all of them should have the channel. And it's just a matter of doing the switch, right? So let's grab this box again, low the driver. And I'm going to grab all of them, load the driven. It's going to save me a little bit of time. So all of these guys and it's the facility that we want to work with. Wait a second. Yeah. So perfect. Yeah. So I've got well, if this guy's disabilities, the thing that we're going to be channeling. So when this thing is over here, I think it's the FK system. Yeah. So on this position, the IK Handle and this guy right here are going to have the visible set to 0. We're just gonna keep. And when we go all the way up to the other side, the IK Handle and the pull vector are going to have the risk loop is set to one. And the boxes are going to have their visibility is set to 0. And we're going to keep that way. We save a little bit of time n, and both things happen at the same time. Well, so like we messed something up here. Let's try that again. So that's a set to 0, this position, and there we go. So now we should be able to have that very nice switch, switch between systems. And that way we're not going to be contaminating the scene where when we don't need to end. And that's it. If we give it a quick look here, everything most rice here, we need to have a couple of things are, and it's not hiding over here because all of the proportions here are working nicely. As you know, we have this finite k right here, which we're not going to touch. But for the fingers, for instance, I'm just going to grab the fingers. Let's say show all to one and all to, to hide this thing. That way. They can select the fingers. And we're just going to we're just going to select all of the fingers. Unfortunately, we do have to do this manually because everything's already connected. And the only thing I want to do is I want to turn off the local rotational axis. So for this guy right here, thinks that the FK spine. So let's look for the FK spine. I think it was somewhere else, right. So so it's this guy. Let's isolate this. Yeah. There we go. There we go. This guy. There you go. Omega. Let me say one should be this one. Not sure which one to this. Let's go over here. Just go through it real quick. It will be cooling. We had like a like a turn on and turn off. The other thing we have one, so I'm going to do this. There we go, clean. There's one there and I'm sure which bone that oneness. So this one nope. That means is this one. The problem is we have two bones in the exact same position. Since a little bit difficult to grab. There we go. That's another one. Oh, I can find what so it's going to leave it like that. I mean, it's not the end of the day. Let's grab this guy. Turned off. Pretty sure I set this one. It's not that one, it's this one. All know. You'll know which one of this. We duplicated the chest one. We duplicated the chest bone and I think that might be we need to find that because otherwise, this is not going to look good. So let me turn on the NURBS curves because I'm pretty sure is this one right here. So if we navigate over here, there we go. We have this one, the pelvis joint composition next day, that that was the one. So there we go. And let's see what else do we need to do? Where of course is going to go here and just show no joints so we don't see the joints. We're only going to be seeing the rig. We could of course, grab the colors for the fingers as well. So I'm just going to grab everything here, going into my controller setup and maintenance green. Do the same over here, painted red. Older groups are going to be red. Now, there are a couple of locators. If I were to grab this thing, you can see we're grabbing things that we shouldn't be grabbing. This is finite case. I'm going to go to the spine and Kate, and on the display information, I'm going to turn off the visibility so that we can't select the spine IK. Same for this curve. I'm going to go to the object split and we're going to turn the visibility off so we can't select that thing. Then we're going to have this locators as well. So I'm going to grab this locator. And if we go to the object display, we're going to turn visibility has one, this one traversable pee off as well. And we will only do this at the very end because otherwise it's going to be very difficult to, to understand that what we're doing, where we're missing. But this should be able to, like we should be hiding pretty much everything here, like you, if an animator turns off the thing here and just selects everything, he should only be selecting curves, like what we're doing here. And yeah, everything seems to be working perfectly fine. So I'm going to save this real quick. And we're good to go. We're now ready to go into the skinny part of things and skinny, it's not going to be that complicated. Who've already done this? It's a final, like a polishing part of the character. And that we're going to try to make this blend and, and work in the best possible way. So hang tight and we'll see you back on the next one. Bye bye. 42. Soldier Skinning: Hey guys, welcome back to the next part of our series. So they were going to continue with the skinning of the character, which is the final cleanup process that we need to do here. So look at this, look at this amazing thing that we just took us a little while, but now everything is ready. Now here what I'm gonna do is I'm actually going to grab the character and I'm gonna get rid of the chocolate. Make sure let me check something. So I think the reading was already like we had the the main bones done, I believe. So. Let me grab the geometry. Let's go to rigging, skin paint, skin weights. I just want to make sure that on the skin weights we don't have anything that we're not supposed to, like this head tip, we shouldn't have that one. It's another problem that we have it. It's just common tablet if you know what they mean. So yeah, I'm gonna I'm just gonna get rid of the skinning. I think it's the best idea, so I'm just gonna grab the guy here, say skin on Bind Skin. And I'm going to go into the elements here. I'm just gonna start selecting all of the things that we need. All the way here, not the tip, the jaw, the eyes, clavicle, shoulder, elbow, wrist, thumb, 12, not the tip that will actually need to rename deaths. 0, 3, 0, 3. Let's go back to spine. 1, 0, 1 2, 3, chest and neck. 12, jaw, right eye and left eye, clavicle, shoulder, elbow, wrist, thumb. 12, not the tree. Index 123, not the fourth. Middle 123, not the fourth. Ring. 123, not the fourth. Pinky One. 23 the fourth. No. Fk shoulder know ikea shoulder. Shoulder, elbow, wrist, thumb 12 index 123123123123. Know FK in the YK, hip, knee, ankle ball TO usually we don't do the toe, so I'm just going to ignore the TOEFL now. Let's show the joints. And the reason why we don't do the toe is we're not going to bend anything from there. The last bending point is going to be here where the, where the ball of the foot is grab the character and just the skin and the Bind Skin. Now, there's one option here. This is what I wanted to show you. There's one option instead of the bind skin that's called geodesic boxes. So we're going to of course elect, bind to four. But instead of using this a closest distance, this, this thing called a Geodesic Voxel and the geodesic books will option. It's a relatively new future, not super new, but it's very cool. And what this DOS inside of Maya is E, the box and lysis is your geometry, meaning it creates a sort of like, do you think about Minecraft? Minecraft, so your, your object, and then it assigns the weights to the boxes are closer together. And the recent way this works very nicely, is usually when you have a character that has two sections that are really close together, like the arm pit here. When you do closest point, sometimes you'll get weights from this area all the way over here and it's a little bit annoying to fix it. So with Geodesic Voxel, it only goes to the boxes that are closer to it. So he knows that even if the box is really close in regards to the distance, but it's not close in regards to connection, it will ignore it and it will just give you the weights where you want. It doesn't work all the time. And you're still going to have to do a little bit of painting, but it works relatively well. You can change the resolution here. I'm going to say 512, and I'm just going to hit Apply. So over here, oh, it seems like it already did it. Let's give it a go. Now we're not going to move bones, now we're going to be moving the elements. So see that it's a little bit of a better deformation down there on the on the other parts or the back part of the arm. So that's, that's working really well. This guy for instance, same deal. That's, that's actually a very nice deformation. Let's check the fingers. That's the area where things get a little bit messy sometimes. That's not bath. That's actually not that bad. What worries me the most is when we do this sort of bending where we get the right effect, remember that thing. So that doesn't look have bad. Let's grab this guy, bring it up. Bath. We can use this guy here. Look at that. That's very cool, right? So yeah, we're getting some nice, some nice effects here, some nice elements, but we're still need to paint a little bit specially, for instance, in the face. Like if we grab these guys right here, the whole head rotates. So let's start working on the cleanup. I'm going to turn off the joints. So digital turn off. And we're all going to be, we're going to be controlling everything with the curves, grab the geometry, paint, skin weights. And I, in this case, I'd like to start with the head. So I'm gonna go to the left eye. And the first thing I'm gonna do is I'm going to select, double-click there, paint. And I'm going to flood. And then I'm gonna go to paint, replace. And I'm going to change the value to 0. And I want to get rid of, Let's go to Paste sandwich. And I want to get rid of all of the way that the eye has, like all of the things that the AI has. That's a no-no. However, I don't want to get rid of all the way. I do want to have a little bit of weight like those blue points. I'm not too worried about we're going to be fixing that. But I want to have just a little bit. So I'm going to add here the value to like appointed one. And I'm going to add here, make my brush smaller. And I will look to have a little bit of influence here around the eye like this. So now we will move the eye when I'm expecting to see is that the I is going to move a little bit of the algebra, as you can see right there. So very, very easy, very simple movement, but it's there. We're going to do the same thing on the other side. So we're going to go now to the right. I actually let me do something. I'm gonna go to the headfirst. I think their heads going to be easy and we're just going to have a value of one. Let's make the radius like really big. And then just link, override the whole thing. Like this. Even the eye, I don't care. Like everything. Everything just made everything to the head. Like very aggressive. All right. Go make sure all of my birth looks like down there inside the mouth. Like everything. Like the back of the mouth there. Everything, Everything should be white. There we go. Now it's going to be easier to go to the left eye or the right eye. And I'm going to go select, grab this guy. Go back to paint in, say Flood. I'm gonna go to the left. I select this guy, right, fluff. And now we take a look at this. The ice should only be following this thing right here today. Very cool. So we get this sort of effect. Now, there are some weight still associated there. You can see how moving parts of the mountain stuff, that's fine. That's the reason why we do this clean up process because we need to find where things are so that they work in the best possible way. So let's go back to the, to the head right here. And I'm going to there we go. I'm going to go inside the mouth so that we can paint all of the all of the areas here. You can see the little bit of the hair there. This here, this, this says we have this very big brush. As long as we heat the proper vertex, we should be getting the result that we want. There we go. It's a shame that we can't see through who were very cool. And again, just like grab this guy. And there we go. So now the eyes are moving properly and they're not moving anything else. Now, here's where we can add a little bit of the, of the very nice soft information to the character. So I'm going to go back to the eyes, to the left die. We're going to make my stroke very small and not small but smaller like this. Let's change this to add. And I'm going to say point 1. I'm just going to paint a little bit here on the, around the eyes. Just a little bit. Do the same for the right eye. There we go. So now when we move this, you're going to see that we're willing to get a smooth deformation on the eyebrows as well. Let me see if we can how we get the VAT. Very nice effect. So it's super simple. It's just a small gradient there that we did. And that's going to add a little bit of extra life to the characters. Not going to be like just like the eyes moving around. You're actually seeing a little bit of the eyebrows moving and that's very, very cool. So yeah, that's the, that's the eyes. Let's go to the jaw now. So we're gonna go here. Of course, the geometry, Paint Skin Weights. Let's go to the jaw. And the jaw is often going to be a little bit more aggressive. And I'm gonna make this a little bit bigger. And I'm going to just paint all of this area, especially like this front area right here, like this. And then on the inside, we have the lower teeth. So we definitely want to lower t to be affected by it. So I'm gonna go to Select lower teeth paint and we're just going to flood. And we need to test it. So we move this thing down and you can see how this thing is moving, which gave me a nice result. You can see the jaw is moving nicely, but there's still some things that we need to paint, so I'm going to keep it open like that. Grab the geometry again, paint. And now it's just a matter of like painting the ones that we need. For instance, I'm gonna go back to a smaller radius and a value of 0. And we're going to say replace. And I want to paint this guys out so that the upper lip remains on the upper side. And then I'm going to go to a value of one. And it's going to start adding the value of one. To this area. Skinny is one of those things that definitely takes time. We can smooth this out. Smart, smart, smart, smart smooth. Same thing over here. Just keeps moving. Now, this is not a proper facial. So we need to keep that into account with all of this out. And what that means is that there's of course going to be certain areas where, where the information is not going to be perfect. All of this is smoothing. That's looking better. Or the teeth though, they're down there. Okay, let's keep going here. Just click, click, click, click, click, click, click until we get the result as close as possible. We're going to be mirroring some of the stuff later on. That's why I'm not so worried about this sort of effect, but there are some very weird overlaps happening here that you can see how this would work, right? So scrub this thing and we're going to be moving this up and down like this. It's like an under bite. So let's give it like that for now. And I'm going to keep on cleaning this guy. So you're gonna see at the end that the result is going to be a little bit different to them. One does, we did to go super, super long. So let's go to other, of other important areas here for the character. And that of course is going to be the arm. So when we raise the arm, something that are very commonly happens, I'm going to use the clavicle to raise the arm and then raise the arm here. As you can see, something that very commonly happens is that we get this very huge stretch. The torso is very, very common with rigs for this happen. So I'm gonna go to the, to the shoulder, left shoulder. And I want to remove elements from here. We can try it smoothing out, of course. So by just moving this thing should be like going down a little bit more. It's very important that you pose the character because that's what you're going to discover. Where things are, kind of like moving in a weird way. Now, even though we're doing a great job with the rigging and the skinning. This this is something that's still going to happen, is that we're still going to have a stretchy areas, right, for in-game characters like this guy right here, there's always going to be a little bit of stretching areas. So here I think I wanna go to the chest. So I'm gonna go all the way up to the chest. Chest here. And I want to add a little bit of volume here. We're gonna start with very small numbers. And as you can see by adding the volume here, we're bringing the shape back. And then we of course, can smooth this out a little bit. And that should give us a, a better deformation there on the, on the arms. So now when we rotate this thing, we're still going to get a little bit of muscle, they're a little bit of movement. But the object in general is going to look a lot better. So yeah, there we go. Let's just grab this this go to 0. The shoulder or the elbow. I actually really like like there's a little bit of overlap there, but it's not it's not a big deal. Like if I want to I might just changed a little bit of here on the shoulder. Like I'm just going to add a little bit more influence. Like on this area here, like this. And then on the, on the elbow. I'm going to add a little bit of influenza. I'll rather have a little bit of overlap here, then lose that much volume. So something like this. And now you're going to see that when we bend this thing, we have a more realistic bend there on the, on the cloth. So again, it's looking very, very nice. Even the rest, I think it's going to look, It looks nice. It looks, it loses a little bit of volume. It's not that bad. And again, the fact that the topology is working really, really helps with the whole thing. So, yeah, we're gonna win a very good position to 0 we got. So what we can do it like, I really like the arm right here. Like if I move this arm up, the information, there's very, very little, which is exactly what I wanted. But if I do this one right here, that information is really big. So even though the character is not symmetrical, we can actually mirror weights. So it can go skin, mirror skin weights. We're going to go positive to negative, positive x to the negative x, and we're going to do closest point on surface, okay? So influence one-to-one and we're going to hit apply. So now if I grab this arm and move it up, you're gonna see that the deformation is closer to the one that we have here. See that? So you don't have to do the screening for every single point. Even the eyes should still be working with a fairly, fairly nicely here. There's a little bit of an issue there on the mouth that we need to definitely fix. The eyes, have weights that we don't want to buy. But everything else is working very, very nicely here. So I'm going to stop the video right here, guys. And in the next one we're gonna talk about the the weight corrections. You're on the legs. And we're going to be pretty close to the final part, which is going to have to do a little bit of an animation testing quick, like idle animation. And we're going to be good to go with this premium course. So hang on. And I'll see you back on the next one. Bye-bye. 43. Finishing Soldier Skinning : Hey guys, welcome back to the next part of our chapter in one of the last videos of this series. So we're going to continue with the skinny here. And it's just a matter of fixing some of the areas that are looking a little bit weird. So if we go to the leg area, one of the main areas that usually get some issues is when we raise the leg and you're gonna see it right there, we get this candy rep effect on the Unlike, which is horrible, horrible, horrible. So let's clean that up. I'm going to go into paint skin weights. Oh my gosh, sorry about that. And we're gonna go, I'm also going to call this series the sneezing series. It goes home, I go, how many times have I synced? So we're going to go left hip, right here. And I'm going to go to the Add option. I'm gonna start with low value here, and I'm just gonna add a little bit more value here on the, on the union so that when we create this sort of bent here, we're actually doing a little bit of overlap. So we're, we're kind of like simulating how muscles work. That's a strict cover some of the volume there and let's go to smooth now. Just move this a little bit. Let's go back to the hip. Let's move this as well. Because you can see that's going to give us a webinar deformation for the, for the leg. Let's bring the knee out and you can see that now the leg looks very, very good. Now, of course, there are risks that are not going to be able to be as flexible as what we might want. For instance, if we want this guy to be like a gymnastic Hellman and we want to bring and do like a split or something. We're going to be able to get something close to the split like this. But you're going to see that there's always going to be a little bit of information like right about there. And yes, we can fix some of that for instance, with the with a smooth option. That's definitely going to, again, move a little bit of the effects here, but you're not going to get that specific effect. And another thing is you might not wanna do that. Like usually on games like military games are like 400 and stuff, you're not going to get their character like super stretching are going everywhere. So as long as you can do some very common movements like a walk cycle, a jump cycle, like some basic stuff. And that information there, you're going to be just fine. Now on the booth here, we actually do have some tricky things because for instance, we have this band right here. And I want to make sure that this band right here, Benson the best possible way. So I'm going to go here. We're going to go all the way down to the, to the toes. Here on the ball. One thing I'm definitely gonna do is I'm going to add to the front here, I rather have like a very straight line where this thing bends to indicate that the foot is bending in a nice way. So something like this. If I go to the ankle here, you're gonna see that we have a little bit too much influence, I would say so I'm going to smooth some of this influence down. So I don't wanna, I don't want to stretch the booth as much. Or we can go to the knee and just going to add and add a little bit more power to the whole thing here. So now we get this. So there is a little bit of stretching going on, but shouldn't be that Beth will have the heel going back. She looks good. Let's try it. The central bank. So it's, I mean, it's doing, it's doing its job. It's a little bit, thanks a little bit too much there. So let's go back to the Paint Skin Weights. Let's go back to the to the ankle here and just move this thing out. I'm adding a little bit more more weight to the ankle so that we get so the permission looks looks cleaner, right. So we don't want to break the food though. So it's just making sure that this looks as nice as possible. Given the limitations we have, a higher risk, of course will give us a better result. But this one right here. So it's not that bad. We didn't have a limit here, so we should probably limit how far we can go back. We'd like a like a lemon factor, but usually either mirrors or are smart enough to know when to stop. I'm going to go like here. Let me go to the ball. They were really on the ball. So I'm just going to add and definitely paint this whole thing with the ball. The ball should definitely be influencing this area like heavily, heavily, heavily, heavily. That when we do this movement forward and backwards, It's going to keep the booth as straight as possible. There's going to be the information because it's a single mesh. But it's going to look very, very, very nice. So there we go. Now it's just a matter of grabbing the whole thing, in this case, the whole character and doing another mirror. So this keen mirror skin weights and we can check whether or not it's helping with the leg. Yeah. You can see the leg there bending in a nice way. And yeah, I mean, that's that's pretty much it. I would say like This looks good. The head. There's a little bit of movement there on the, I think a thing that might be a little bit too harsh. So let's go back to like next hero. And usually smooth really helps here, especially I think that the head might be a little bit too strong. Yeah. So this is just a smooth all of this out. Let's go to each of the next. Move them as well. So I don't want the next have influenced and right now they don't have anything here because we pretty much got rid of it with the hat. So let's go back here. Smooth, smooth, smooth. Go back to the head, keeps moving. And the more we smooth here, the more we're going to have one more way we're going to have on the neck, which is good for us because you can see here, we're going to start getting some weight back. Now if we grab like the neck here, we wrote it. That might be something that we don't want. So you can see how the hoodie is going all the way up. So let's fix that. And that's probably going to be the chest. So I'm going to go to the chest here. And I'm going to add and I'm going to paint the who the closer to the chest. Like heavily. And we can smooth, of course. Now if we move this thing right here, this shouldn't moment. I think that's still moving a little bit too much. So let's go back to to this. Let's let's paint a little bit more here on the on the chest. So either one the hoodie too much when when he was the head. Let's give it another shot. That's a little bit better. There's one very cool option here, on the skin options. There's this thing called pruned small weights, important to use it every now and then to just clean vertices that have very, very small like influences. Because sometimes the influence jumps from 1 to another and you're gonna get like a point 0, 0, 1 influence somewhere. And the prunes skin weights that I just showed you that cleans that up a little bit and will allow you to have a better result. And the yeah, that's it. I mean, skinning, it says sculpting. It's similar to sculpting. So the more time you invest on the skinning process that the nicer the whole thing is going to be right now I think this looks this looks good. The jaw. I mean, we can make it look better. I think it's it's we're not going to be opening it that much. I think that's perfectly fine. Let's get rid of the screen to rotate. So you can see here we can close the mouth and we can slightly open it in and we get a nice deformations. So for his whole movement like that, I think that's completely fine. And yeah, so everything is pretty much ready for this character. I'm just going to save this. Makes sure that everything is clean here. Grab this geometry here, just bring it out. Grab the geometry, the master control, this guy Control G. And we're going to call this shoulder earache. And we're pretty much done guys. So the next video is going to be our last video and we're going to be doing a very quick animation tests with this guy. I'm just going to do an idle pose and we're going to, we're just going to post them Hill and kind of like a, like an attacker position and have him like breathe a little bit. So hopefully throughout this year's guys, you've learned a lot. Hopefully all of the techniques and exercises that we've done have been helpful for you. As you can see, the rigging a world in the same way as the modeling, texturing any sort of like area of expertise instead of the 3D world, you're going to have a specialties like people are gonna get specialized in this sort of stuff and rigorous that people that are full-time rigorous, they're going to be able to create a more intricate systems, more advanced setups that are going to give the animators are more tools to work for. However, if you wanted to do your own indie game, you who want to do a small production or something doing this kind of breaks, as you can see here, are going to be perfectly fine that you're going to be able to create some very, very nice things. So that's it for this one guys. Hang on tight and I'll see you back on the next and final one. Buh-bye. 44. Soldier Animation Test: Hey guys, welcome to the final part of this series. Today we're gonna be taking a look at the rig and we're going to be putting it into a test. We're going to do an animation. So that's just to make sure that this works in the way we expected it to work. So I'm going to save this real quick here. And I'm going to save this as a soldier. Great, no more intermediate size right there. It's going to say yes. And this is going to be our basic. Now, we never want to animate on the main RIG. We're always going to be using references when we do animations for the other ones, we didn't do that before this one. I'm going to say file create reference. And I'm going to select the soldier rape that we just finished here. And I'm going to reference, and the reason why references are so important is because there are going to be, our day got to allow me to work or to animate the characters without having to worry about modifying any of the things that we normally have. So what I'm gonna do here is I'm going to say Select all by type NURBS curves, except for the first one. I'm going to create a frame there. And let's suppose the character. So I'm going to go for like a, kinda like a relaxed pose. Let's move this foot here. Bring it forward. So this backwards. Let's push the whole character back. A little bit. I went to, I went, I like Having go a little bit for worth kinda like a menacing position, like in an attack position pretty much. So this is something like this. I am going to change to IK. I usually like to animate my characters with IK. And then this hand, since this full list is back, this hand is going to be a little bit forward, like right about there. And then since this foot forward, oh, this guy, this guy is going to be back here. Now this hand, I wanna just like slightly, I think I wanted this to be fixed. So let's show non, show NURBS curves and show geometry so that we only see the character itself. I'm going to turn this off so that we cancel like the geometry which you select this guy right there. And I'm going to make a fist. So make a fist there. You can see there's a couple of spots there and the skinning that we can definitely get better. But for basic animation test, I think we're going to be fine. Let's bring, just go back. I'm going to give it a little bit of variation on a one, all of them to be in the exact same position. I don't want to break the hand though, so let's appropriately and move the fingers here. There we go. Well, the fist, like here. And this one, I just want the hand to be relaxed. So one very common thing is the pinky finger. Your curled up a little bit and then the ring finger, cool little out, a little bit less. And then the index finger, you cool it up only on the first couple of ones. This one, you kind of leave it like Fort Worth and then just bring the thumb in a little bit like this. See how we get a very relaxed hand right there. I like to break the race here, not break it just like a bended little bit. So we have some, some sort of change here. And bringing this guy here. Now there's a very common thing called the contrapposto. So I'm going to, I'm going to like make him go a little bit forward on the, on the right side. We can even use this curve right here. Two, you're going to give this sort of a relaxed look. Let's bring him back right there. This elbow at the only one that bring it back like this. Well, let's bring the hand closer to the body and the elbow a little bit back like this. And look at how beautiful everything just like moves around. Like we can create this very nice like a serine potion in a quite an easy way. So I'm going to select again, select all by type NURBS curves S. And then I'm going to copy this to frame, let's say Frank 10. And then on frame 5, I'm going to I'm going to do like what kind of intense both where he kind of like a goes down goes a little bit for worth. And I'm like I'm in a menacing way. Bring this thing, brings this thing like this. Brings this fist like this. Probably a little bit out. And let's say he moves the eyes like lower, just like this. I'm probably going to move the head up. So now we're going to say Select all by type nurse trips. And we're going to have this boast. He goes down and he goes up. So it's a very simple like a like breathing cycle, if your wish. The, it's just a matter of doing a little bit of offset to get this thing to work a little bit better. So this one, I'm definitely going to bring the fist up. Probably keep it like back here. There we go. Now I am going to again select all by type NURBS curves. I'm going to extend this to like 60 frames cycle. So since it's a soft moment, as you can see there, it's like a soft breathing. And then I'm just going to again select all by type NURBS curves. So like, oh, this guy's copy. Go to this guy. Well, first we need to snap them. So snap, copy everything. Paste it here. So we have 66 frames. Remember that number? 66 paste. Oh, are we okay, let me just select all by type and our scripts. So let's hit S There, is there, and as they're there we go. So now we should be able to copy and paste. What is it breaking? Selectable by type NURBS curves. It should be the exact same one. So I'm not sure where this is breaking. Let's copy. Paste. Very weird. Okay. No worries. We're just going to keep it like here. So what I'm gonna do is I'm just gonna do this manually, was going to say Select all by type NURBS curves. So we have 30 frames, and then let's have this on frame 60, so it's easier to manage. And then we're just going to go here, middle mouse-click to frame 90, S. Go here, middle mouse-click to frame 120 S. Grab here, middle mouse-click to frame a 150 S. Middle mouse, drag this to a 150, Eighty, and there we go. Now I'm going to select like the hands, the torso, and the head. I'm gonna go to my Windows animation Editors, Graph Editor. And I'm going to give them like two frames of offset. And then the hands, we're going to select them. And I'm going to give them two more frames of offset. And now we're going to go to frame that, say like 40. And we're going to end in frame and 99. And then we hit play. We should have this very nice cycle. So very, very soft, very easy cycle, but you can see how the whole rig is working. We have this very nice character moving around and and all of our hard work has now paid off because we are able to have a character that's going to be able to do any sort of thing that we can think about. And the full rig is just working. Reading is not only for animation by the way, I use it quite often when I want to do posters for my portfolio. So don't underestimate of course, I usually don't do this whole process for the rigging when I'm doing a portfolio. But just keep in mind that normally you all of these tools will open a whole lot of opportunities for you guys because you're going to be able to create some very nice things, some very, very nice controllers that Eddie minutes are going to be able to give life to. So that's it for me guys. It's been an honor it again to show you and teach you all of these tools that I've learned throughout the years. Hopefully you guys got a lot of very useful information from this course. Let us know, of course, in the reviews, what things do you like, what things you might want us to improve in the future? Let us know what other kinds of courses you want to see. Make sure to check out our YouTube channel where we upload content frequently of an uploading there for quite a while now, so make sure to check it out. And yeah, that's it for me, guys. Again, it's been an honor. Thank you very much for joining me in this, right. And hopefully, rigging is now something that you're not going to be scared off and you're going to be able to create some very, very cool things. So that's it for me. And this is the last video. So I'll see you back on the next series. Bye bye.