Transcripts
1. Trailer: Rigging have tricky, not
what you would meet. In this course. You'll learn how to rig a
hand from start to finish. This includes adding joints, making controls,
skinning and mirroring. You're finished rank I provided a file that you can use to
follow along with the course. However, if you have your own hand mesh and
you want to use that, Please do by the end of this
course and walk away with a confidence of knowing that
you can rig any hand ever. What are we waiting for? Let's go.
2. Class Project: Hello, welcome back. For this class project, your task will be
to make a image or an animation if you're so
inclined of a rigged hand. This can be the one I provided. Of course, your own. I'm excited to see
what you create. My brain on.
3. Setting up workspace: Before we get started, let's set the scene
with a tracer. Let the code on the left. Let's new shelf. Call it anything. I'll type Skillshare for now. We'll be filling this up
throughout the course. Now, had to file open scene
and add the hand assets. Now, if you can't see
the hand texture, click the textured icon
here or press six. Next, we're going to head to the drop-down box
and select rigging. Select the skeleton tab. And we can pop the wind around by clicking the dotted lines. We're going to need
to create joints. Possibly Mary joints if you
want, later down the line. So let's add them to our newly created tray
by holding Control, Shift and left mouse click. Let's also head to the
skin tab and add bind. And lastly to the Create
tab and add circle. This will make it
faster for us to work in the long run. Nice work. As a bonus, I have added a set of custom curves
you can use to. But enough of that. I think
we're ready for the next one. Let's start rigging.
4. Rigging Stage: All right, Time to rig. First, let's change
our camera view by pressing the spacebar, will head to the top
view and press space. Again. The handy thing about working in the top view is the joints will appear in a formulated space and where we assume
we've put it, try doing the joints
in perspective mode. And you'll see, let's
click on Join tool. Before we get started, click this icon
called X-ray joints. Now we can see where
our joints appear. First joint is at the wrist. Let's name it too. I'll call mine left wrist joint. J and t is short for joint because ain't nobody
got time for the long words. Press Q and click on the viewport to reset
your selection. Grab a new joint and place it between the index and the thumb. This is our thumb twist. Replaced the nets
that the base of the fun and the
last at the bend. This does indeed
mirror the skeleton. So if you're ever
unsure where to place a joint means your body and see
where it bends or rotates, and that is where the joint is. Let's rename them
as left from twist. Left from one joint, left from to join. Reset your selection. And let's do the
same for one finger. Let's turn on
wireframe for this. That way we can see the
exact space the joint should fit between base joint, mid joint, and top joint. Let's name them left
index one joint, left index to joint, and left index three joint. Let's quickly check
perspective mode. The joints aren't
sitting quite right. So let's move them into place. As for the fam, We shall
rotate from joint one, but be careful to select the
ring when you tilt it down. Otherwise you'll be moving
more than one rotation. And that's not good. Now back into top node. Let's duplicate the index
finger and move it into place. Rinse and repeat until
they're all there. We can check the positioning in perspective mode
for safety sake. Gorgeous. He comes upon but at
the base of a finger, how about mid, in
the bottom-left, there's a MEL tab. Type the word select, put a space that high. Highlight what
you've written and middle mouse drag
it to the top bar. Select Mel, and click. Now it's selected the hierarchy. Next, head to the Modify tab. Select search and replace names. In search for type, index. In replace, type MID. Repeat this with ring and pinky. How exciting all
we need to do is connect them so that the roots of each
joint in the outliner. Then middle mouse button
drag to the wrist joint. You better find yourself
down your own time. Yeah.
5. Skinning Stage 1: Okay. We've made the veins we know to put the joints
where things bend. The next step is to connect
the bones to the mesh. To skim the mesh, we must first select the joints. We want to connect
them the mesh. Let's first click
the hand root joint. That's the left wrist. And click our trusty
hierarchy grabbing tool. With Shifts selected
click on the hand mesh. Now under the skin tab, go to bind skin
and click the box. There's lots of
options to help us find the best fit for our model. But you may have to play with the default settings if
the default settings don't fly for you. For now. Bind to on selected joints. Bind method is closest
distance skimming method, classic linear normalized
weights, interactive. And weight is distance
will disallow multiple bind poses and maximum province to
three. The rest is fine. Select Bind skin. The mesh is sticking together. This is because the bone has more influence over a
mesh than it should have. So we have to go in and tell it what it can and can't
be connected to. In fact, our bodies, us this in real life. Let's work smarter very. Select the base of
the index finger and press S to set a keyframe. Move your timeline a bit. I'll move minds of ten
and press S again. Now in between the two, move the finger down, we're going to move
it in the y axis as that's what makes it
go up and down for us. Now, scrubbing
between a keyframe wasn't made for you when
you move the joint down, turn the auto key-frame toggle. They go, Wonderful. Yes, we'll do this
for everything. If you happen to run out
of space on the timeline, JS click the square under the
timeline and drag it out. I purposely miss the thumb twist as we need to do a
little bit extra here. The thumb twist moves in the y, x, and z axis. So let's make sure our
animation reflects this. So first, animate one of the directions by dragging
solely on its loop. Otherwise there'll be extra
data that you don't need. Repeat the process for
the other directions. Good work. Now if we scrub the timeline, we can see the animation. This will speed up our
workflow immensely because we won't
have to stop wait painting just to
see if it worked.
6. weight painting: Now there's two ways to
wait paints and we'll use both so you can choose
what works best for you. Sometimes a healthy
balance is the answer. Let's look away one for an obvious issue that we can
see on the first finger. This part of the finger
is attracted to this joint instead of the
joint that it should be. So let's first isolate this entire finger
by clicking on the mesh right mouse button, select vertex, and click
on the top of that finger. Will now hold Shift and tap
the greater than symbol. This expands our selection. Right mouse button again and
go to Paint Skin Weights. Let's click on our index joint. Everywhere that's white. Or if you have the ramp color on green is controlled
by that joint. Let's make sure our opacity
and value are at 11 is on, zero is off anything in-between. And so, so considerate
Photoshop. And now click flood. That's false. The entire finger to connect
to the root index joint. But that does mean
the other joints in the index don't move, it will change what I'll
vertexes had selected. Press Q to reset the viewport. And this time hold
Shift and the less than button will bring it to the
other side of the middle. Head back to Paint Skin Weights and pick the next index
joint and flood again. Cool. Let's do the same
to the last joint. Cue to leave the view. Reduce are highlighted
vertices and reflux. Nice work. Now we need to make our
center lines less Genki. To make it squeegee. It's just half of the two
joints, it's sitting between. To do this, we can click on
the Join and see who has the most influence
and put our opacity to 0.5 and hold B to
change the size of the radical and paint some influence on you can do this in reverse and paint in the
opposite direction as well. You can also lower the opacity as you go if it's too strong. You may wonder why I'm
putting influence on the top. Wow, this is why real-world
examples are helpful. If you look at my hand, you'll notice when
I bend my finger, not just the area
that unbending bends, but skin around it needs two. What about the other
way of skinning? We can do everything we just did with the secondary
skinning method. But I've found it handy for
removing pesky influences. Head to Windows,
general editors, and grab Component Editor. I'll move the animation
so we can see an odd pool in the
middle finger. Are grabbed my vertex, the tip of the middle finger, expand our selection, then
click on the Component Editor. In the smooth skins tab, we're greeted with
a bunch of numbers. But what's important
is the joint names. The finger where R1
is the middle finger. So we should only see the middle finger
and our selection. So I'll click and drag over the indexes group and
drag to the bottom. Type zero. Then press Enter. This has removed all of
that joint control over it. Let's repeat everything else that doesn't match the finger. I'll do this to all the
digits while I'm here. If we wanted to fill in these
fingers with this tool, while in vertex mode, pick a section of the
mess that needs help. Let's say this bit right here. We can see it's
controlled by two points. We can either click
the number and use the slider type of number in. Remember one is 100 per cent. Centers, usually 5050. So now the ball's in your
court for how you'll do the other fingers and
fun, All of it really. There's no wrong way. As long as the end
result is the same. As we paint our wrist, will find that's what
gives it weight and depth. We're painting. I
think you can see the usefulness of having
animated everything beforehand. Let's select all
of our joints and remove the animation by
right-clicking and delete. Amazing work. Very well done.
7. Creating Controls: We could certainly animate
and control it from here. An animator would
never accept this. If we go to a joint and move it, it creates new positions. Sometimes the rigs joints
won't be at zero by default. And if we tried to zero them, it will reset the point to kinda random position
and not convenient. So we'll be making controls. Head up to our tray and grab the nurbs circle and make
dream and duplicate. The other one will be
on Duplicate base. In group two, let's call
the curve left underscore, index underscore one,
underscore control. Copy the name and
paste on the group. But afterwards, offset grip. We're going to do
all the positions and alterations on the group. So the curve is clean. With the group selected, click the first index joint
and press P for parents. Now zero out the
transforms and unapparent Shift P. Now I want to use the x-axis to
bend the fingers, so I'll rotate the
offset group by ring. We can also change the scale. Great. Duplicate the group. Click the next giant. Parents. Only reset the transforms unless you want to
rotate it again. And repeat. Little note to quickly
grab the group, click your curve and
tap up on the keyboard. Now, the button group
connects to the mid control. The mid group connects
to the route control. Amazing for the others, just duplicate our index group. Repeat. If the other controls aren't in the same position
as their new joins, we can fix them in
the same manner. Repeat for the others. Now I deliberately done the twist loss to
show that we can edit our curves visually rather
than moving its true position. Select the fun twist,
an isolate it. Right mouse button,
select Control Vertex, and grab all the points. Turn off, isolate. And we can now move, scale, rotate and shape it while its
position stays where it is. Let's connect our
joints to the controls. Go to Constrain, pop it off. Select the control
first, then the joint. Then on orients, click the box, keep and maintain elsewhere on to stop unexpected rotation. Apply it. This is going to make
this faster for you. G repeats the last
action you did. Some of the movements aren't
needed for every joint. So let's select our
finger controls. Highlight, translate
in the channel box, right mouse, button,
lock and hide selected. Do the same for everything
else you don't intend to move. I'm only removing all other rotates from
the lower controls. My root controls for
the index fingers, I want to be able
to move sideways. That's how we spread them. And of course, repeat. If we select all the controls
in this hierarchy now, we can middle mouse
button drag them all. Pretty neat. To change the name, we'll use the replace name
trick that we did before. Repeat this for the
fun. And the wrist. Hand is ready to be connected. Select all of the finger groups, then select the risk
control and parent. Now wherever the risk goes, the rest shall follow. Hold on the handcart
move though. They are a chickadee. Usually the rest of the body would be
controlling it for us. But in this case, we can have our risk
control movement instead. First, let's go to the wrist joint and
for cleanliness sake, break connections, then
select the risk control, then the joint and pick
parent constraint. Click the box, maintain
offset and add. That wasn't so hard. Yeah.
8. Bonus Mirroring: Let's say we want two
hands, no problem. Click on the wrist joint. In the skeleton tab. Mirror Joints. Click the box. We can have it all to
replace L with all. And all we have to do is pick the right mirror access for me. That's why Zed then
duplicate the mesh. Group the mesh. And in scale x minus one, we'll name the
group offset group. If we deleted this group, the Transforms would pass
down to the mesh below. So it's always better
to keep it clean. Do the same for the controls. Group. Grab it, duplicate it, flip it, and rename
its offset group. Click the new hand, unlock all of the channels and the channel box and rebind
the hand, the new joints. Reorient them. Reorient them to their controls. Then select our old mesh, select our new mesh, and in the skin tab,
mirror skin weights. Now we got them back
for good measure. Let's make them pretty. Select a control group
and on attributes, display, drawing
overrides, enable and go.
9. Conclusion: You know how to break skin. Add controls, mirror, enemy, hand mesh, that comes your way. I'm so proud of you. This is Ms. Belvedere
signing out. I hope you had fun and
learned something new.
Raye Belvedere, Featured on Adobe Live, Asus Presenter
