The Beginners Guide to Rigging in 3ds Max

1. Promo video: Hello, everyone. My name is Dennis Share Coe and I would like to welcome you to the Beginner's Guide to Regain in Tree DS Max 2000 and 18 Look, have you ever been in a situation where we were sitting in front of your chief be Washington Treaty animated movie? Whoa, gross, Yeah, or playing with your favorite video game and wondered, How did they make these characters move like that? And can I create something like this? Well, if they did it, you too can. And let me tell you something, you have came to the right spot. This course is going to provide you with a solid foundation, along with tips and techniques you can use today to build your own rigs and bring life to your characters. You will start by setting up your model properly and make sure that everything is cleaned up and reset so that you could avoid any issues that may arise later down the road. Next, you'll start this car brand but objects and how to set them directly sold at your character before and behave as it should. After that will be skinning your character to the skeleton you created and make sure to adjust skin waste and correct any skin issues to get very national looking information. Next, you are going to discover how to work with in verse, schematics and kiss ways, as well as building and Mission Control's and link everything back together to create an awesome control system that you can use at the end. Animate and bring life to your characters. And Leslie, you are going to clean up and optimize the rate. So it's so. It is more animated friendly, and everyone enjoy using not to forget assignment that follows at the end so that you can practice what you have acquired throughout the scores. By the end of this course, you will have the skills needed to start immediately, regain your own characters, so without further ado, let's get started. 2. Introduction to Section 01: Hello, everyone. My name is Anna. Share Coe and I would like to welcome you to the Beginner's Guide to regain in three s max 2018 1st of all, I would like to thank you for taking the course. And secondly, congratulations. You have just started the most entertaining journey ever with rigging. You can actually bring life to anything you can imagine. It was It would be a car, an animal, human and robot. A tree. Really? Really. Anything you can imagine. I know you are so excited just like me to get started quickly and die right into this course. But before we do, how about getting first familiar with three DS max interface So you can get the most out of it and the most out of this course. Then we'll talk a little bit about rigging what it is. And why is it so important in the production pipeline? Last step before moving into the fun factor is going to be preparing the actual character model for the reading process. So by the end of this section, you will be ready to dive right into the midst of discourse. So what are we waiting for? Let's get started 3. 01 What's Rigging: Hello, everyone. And welcome in this. Listen, we're going to talk a little bit about rigging what it is and why is it important? Okay, so what is rigging? You may have come across the sermon for throwing a lot in the animation industry. What? Don't know exactly What does it mean? Even though the term may seem a bit over Willman, especially for those who encounter it for the first time, it simply means it's standing up controls to drive a specific model or mesh. Okay, It can get quite complex, no doubt. But that's just the basic definition of what we get is now. You want to break anything? Well, Rig A makes it a lot easier for us to animate objects and animate our characters. It will be impossible to do character animation without regain because you would need some source of control system to set up because you will need some source of control set up to animate a character with or and he made the object. I think the easiest way to think about it is what it looks like without wreg. Just it's culture sliding through the space. So what you regain Artois do is actually add those he put then skin on top of it, and he had controls for an meters to use so that they can crap the performance you see on screen. He is also responsible for setting up facial regain kind of what does it smile looks like and so on. So now that you understand what Ricky is and why it is so essential, let's say we go ahead and we'll watch the next lesson. 4. 02 Getting Familiar With 3ds Max's Interface: Hello, everyone. And welcome in this lesson, we will break down the interface off Tweedy s Max. So, Ugo, this is three DS max. This is your first time to use it. You may get overwhelmed by the massive amount of tools, windows and menus. The reason why is because three DS max is a very robust software, and it is used in many industries. It is used in the film industry, game industry, architectural, visualisation and many, many more. So it is evident to find all these stools and commands over the place. But keep following along with me, because at the end of this wasn't you will have a better rest of the interface and be able to dig right into the main subject of the schools, which is going to be rigging. Okay, So starting with the top section over here, which is called the menu ba, the mill uber can change many commands. Tools and dialogue boxes categorized by topics. Okay. Some commands will have keyboard shortcuts associated with them, as you can see over here. Okay. Right. Beautiful. Next up is the workspace switcher, where we can change the layout of the interface based on remade configurations. Like, for instance, e design standard. Let me select it. Which is kind off a customized to fit the needs off architectural designers or people used to work with the order. Ask rev it and similar software's. Now, let me go back to the default interface. Tarai two. Wonderful. Underneath. That is the mean toolbar. You re confined many off the popular tools you will be using all the time. Like, for instance, the link toe Lincoln tools. Okay, the selection tools removed. Toe rotate. Oh, scale. Toe the snap tools over here and the Layer Explorer as well as the rendering buttons. OK, to the right hand side of the interface is the command panel. This is actually where we will spend most of your time creating and many populating your objects. Okay, like so we will go deeper into the command panel and many off its tabs as we progress through the course. Okay. The bottom part off the interface contains many sections. Like, for instance, the timeline dedicated for the animation as well as the playback controls and the view port navigation tools. Okay. Okay. Cool for to the left is the scene explorer confined any object listed by name over you. You can select your objects from you like so as well as hiding and freezing your objects. You can also filter out the display it from these icons over a year so that you can list on Lee a certain type off objects within your seen horizon. Excellent. And now the big real estate you see in the middle is dedicated to the report windows. These are actually your window to the treaty. Whoa, where we can see okay and manage all your objects in this scene. Okay, Cool. Judy s Max comes by the fault with a four quad windows. Once you can change this configuration right from you to anything you find or any configuration may work best for you. Like, for example, this one over you let me go back to the default What? You port to navigate the view because you can see you can use these reports navigation chose like, for instance, the zoom toe or the pen to as well as the orbit to or a much effective way to do it is using the keyboard shortcut. If you want to, for example, wrote it around your object wrists and hold the old key on your keyboard as well as the middle mouse button. Then start dragging with your mouth, as you can see. Okay, Super cool to zoom in and out. Hold down the control Olt and the middle mouse button, then rag up and down to zoom in and out on your objects. Okay, Notice how the zoom is taken effect around the mouse cursor where the green feel appears she does, and zoom is actually very smooth. As you can see, you can also use the mouse will to perform resuming. But this is sort off like an incremental so zooming and may not give you your touch The type of control you are looking for. Okay. To move sideways, simply rest middle mouse button while bragging to any direction you would like. Okay. And last, but not least, to maximize or minimize your view. Port window. Press the old w on your keyboard and Paula to minimize its again. Rest again the old w. And there we have it. Okay, super cool. So that's pretty much it for this lesson. We have seen the various aspects off three DS max interface in the next lesson, we will start working on our mean project and first thing we'll do is prepared the character for rigging. 5. 03 Preparing Your Model For Rigging: Hello, everyone and welcome. And this lesson. We're going to prepare our model for the give process. So before proceeding into the rigging process, it is a good idea. Just been sometime naming your objects rapidly so you can find and select them easily. A good naming convention will certainly save you a lot of time down the road, especially when time comes, or the skinning stage, which will be looking at in this course. Also, another thing you can do is to make sure that you clean up your mess and your scene. What does this mean is to make sure that every everything that is going to be skinned and they formed, he's reset so that you have the deformation is you want and avoid any issues that may rise when you overlooked step. What's before that? Look at your models resolution. If it's too high, then you may want to reduce the amount of resolution of you geometry. Would you object selected? Go over to the modify tab within the command panel. Look for deep subdivision rollout. If you can't find it right, click shoes, clothes oh, and then choose subdivision surface off to that uncheck the use nerves. Subdivision option? No. If this option we means on and you reset your objects, then the high resolution geometry will be baked into Amado and that will give you a necessary points and polygons that will eventually make the skinny process much more longer and difficult as well. So working with their lower resolution model is going to be more efficient with pure points and all the guns to deal with you can. Then, after that, after the reading process is done, you could add a true go smooth, more The fire, which will give you a very smooth and organic looking deformation now, speaking with points and polygons, may want to check the topology off your mish. Where I mean by that is look for any unwanted polygons and burgesses which may cause weird informations at the end. Enter the four that entered the were texts up objects more and double check for any additional and unwanted vertex like, for example, this vertex right here that doesn't serve any purpose at all, which may have been left, I think, somewhere doing the modeling process. So the late this vortex, by choosing you remove command from the edit virtue sees rollout. This will injure that Onley. The vertex is removed. Now, if you select a vertex and hit the delayed key will choose the delete option from the edit menu. Notice that all the attached polygons have been delivered as well. So be careful about that. Always choose their move. Command from the edit vortices, rollout or a faster way would be to control back space. Okay, there's also a Vertex right here. Select the Vertex. And do you think they removed you men? Okay, Cool. Now that our model is clean, you can proceed to the next step, Which is we setting more model? What I mean by we said the model is get with off any old data which may influence badly reading process. Go over to do you tool cheese tab and select the Reset Expo Command then hit you We set selected button. Now, if you go back to the modify tab, you'll notice that a brand new modifier killed X foam has bean added. This is basically what contains the old data and information off Gomes. Now you have to tell TDs Max that this is then you mesh to start from you can do that easily by going back to the utilities panel or tab and choosing the collapse. Commend for the output type. Choose the modifier. Stock result now. Why not selecting the mesh option? Well, the modifier step results option will injure that your object type were mean as the way it was before collapsing your mesh Just to give you an idea. If it was an edit, will mesh. It were mean. And, added Gomes, If it was an edible Polly, it were mean and edit. Will Polly. And so now with the modifier stack results option selected. Choose gloves selected and go back over to the modify. Look, how clean is the model right now. Okay, great. Now something else you may want to do is to fleas or objects transforms. What that will do is, let's say, for example, that you accidentally moved more objects and want to bring it back trees with his position . Now doing that by hand will be a cumbersome and very time consuming process, not to mention in a fuller Richt model that has dozens off controls, especially when posing your character and wanting to go back to the standard cheap owes so the best practice is to Ault like Click and choose these transforms option from the animation quart menu. Three DS max Will brought you that any animation or your model will be removed. Keeping that in mind and leak. Yes. Now notice what I move the model simply old, right, click and choose transformed to zero. And there you have it, a very neat way to bring your objects back to the default position. Also, to prevent your objects from being selected and moved accidentally, but you could do is to store your models in separate layers. You could do that easily by going to the Layer Explorer. Add a new layer and you're free to rename your layer anything you want. I will call it Model Layer and then select all of your objects and move them and drag them to the newly created layer. Now you have the possible a teacher either show or hide individual objects or show or hide the entire objects. Also, you have the possibility to fees. Objects. When you're objects are frozen, you cannot select them all. And this is a good thing and a very convenient thing when we gain and what you get with this gray. She did type of color. What you would do is to unfreeze your objects, select all of your objects, then right? Click and choose object properties. And from the dialog box, make sure Teoh uncheck show frozen in great and click. Ok, okay. Very cool. Now, one last thing to do is to activate. We activate the default layer and this will change and that by clicking on the icons layer . And this will ensure that any newly created object will be stored automatically under the default player and not under any frozen or hidden layers. Now let you to do the same thing for the remaining objects and applied all off the techniques we have seen in this lesson. And in the next listen, we will start creating this skeleton for our little friend. 6. Introduction to Section 02: Hello, everyone. My name is Anna Share Coe and I would like to welcome you to the Beginner's Guide to regain in three DS max 2000 and 18. So in this section of the course, he will start building the skeleton off your character. The skeleton is the most important component ingredient rigging a caricature, a character model, its own can't be animated. In fact, for any mission, ecstatic model needs to be to bend to twist expended acceptable bone objects are solution and for the most part, bones should be placed exactly where they will be in riel ward Skeleton K. So you will start by creating the leg and foot bones. And as you go along, you will be discovering Jules tips and techniques that it can use to make sure that the bone objects are placed properly and following a logical hierarchy in order for the rig to work properly. Okay, after that, you will move on and start working on the upper body. Your character. You will first create the pelvis bone and work your way up by creating the route and back and chest bones. Following that, you will build me neck and head bones and you will wrap things up by creating the arm and finger bones and mirroring your entire arm chain to the other side. By the end of this section, you will have created the skeleton of the character. So without further ado, let's get started with the leg chain. 7. 04 Creating Leg Bones: Hello, everyone, and welcome this lesson. We will start creating the leg bones for our little friend. So in the previous lesson, we have seen some techniques that you can use to make sure your model is clean and ready for again. You have seen how to clean up your mess, how to reset your mesh and get rid off any old data, which may affect the performance off the rig and also how to fleas, rest forms and story of objects in layers. As you can see, right now, the mobile is ready and in the best state for the rigging process. But before we do that, let's talk a little bit about bones or joints as a first, You in other applications, we can access the bones by either going to the systems found within the create tab in the command panel, and there is the bones tools or go into the animation menu and selecting the bone tools. This last method is actually the best. Why, because the bun choose provides you with a number off useful features and options to efficiently create and control the behavior of your bones. So what's our bows and why we use them. If you select, you create balls command click to place your first bone, pivots and then drag without holding any mouse button. And then, like again to create the next pivot point and so on. You can create any number off ones you would like right click to exit the creation process . Then right click again to exit from the great ones command. You can think off these words like the burns off the human. They are used to the four your model around specific pivot point. If you look closely at the bone objects and play around with them, you will find that a hierarchy has been created automatically save you time and effort. And this is why every working artist refer using them over other objects. Pretty awesome, right? So now we will start reaching the actual leg bone. What's before doing that? Let's delete. He's going Objects either selection all the bones and either choosing the Belief Command from the edit menu or question that the late key I recommend that you always start situation from an autograph IQ view. Why is that simply because if you were to 48 for example, bones in the respective you notice how you're it looks like it's actually perpendicular to the screen. But in fact, if you orbit around the scene, you will discover that his lies flat underground, which is not what we want, at least in our case. So the leech off these objects then press the old W to minimize the perspective, you port, then go to the A side view. For example, just a side view. It doesn't matter. Actually, either left or right, you can work with whatever you want. It's all to W to maximize the report window. And then there s the F tree to display your model as wire frames. As you can see, the mother displays as a great wire friend color, which may be somewhat confusing, especially when you will start placing your bone objects because they also come a grayish color. So the best practice will be to change this wire frame, color, aim or darker tone. That way, you can see clearly where you place your both to do that, select all of your objects, then go over to the color palette and shoes. Maybe, let's say, a bluish color. Why not just something bunker to give us the counter us we are looking for and click. OK, look now how It's much more convenient to place. We're going object. All right, very go overall. When you are placing were born objects, you may want to take account the topology of your geometry. Don't for the knee bone, for example, to rotate around the pelvis with you. Something else you may want to check. Easy preferred Angle off your bones This natural bent. Don't panic. This is actually just me driving on top of the screen with a software dedicated for that. This natural bend on the character leg is known as the preferred angle. You have to follow this preferred angle when you get to your leg. Goes in order to get the correct behavior when setting up in verse. Guinea Maddox Now what is Converse? Came at X Inverse Cinematics is a technique used to simulate realistic limp animations like legs or arms. Don't worry. We'll be looking at in verse schematics very soon. So just to make sure you get very natural looking results, you have to follow this referred angle. Besides, you may want to make sure that your objects are frozen by going over to the Layer Explorer and freezing your model layer. This will prevent you from selection and moving your objects accidentally. Okay, very cool. No, go ahead to the animation menu, then choose the bone tools. Click on the Create Bones Command and thought by placing the first bone, which is going to be the Thai bone. Click and drag your mouse with doubts, holding any mouse button to the knee area. Then click again Sichuan E Bone. Then last click. Let me repeat this process so, like under create wants command and start by placing the first phone. Then click and drag your mouse without holding any mouse button to the knee area. Then, like again to sit your knee bone. Then last click to create the last bone, which is going to be the ankle. Though it's the declaration process. Just right click. Actually, this last one created is the end off the shame, and we not be used in the skinny process. It is just there to just help us in the setting off the actual like system of trouble talking about upcoming lesson. So if you ever run it to tweet the placement of your bone objects. You can do that easily by going to the bone edit mode. Now, when you start, move your bones around, notice how you can move the pope given point off your bone independently from the rest off the shame. However, if you exit from the bone at it mode and start moving your bone objects around, notice how the Shane is somewhat luck. So keep that in mind now. Since you are here, I will show you another useful trick. Let's say, for example, that if you were in the bone edit mode and start moving one object, the pivot points move independently from the rest of the hierarchy, as usual. But if you double click on a selected bone, noticed that all off its Children or selected and now you can offsets your entire selection and reposition your objects however you want. Okay, awesome. Now check for the placement of the bus I made. Bring gets bone just a little back to the back, a little bit to the top, just a different a little bit now. Everything seems to be very good. Okay, Now you can exit from the bone edit mode and everything looks three good from the side view now turned back over to the perspective. You off w to minimize the view port window. Then maximize the report window for the respected view port by old w. Then make sure you place your bones. You born objects. Probably double click on the taipan to select all of its Children and move them to fit within the left leg off a little friend. Okay. Very cool. I might more of this just a little bit to the left, but everything seems to be very good. Okay, All right. Now, as far as name your objects, every bone that is going to influence the model is going to be given a prefix off bone. All I would by and under school. No. Since we moved this change to the left side. And then you can add the road off this bone, which is going to be in this case if I bone so under school m under school, sigh. So the naming will be. So the naming would be Don't under school. L underscore time for their meaning, Bones. It is just a mirror off copying and sweating. Sorry with chin. No knowing that this last bone objects were not influence. The model. Yeah, good idea would be to give it a prefects off bone and under school. L underscore Ankle. You will see later how this naming convention will come very handy. When you get to the skinny process. What's everybody? Objects is placed where it needs to be. It's now a good idea to freeze transforms on these objects. However, it should be noted that if you were to move or rotate your bone objects right now and old right, click and then choose dress from zero. Notice what happens. You cannot set your objects back to where it was originally. Because it's transforms are not frozen yet. So undo back And with the Thai selected, make sure to select all the entire hierarchy and deaths by double clicking on the parent. Also right, click and choose to his transforms. So now, if you were to what eight. Your object. Simply old, right click Choose transform to zero and there you have it. The chain will pop back to the default position. All right. Awesome. Now that you have seen how to create the leg bones in the next lesson, you will continue this process by creating footballs for our friend Calvin 8. 05 Creating the Foot Bones: Hello, everyone. And welcome in this lesson, we will start waiting the foot bones for our little friend. Now, we're probably asking yourselves why we didn't build a football just yet. The reason why is you want to keep it separate just so that you have full control over it and get an ideal orientation of the foot. When you will be creating the football, you have to make sure that it connects back properly to the like chain. So let's say we begin. Go ahead to the side, view out w to minimize your respective you then vote w again within the right of you to maximize it, go over to the animation menu, then select the bone. Choose and then choose the create bones. No, instead, off clicking right on top. Off this end bone, you may want to click just close to it in order to create a brand new chain. Why? Well, let me show you what I mean by that. If you were to click directly right on top of this end alone notice that's notice. What happens? You are adding to the previous like chain, which is not what we want, at least in our case, so the best practice will be to let me undo back, so the best practice will be to click just close to this. End the bone click to float the ankle bar, then drag without holding any mouse button. Click again where the foot bone is supposed to be, then drag again and last click to set the toe bone right click to and the creation process . Then right click again to exit from to create goes command. As always, please check the placement off your bone objects from every other direction, just to make sure it fits nicely within your model. For that, go ahead to the respective you port. As you can see, the football must be aligned properly with the leg buns. So the best way to snap the shoot boat to the right place is by using what's known as the quick allying to the hockey. For that is, shift A with the foot bone selected press shift A or go over to the quick align tool found in the main Tovar Now is that you are in the quick line mode right now, so when the cursor changes, click right on top of the bone, and there you have it. Great. From here, you're free to slant the football just a little bit to fit properly within the foot off our friend. You can do that easily by going to the rotate to or by hitting the wiki and then choosing either the view or the world more from the coordinate system. Now you can wrote it. You can start rotating or bone objects to get it oriented properly. All right, all right. Very cool. Now make sure to link the foot back to do like chain. You can do that easily, but by choosing the link tool found within the me into a wall, go and grab de football the ankle bone, which is going to be skin to, and then click and drag. You're left mouse button and dragged to the end bone off the leg chain in tow. Your cursor changes. Then release your mouse button. Now check this out. If you were to rotate your chin bone, I noticed that the entire chain follows properly. How cool is that Now? Something to keep in mind is that if you want your rotation gizmo July, not properly would do way your objects are oriented, then you may want to change from the world mode to either the game bow or the local mode. Both gimbal and local mouth are very important modes for animation because they show you the true orientation off your objects. Now take a look. Now take a look. How the orientation of the rich or rotation gives more solos up correctly with the way the shin is oriented. Now, to finish this up, take some time renaming your objects your bone objects for this burn, for example, it will be given a name off bone underscore l under school ankle for the next burn, Give it a name off burn underscore l underscore foot. And lastly, this end bone will be given a name off bone And this bone is actually we not be skin too. This is why Because we call this bone and and then followed by underscore underscore toe And, as always, take some time to freeze your objects, transforms to make sure everything is set correctly and can be restored to this original position. Select all of your objects then old right click Choose three. Set transforms hit Yes, button. And there you have it? Great. Now that you have seen how to create the food chain off our little friend. In the next lesson, we will take a look at how to mirror this entire chain over to the right side. 9. 06 Mirroring The Entire Leg Chain: Hello, everyone and welcome in this lesson we will be mirroring are bone objects cross to the other side. Now, as for as the left, Shane is concerned. Everything seems to be fine and the right spot. So what you have to do now is mirror the shame over to the other side. To do that, go over to the animation menu and again select the bone tools and with the left root selected, double click to select the entire hierarchy. Then choose the mirror command. Now you will not see any difference unless you use the offset parameter to place you cloned objects. Now, if the values are somewhat increasing or decreasing in a fast way, hold down the Ault key while Draghi and notice how slowly the values change. However, if you want to implement in a very fast manner, hold down the control key while dragon. Okay, very cool. So starting with the mirror access section, it allows you to choose which direction you want to mirror your bone object cross. You can either select the X axis or the white access is the access the X Y access Y Z access or dizzy X access. But In this case, you may want to choose the X access because if you look closely to the world gizmo found in the lower left corner, you will truly notice that the X is broken. Get direction where the other side off the character life. But make sure to offset your bone objects with a negative value to go in the opposite X direction. Here is the positive X direction and this is okay, opposites or the negative X direction according to this world gizmo. Now for the boon access to flip section, they are this. These are very important options to be where off. If you were to choose the first option, which is the white option, Let me enter a value right here, for example, minus 10. Let's see work now, if you were to choose the first option, which is the white option and click OK, then select the rotate to and switch to the local coordinates system. The local mode will also show you the two orientation off your objects and make sure while rotating around each, give it point by selecting the used pivot point center near some nested options right here . But in this case. You want to use this first option, which is used Pivot point center. Now, when you start rotating, your objects were born. Objects. Check this out. Get a mirror effect. Actually, tds Max has flipped the orientation off these bonds in order to get this mirroring behaviour, whoever. Now, if you were to choose the other option, which is the Z access, and then she's OK. It is almost like if you have just cloned your bone object. None off these bone objects. Orientation has flipped and does you will not get the mirroring behaviour we saw recently. What changed your chances are you want to stick with the Why? Access option. Now, as you can see, when I start adjusting the offset parameter, Lawrence, I'm just guessing we're supposed to be on the right side. Sometimes that will work just fine. But what if you wanted to be mirrored in the exact position on the other side? Well, let me show you a really neat way to do that. First thing to do is to create a point helper. This is just a temporary object which will be using to get right position on the original object. Then you will be mirroring it across to the other side and then snap your duplicated bar objects to the point helper position. Now go ahead to D create tap within the command panel, choose helpers, and then select the point helper like under grid to create a new one. Feel free to select any type off display you would like just for convenience. I will choose the cross option, then right click to exit the tour. Next thing to do would be lining this helper to the original left like chain. We did won't help us elected breast shift a or go over to the mean full bore and select the quick align to link on the left Thai bone. And now, with either the view or the world mode selected within the co ordinates space system and because you want to mirror your objects across the X axis, change this value to deal reciprocal. What I mean by that is change it from a positive to a negative value and then hit. Okay. And there you have it. Your point helper now has been mirrored perfectly to the other side and now you would want to align. You're gon leg chain to the mirrored point helper. Now with dick Lonely like change selected press shift A or click on the quick align toe found within the metal bar and click right on top off the point helper and viola. Your leg chain now is mirrored perfectly to the other side without having to guess where to position your bone objects using the offset for amateur. Alright, Awesome. One last thing to do is take some time to let the late this point helper because he has done his job. Now take some time to rename your objects. So select the newly created object for example of the type bone and get rid off the suffix mirrored. Then you would want to replace the underscore. L underscore with an underscore are underscore time. I will let you do the same thing for the other bone objects. And don't forget to select all of your objects and squeeze their transforms by also like legs choose. Freeze transforms you like Okay. And there you have it and that's it for this lesson you have seen now how to mirror were bone objects over to the other side. In the next lesson, we will be creating the torso bone 10. 07 Creating The Torso Bones: Hello, everyone. And welcome in this lesson, we will be creating the torso bones for our little friend. So before proceeding through the creation process, I would like to mention something very important that you have to be where and that is when you start creating your torso burns. We'll have to make sure that they are perfectly centered between the two tie ones. Why is that? Well, when the character starts bending forward and backward, you don't want the knees to be shaking. Let me show you exactly what I mean by that. So I will start by creating a simple torso bones by going to the animation and selecting the bone tools, then selecting the creates bones command. And then I will create quickly a bone object. Then, using the move to I'm going to shift it over to the appropriate lace. To me, it looks fine. It looks like Well, it is centered perfectly and line wind up correctly with the to tie bones. But actually it is not. And to further illustrate what can happen, I'm going to create some I k controls. But before doing that, I'm going to link these two type of to the newly created torso gone. Don't panic. This is just for the sake off demonstration, and we will be seen these things in more detail in upcoming lessons, so I will use the like a you'll to demonstrate what can happen. Now check this out when I'm start. When I start rotating the torso, bone forward and backward notice what's going to have to be happening to the knee. Don't the knee bones actually start shaking and leveling all around the place? And this isn't hot a good thing at all. So to prevent this from happening, a nice little trick to use is incorporating the position constrain into the workflow. So let me and due back, oh, of these changes. And this time let's do this together. So head over to the animation menu and choose the bone tools now to create a straight one object turned on the snapping show by going either to the snatcher, the mean Togo right click to open the dialog box, Then make sure that the grid points option is selected. Close this window and risk either the s key or click on the snot snap icon in the main tool bore to activate the to notice that your cursor snaps to each with intersection Perico. Now we're H one simple torso bone, right click to integration process, then right click again to exit the tool Risk the s key to turn off its napping. Now with the newly created bone objects route selected Go over to the animation menu, but this time go to the constraints sub menu and choose the position Constrain. You will notice a dash line emerging from the torso bone and telling you to select the object you want to constrain to click on one off the timers. Now to see clearly what happens? Change to the perspective, you and take a look. The torso route has snapped to the selected type bones position and now the position of the torso is controlled by the position off the tie go. This resembles the traditional linking or parenting as you may have heard of it before. But actually it is not Onley. The position is now being controlled and if you were to rotate, nothing happens. So this gives you more control over the linking off your objects and also provides you with weight parameters to even control the link behavior. Now with the torso route selected, go over to do motion tab within the command panel. Make sure that you are selecting the position option and the position. And make sure also that the position constrain is selected by double clicking on its name within the position list and then shake for the position constrained. Roll up. You will notice that the Thai bone object is listed here as a target object. This means that Onley, the type bone, now is controlling the torso bone. Now, if you were to add the other time bone objects by choosing the ad position target and selecting the other type bone, Look what happened now Both type guys are controlling the torso bone with an equal amount with an equal weight amount off 50 50 and hence you get this averaged position and this actually what gives you this perfect center? What you have to do now is freeze your torso bone transforms to clear out. This can swing and there you have it. A perfect centered torso. Excellent. Now just the length of the torso. By going to the animation menu and selecting the gun tools. Then enter the bone edit mode and start adjusting the tip ball by shifting the T bone. Look right where the base off the neck is free to turn on and off the wire frame mode by pressing the factory to see clearly. Where? Your position. Okay, tip. Don't. Okay, this seems very good. Now, less split. This this is going to get more flexibility in the way our character will bend his upper body. So with the dawn tools, when the open choose the refine command. Now it is just a matter off clicking where you would like to segment this like once to create the back about then, like again to sit the chest. Go then right leg to exit the two. Okay, beautiful. One thing like to do is renaming your object. So the route but will be called since this happens to be in the center which will be renamed to bone underscore route next well will be renamed to burn. Underscore back next bone will be renamed to burn underscore chest and the tip, Bown says will not be skint. You will be called bone and underscore chest. All right, raid. So that's it for this lesson. You have seen how to create and center perfectly the torso chain. In the next lesson, we will continue quite creating deep pelvis bone. 11. 08 Creating The Pelvis Bone: hell, however, one and welcome in this lesson, we will continue by creating the pelvis bone for our little friend. So this is going to be a very straight for process, as you have done previously. You will create a straight one, then shifted to the right place. Change to the side view and head over to the animation menu and again select the bone tools selectively create goes command and over over the snap to right click to open the grid and snap settings. Then make sure that the grid points option is selected. Then close the window. Either click on the snap, tool, icon or rest. The s key to activate the tour more is that your cursor snaps to the grid into sections and now like to create the pelvis bone, then move down and click again to create the tip bone right click to and the creation process. Then right click again to exit the tool. Risk the s key to turn off snapping. All right, Very cool. Now it is just a matter off selecting the Elvis route and shifting it over to the right spot. You can simply do that by grabbing the pelvis route and pressing you shift a or selecting the quick aligned to from the main toolbar. So then you would like to click on the route. Go then go back to the perspective. You to make sure that's the pelvis. Bill is properly placed. All right. Very good. Everything seems to be in the right blaze. Okay, cool. If the pelvis seems to be in a little bit larger with it selected, feel free to go to the modify tab within the command panel and sit the wit and what toe. Let's say Jewell, for example, this seems to be very nice. And a nice little trick I would like to show you is is that if your end bone it is somewhat not a line with the rest of the hierarchy or its size is kind of different, and you like for the end bone toe, inherit the same scale and orientation off its parent, which is in this case, the pelvis bone is what you condone. You simply believe simply delete this end boat and in the bone tools with off course, the pelvis bone selected click on the create and go and one up, a perfect end goal has bean created. Okay, Beautiful. Now it is just a mirror off. Moving the Tiber upward with the edit bone edit mode to fit nicely within the body. Wolf, our little friend. How cool is that? Now it's time to link objects together with the link to selected from the main Tobar. Connect the pelvis to the Woburn and the two Thai bones will be linked to the pelvis bone. And there you have it. Now the route. Act like a sender. Center off gravity and drives every order. Bone object. See that? Okay. Very cool. Next thing to do is renaming your new bone object. The pelvis bone will be given a name off. Don't underscore Elvis. And for the tip bone, give it a name off. Let's say bone end. Underscore Elvis. Since it will not be skinned to course now to finish this up, double click on the route. Go to select the entire hierarchy. Old right, click and choose. Freeze transforms. Hit the X button And there you have it. Okay, beautiful. So that's it for this lesson. You have seen how to create the pelvis bone. In the next lesson, we will continue by creating the neck and head bones 12. 09 Creating The Neck And Head Bones: Hello, everyone. And welcome in this lesson, we will continue by creating the neck and head boats for our little friend. So this also is going to be a very straightforward process. Change to the side view and head over to the animation menu and again select the boat tools . Now choose to create bones. And now, for the next boat, you would want to click right near the chip bone off the chest. Don't worry. You will fix this position in a bit. Now, as far as the head bone is concerned, it might be kind of confusing to figure out where the pivot should be. If you are animating a real sick time off character, then we would want to make sure that the head pivots from right around the ear closer to do lower parts of it. But for this type of stylized character, it might be just fine to go ahead and click where the head actually start right around this point. So let's do that. Then go all the way up and last click to set the tip, though, right click to end the creation process. Then right click again. Exit the tool. All right, awesome. Now, to fix the neck bone position, enter the bone, edit mouth, then with the neck on selected. Press the shift A or like on the week aligned to down in the mental bar and now click right on top off the tip, though, and very have it now. As far as this tip bone is concerned in some complex regs, you may want to keep it and keep the head and bone change. Separate for more control over direct, but in our case, you will just delayed it and connect the two the two chains back together. So with the tip bone selected, either hit with Lakey or head over to the edit menu and choose to the lake amend and with the link tool selected from the main Tovar, Connect the neck bone back to the chest bow and check this out. Everything follows nicely. Very cool. And now let's Renee these new bones so the neck bone will be given a name off bone on the score neck. Following that, the head bone will be giving the name off bone underscore head and for the tip, go the head. Give it a name off bone going end. Underscore head To finish this up, select the entire hierarchy by double clicking on the route. One object and guess what? Let's phrase transforms so oh, right. Click and choose. Freeze transforms. All right. Very cool. Nice old right. Click again and choose. Transform to zero. Everything works as expected. Okay, beautiful. So that's it for this lesson. You have seen how to create the neck and head bones in the next western. We will move on to create some I bones. 13. 10 Creating Eye Bones: Hello, everyone. And welcome in this lesson, we will move on to create some my bones. So before you go ahead and start creating the my bones, you have to make sure that we were taking the guys. They are not leaving their sockets. And to do that, simply head over to the layer Explorer. And one freeze the model layer from here, grab the left eye. And by pressing the e key to get the rotate Oh, start rotating and check this out. The eyes pivot point is located in the right spot. Very cool. Now do the same thing for the opposite. I nice. No, let me show you what can happen in the pivot point off. The I is not laced properly. And to do that, I'm going to head over to the hierarchy tab within the command panel and within the pivot section, I'm going to choose effect because Onley which will allow me to change the place off the pivot point off my object. Now I am going to offset the paper point just a little bit and click again on the effects people on Lee to exit the mo And now watch this notice how the eye is at is actually leaving its socket. And this is not a good thing to have. So to fix this, choose again, affect pivots on Lee mode and now choose the center to object, which is going to center the pivot point of the object. And there you have it. Everything works beautifully. All right. Awesome. Now let's start creating the actual eyeballs. So as you did before, you will be snapping to the grid to create a straight down. So change to the side view and hit over to the animation menu and choose the bone tools. Select the we ate bones command, then over over the snap to right click to open the grid and snap settings, make sure that the grip points option is checked. Then close the window. Either click on the S key or click on the snatcher icon to activate the tour. Notice that the cursor is snapping to degrade intersections and now click to create the eye bone and last click to create the tipo right collector and the creation process. Then right click again to exit the tour. Risk the s key to turn off snapping. Okay, beautiful. Now because you will have to line your newly created Boone object with the pivot points off the actual I geometry, head over to the layer Explorer and unfreeze the model layer. It was frozen before on Freeze it and let me do that. Okay, now it is frozen with the I got selected. Either press the shift A Yeah, click on the quick line tool found in the mental bar. Then click right on top off the eyeball geometry. And there you have it. You can see that the pivot point off the eye off the iPhone is matching perfectly with the pivot point off the eye itself. Very cool. Now freeze in model layer so that you don't accidentally move or select any unwanted objects. Very cool. Now, fifth week to tweak the length off the AIBA by going to the animation menu and choosing bone tools and would be don't edit most chosen. And with the movoto we have the t bone and move it backward in the Y direction. All right. Okay. Awesome. So now let's mirror this newborn object to the other side. No need to use the mirror command down in the bone. Chose dialog box because there is no weird slant in the eye bone that may cause you to use American men. So the quickest way to do that is to simply select and duplicate. You're Aibos. By pressing the control the from the clone options Dialog box. Choose, become the copy option and click. OK, And now you were going to offset your duplicated bone objects just a little bit from the original chain, either in the view or in the wall known coordinate system. Okay, awesome. And here is the interesting part. Now select your original I chain and because you would want to mirror across the X axes, as you have seen when we talked about how to mirror the leg chain, just copy the X value and based it in the X field off the newly cloned I bone just like that. Okay, you will notice that the clone chain pops back to its original position, but by adding the minus sign to the X value watch what's happened. You get a perfect mirroring effect. But at this how cool is that? Austin. Now it's signed. The link objects together, So with boat I bones selected, click on the link tool found in the Mitchell war and connects them back to the bone that is going to control them and which is, in this case, the head. And check this out. Everything follows correctly or some stuff. Very cool. Now, to finish this up, select the route One object, double click to select the entire hierarchy. Then also right leg and shoes Frees, transforms like Okay. All right. Beautiful. One last thing to do now is we're naming your new bone object. So for the left, I bone give it a name. Off bone. Underscore. L underscore by and for the tip bone and under school. L underscore I for the right side. I will leave it to you. It just a matter off using the same names off the left side. But exchanging the underscore l underscore with an underscore are underscore. And there you have it. So that's it for this lesson. You have seen have to create I bones In the next lesson, who will start creating the arm chain 14. 11 Creating The Arm Bones: Hello, everyone. And welcome in this lesson, we will be building the arm bones. So everything have created so far. Looks beautiful. Now, before diving right into the creation process, it is a good idea to switch over to the top view as it will be much more easier to see the placement off your bone object from that view. So the quickest way to do that is by pressing the tea and welcome to the W Yeah, from here, What Can Dio is basically going over to the animation menu and choose in the bone tools. Okay, Now choose to create one commands and with a second, everything seems to be very confusing right here with all these wire frame lines and bone objects. But no worries. Just create your bond object right away because you will be tweaking the position off the bones shortly with the bone edit mouth in the bone tools. Now, remember what we have said about the preferred tango. Well, also, here you would want to be very careful when placing your bone object this natural bend off . The character is what I'm talking about. And this is what's known as the preferred angle so to get very natural looking results and for the inverse schematics to work properly and then the are in the right direction. You have to follow this referred angle when you create your arm chain. So let's get started. Click once to create the clavicle bomb, then the shoulder wrong next. Next one is going to be the elbow, then the hand down or the worst phone. Call it whatever we want. And finally, the tip don't right click to end the creation process. Then right click again to exit door. All right, cool. From their change to the perspective, view can quickly do that by heading the Beaky or your keyboard. Now the actual our Jane life underground. And that's not what you want, of course. So with the move tool selected where the roads of the new shame and move it upward so that it fits nicely within the arm off our friend. There you have it. There we go just a little bit. Okay. Very cool. Now feel free to turn the wire frame mode on and off by pressing the F tree on your keyboard so that you can better place the arm chain all right. Beautiful smoothie. Just a little bit. A port. Okay, Very cool. Now, from here, switch to the front view by pressing the F key on your keyboard, feel free to move the chain. Just a little bit awkward and rotation. It's downward just slightly. All right. Very cool. Now you will start adjusting the bone position in the right spot. So start by choosing the bone at it mouth. And after that, select the clavicle dome. If you want to, you can switch from the view mode to the local mountain. This will allow you your twist, transformation gizmo to follow the orientation off your selected object. Now, now you would want to imagine a line. Oops. Let me go back to the front view. Now we want to imagine a line coming from the neck like this and it line coming from the arm itself like this. This intersection right here is what will give you the best position to place your clavicle bone in the reason why is because this spot right here is what will give you a more accurate clavicle movement, which we not goes any were neck deformation at the end or gave in when you rotate the clavicle up. Now let's move this clavicle bone to the right spot. What? Here? Okay. Very cool. It looks beautiful. Now let's move on to the shoulder bone and move it slightly in the X direction to the shoulder. Bone position if your mother make sure it is placed in the right spot to get very good information. Because if it's do close to the clavicle bone, then we'll get a lot of collapsing around the shoulder area. And you don't want for the shoulder to cave in into the chest area when you move it it down . So, as I said before, always keep track of each apology if your model to avoid any information issues at the end . Okay, this looks very cool. Just right here. Now do the same thing for the elbow. All right, Now check the bones placement again from the top. You by pressing the tiki, everything looks nice for the risk bell. Move it just slightly in the x and Y direction. Just lightly reposition you. Give it the Westbourne. You can do the same thing for the tip, Bill. All right. Very cool. Everything looks nice now. Feel free to check this out from any of you who desire to make sure that everything is placed correctly within the model. All right, let's see also everything beautiful. Let's move this shoulder road just a little bit to the front. It's the same thing for the clavicle bone. Now. Always keep in mind what we have said about you. Preferred angle. When you place your bone object now everything looks pretty good. Its seat at Let's rotate. Let's exit the bone and it mode and rotate me hand just a little bit upward. Let's go back to the bone edit mode and move it slightly upward. Let's do the same thing for the tipper. All right. Very cool. Okay, this looks beautiful from here. What you can do is basically linking the new chain t chest bone. So with the link tool selected from the Mantova can next the clavicle bone to the chest. After that, double click on the route bone to select the entire hierarchy. Then also right, click and choose. We transformed it. The yes button. All right, beautiful. Now let's one name the new arm chain for the clavicle bone. Give it a name off bone under school. Oh, under school clavicle. La Vico for the shoulder bone. It will be called Bone Underscore. No under school shoulder. And for the elbow. Won't he be called bone under school? L underscore elbow. And for the next phone, feel free to call it either bone under school. L underscore rest or hand, what's called hand. And for the chip alone, it would be called lone Underscore. Help under school. Won't end won't end under school. Help underscore hand. All right, beautiful. So that's it for this lesson you have seen how to create some are bones. In the next lesson, we will start building finger bones. 15. 12 Creating The Finger Bones: Hello, everyone. And welcome in this lesson will be adding the finger bones. You're almost done creating this skeleton off our friend. The only thing has left to do now it just adding finger bones. And in the next Western, you will mirror the entire arm chain over to the right side. So let's get started from the top U head over to the animation menu and then choose the bone tools from their select the Create Boston Man. Drop down decides the bone object to about, Let's say to you will work just fine now whenever, Whenever we 18 don't object, choose the appropriate view from which you can see better where you're gonna place these bones now. Start by creating the some route, then click where the term Neco is supposed to be. Then go all the way to the chip off the sun to set the tip down, right click to Indy creation process, then right click again to exit the chore. The reason why we did this and create one large bone instead off continuing to create guns as usual, is because you will be adding more to this room with the refined to and this method will guarantee that you will not get a quirky change at the end, the same thing you would like to do with the other fingers. So click right where the index nickel is supposed to be. Feel free to turn on and off the war for a more to see better. It's apology off for geometry. Of course, you have to be in the community bones mode and click with The knuckle is supposed to be, Then go all the way to the tip of the index to create. Okay, hipbone, right click, Then do the same thing for the middle finger. And lastly for the ring or the pinky finger like then like again, then right click and the creation process and right click again to inside the tool. Unfortunately, our little friend has either the pinky or the ring missing. That's not a problem. Of course. This is often the case with some cartoony characters like this and many you may have seen before in some movies or to the captions. Now we do refined tool selected, I thought, with the tongue like where the next if it's point, will be now if you are confused toe where you put your next finger bones. You can simply refer back to your own fingers to see exactly where each pivot is located. Let's do the same thing for the remaining fingers. All right. As I said before, always keep in mind the topology. Well, you're model on placing your won't objects so that you get very natural looking results at the end. All right, you would fall. Let's do the same thing for the last bone. And there you have it. Awesome. Now let's change the perspective. You exist off course from the refine mouth, change your perspective, you and grab each Ruth object. Then she was late has laid them up to fit mostly within your Masri and fingers. More model. You can either use the move toe or the rotator to do that, feel free to just each route individually, fit again. The fingers off our friend. As I said, you can do either yes, by using the move toe or by using the rotate to if you want to switch from the view month to the local note. Very cool. All right. Amazing. Now something I would like to mention. Do you notice this slant in some finger. This plant right here. Well, you would also want to rotate more time bones to mash this land ended some and to follow with the topology off the fingers and to get this miles more rotation in the Z axes just like this. All right. Very cool. Let's just this even more awesome. Now, what you can do from here is basically entering the bone. Edit mom and making any necessary adjustments. For example, double click on the bone right here to select all over this child. Moved him slightly to fit my safely within the geometry. All right, let's move. Is just slightly in the Y direction and exploded. Very cool. All right. Nice. Now it's sign to link objects together. Would delinked you selected from the Mito Bar. Grab all off the finger route and connect them back to the hand though beautiful. One thing left to do now is we're naming your new bone object. For example, do some roads give it a name off bone Underscore. L underscore, son underscore A all the way is don't underscore. No underscore Some being next is bone on the score. L underscore some on the score C and lastly for the chip bone. Give it a name off. Won't end underscore. L underscore some underscore gay. Now do the same thing for the other fingers. I will let you do this. This on your own. Just slap from with the appropriate name off the finger. This finger, for example. Give it a name of index. This is the middle and this is the ring or pinky and that's it. For this lesson. You have seen how to create finger bones. In the next lesson, we will finish this skeleton by mirror in the entire arm chain over to the other side. 16. 13 Mirroring The Arm Bones: Hello, everyone. And welcome in This wasn't we will finish this skeleton creation by mirroring the armed chain. So everything looks beautiful so far. And let me tell you something. Its skeleton is almost done. One thing left to do now is mirrored the entire arm chain over to the right side. You can apply the same technique we did before when mirroring the arm chain. And that is using the point helper. First thing to do is duplicate on chain. So go ahead to the animation menu, then choose the bone chose from here. Select the arm chain by double clicking on the clavicle. Well, and choose the mirror. Commend. Make sure that the X axis is the option for the mirror access. And do what option is selected for the bone access to flip. Put in around the value into the offsets parameter. Doesn't matter what you put in in this field just to set the new clone chain apart from the original chain. All right. Very cool. Click OK to exit the window. Now, next thing to go is basically creating a point helper. As we said before, this is just a temporary object. We should be using to get the right position off the original object. Then you will be mirror, innit? Grass to the other side. And then snap your duplicated born objects to the point helper position. Now go ahead to the create app within the man panel, choose helpers and then select the point helper like under grid to create a new one for free. To select any type off this play you will like just for convenience, I will choose the cross option, then recollect to exit the tour. Next thing to do now would be aligning this helper to the original left arm chain. The point help were selected. Breath shift a or go over to the main toolbar and click on the quick Align Joe icon. Now click on the left clavicle don't. And there you go. And now, with either the view mode or the war mode selected from the co ordinates space system and because you want to nerve your object across the x axis, change the X value off the points helper to the reciprocal. What I mean by that is changed from a positive to a negative value. And there you have it. Your point helper now has Bean mirrored perfectly to the other side. All right, very cool. And now you would want to align your clone on change to the mirror points helper. Now, one thing I would like to mention if you were to rotate the chest bone, what's what would happen? You would notice that the new clone chain is part off the hierarchy, so what you can do now is basically, unlike the new chain by selecting the new chain and go into the link toe in the mid Tobar. Now the new chain has been a linked successfully, and now you can press either shift a or off course with the clone clavicle. Bone selected. Risk the shift A or click on the quick aligned to within the mental bar and click right on top off the new point helper and viola your arm. CI now has Bean mirrored perfectly to the other side. How cool is that? Very cool. Everything looks ready. Nice. Let's check death. All right. Beautiful. Now the point helper has done his job. Feel free to the lead it by either pressing the delete key on your keyboard or going to the edit menu and choosing the delete now with the link to selected from the Manitoba. Connect back again, the duplicated arm chain to the chest. All right, beautiful. One must think to do now is to take some time. We're naming your object. So select the newly created clavicle bone, for example, and get rid off the suffix mirrored. Then you would want to replace the underscore l underscore with an underscore are under school. So I will let you do the same thing for all of the remaining bone objects. And don't forget to select all of your bone objects and freeze their transforms by double clicking on the Roomba. All right, click and choose. Wreath transforms like the yes button. And that's it for this lesson, By the way, Congratulations. You have made it so far and finish this skeleton. I'm sure our friend is very happy now. And now let's move on to the next Western and start talking about the skinning process. 17. Introduction to Section 03: Hello, everyone. My name is Ann s hair. Khloe and I would like to welcome you to the Beginner's Guide to Rigging in three DS max 2000 and 18. Ok, you are making a great progress already. I would like first to congratulate you. You have made a so far and completed the first section by creating the very important components in a rig which is off course, the skeleton. And in this section of the course you will start stealing your character to this skeleton so it deforms and bent in a natural looking way. Okay, skinning is the process off? Assigning vergis is the versus is off a piece off geometry. To follow a bone object, you will start with initially a block. Any weights? Okay, very quickly. Using you really needs envelope capsules feature in three DS max skin modifier. You will then move on and start finding your character's skin. Wait. You skin your character's skin weight using the powerful tools available in the skin modifier. Okay, then you will wrap things up by discovering a time saving techniques or feature within the skin modifier to transform the weights over to the other side off your character. By the end of the section, you will get your character skin and deforming as it should. So without further ado, let's say we begin with the first lesson. 18. 14 Discovering The Skinning Process: Hello, everyone, and welcome in This wasn't we will start discovering the skinning process. So since this skeleton creation process has finished and the hierarchy is that properly now it's time for skinny. Now you're probably asking yourself, What is this Navy listing called skinny? Well, don't worry, I have got you cover skinning. Is the process off assigning the courtesies off a piece off geometry to follow two informations a bone object? And think off this as if you are saying, Well, you, for example, the elbow Well, you are going to be the parent and these your disease, for example, are going to be the shot the child and follow you wherever you go. So any time you see, for example, a video game or watching movie and see those three D characters jumping around and moving around, they have actually a skeleton built into them. And that skeleton is what's driving their deformation or that change of shape. And the cool thing about three DS max Is that a resource? The bone objects you can practically skin to any type of object. Whether it's being a helper object, Judy shape between the geometry and so on. Now for diver riding too skinny process. You would want first to go to the Layer Explorer and make sure that you unfreeze your model so that you can easily select the models you desire to skin. And also you want to reset and freeze transforms on all your models that you'll be skinny. And this is what you made sure to do in the first stages of this course. So you are good to go now. You will start by skinning the eyes and pupils to the by bones and then the other assets like the mouth, assets, eyebrows, eyelashes and here, for example, to the appropriates bill that will control them, which is going to be to be the head. So select the left eye and people geometry. That will be much more easier to do if you select them from the scene Explorer and from the modify a list in the command panel. Select the skin modifier. What you have done. Now, it's basically create one skin modifier that is instance between all of the selected objects. What that mean is essentially anything you would do now on a certain object would be propagated on all of the objects that have the same skin modifier apply to them. A visual cue that tells you that modifier is chaired between multiple objects is D. I tell the size name off the modifier, and if you want to Rick the connection a certain object so that it becomes Nick and doesn't influence the others, simply click on the make unique button right here. All right, beautiful. Now, to add the bone objects that we control your models within the parameter rollout, scroll down just a little bit where the bone list is located. Then you won't to click on the add button, as I said before, although it stays bones right here, you can add even your life any kind of objects you would like to do for your models. So click on the add button a window. I would now show up. Listen, all of the available objects that you can add as a bone object. And now comes the good naming convention we were using all the time. And the nice thing about this window is that you can filter out bone objects or anything you won't by typing in in defined kill. For example, if you want to select just the left. I won't, for example, type in, though. Now. Something in May notice is that the search pill is not case sensitive, and that's awesome. You don't have to remember any upper or lower case letters. Just enter, for example, bone underscore out underscore e that sense for I and instantly the bone. The left thigh bone is isolated. You can see right here. Yeah, and now it is just a matter of selecting the my brown and hitting the select button. Now the eye has bean added successfully as an influence objects. And now shake this out. If you were to selects, for example, the left iPhone and start rotating, take a look the left eye polos properly. How cool is that? Awesome. Now let's repeat the same thing for the right guy as usually. Select the right by geometry and then select the right people. Go ahead to modify a list and add the skin modifier from here. Scroll down just a little bit until you get to the bones list and click on the button in the fine feel. Search for the bone underscore are under school E and there we have it right. I bone isolated, click on it and hit the select button. And let's check this out. Select the right iPhone. It starts road Any look at that. Everything looks really good. Awesome. And now, for the remaining assets, select all of them, except for the body geometry. Yet the shift case will select all of them at once. And then I would want to go to the modify a list except, for example, except for also the eyes and the pupils, because those are now control by the I. Those so go to D. What if I A list and click on the add the skin modifier. Very good. No. Scroll down just a little bit and add the head bow, which is going to control them. So sure, that's by entering. Bomb underscore head Very. Here we go click on it and hid the select button. All right. Very cool. And now check this out. If you were to select the head bone and start rotating, take a look. I know it looks somewhat frightening, but everything follows properly, except, of course, the body match, which will be discovering how to skin to in the upcoming videos. So This will be a good time to stop the lesson here and in the next Wasn't we will dive deeper and discover the skinning off the body. 19. 15 Initially Blocking In Wheights Using Envelop Capsules: Hello, everyone, and welcome in this Listen, we will start discussing the symbol of capsules and how to use them to initially block in waste. So in the previous lesson, you have seen how to add skin modifier and lie bones as influenced objects for the eyes. Year mouth SS eyelashes. And now it's time to move on to the body. Geometry will begin the process by doing the same thing you did before for the other assets . So with the body geometry selected, go ahead to the modify tab command panel and from the modify A list at the skin modifier from here, scroll down G parameters. Roll out just a little bit until you find the bones list section and click on the add button. And now you want to select just bone objects that are going to be skinned to remember the bone objects that you gave them. A brief. It's about the quickest, which ran all those bone objects used to G O to define Phil and tie pain bone under school and take a look. All of the desired bone objects have bean highlighted, which is super helpful and saves you a lot of time. If you have a different type of display than I do, just switch from the sort by hierarchy to sort by layer and in the minefield type pain bone underscore and select all off the bone objects you have in this list. Now, just a matter off looking when they select button and there you have it all off the bone. Objects now have bean added successfully as influence objects. Of course, you may want to remove the I bones from the left because they are already controlling the geometries. To do that, simply select the left thigh bone, for example. And yet the removed. But, um, do the same thing for the right eye. And here you go. How right? Beautiful. If you were now to select, for example, the elbow go and start rotating. Watch this. This section from the body is deforming very well. How cool is that? Now let's check the head for example, and see, how would the falls select the head bone and start rotating? Obviously, some tweaking has to be done right here. Let me undo that or if you want to. If you have already rotated your bone objects and desire to go back and want to go back to D the fourth position. All you have to do is right. Click and choose Transform to zero. And there you have it. Okay, Very cool. So a faster way to initially blocked in some ways and get some quick feedback right away would be using the envelope capsules. Let me show you what our news envelope capsules and how to use them. Grab the body geometry and in the skin modifier, you have two ways to access the capsules. Either click again on the skin modifier to enter the edit envelopment or simply click on the and it envelopes button down in the parameters rollout. What you will see now is basically lines showing through the geometry and some color coding and a weird capsule shape. Don't worry. I will explain what each does. Well, the lines used to you right here use lines are basically the bus themselves. You select any bone objects easily from the view port by clicking directly on the line without the need to go to the bones list and selected from there and 40. Call Cody. What's three ds max is trying to tell you is for example, yes, where the area right here is control, 100% by the shoulder bone, the yellow wish and the orange areas are controlled by a specific amount from the shoulder bone and also by a different amount from another bone object. The elbow bone, for example, is also controlling by a specific amount this area right year, and hence you will get this nice, blending off colors from red to orange to yellow. And, of course, the blue color means that this bone has just a little bit off influence over that area. And obviously the grey area means the don't object has no influence at all over that area. Arrive. Amazing. And now this capsule shape right here is what's known as the envelope capsule. The handle of capsule shows you how much influence each selected bone object has for the shoulder area. For example, everything look really nice. Now Let's get back to the head area to investigate for the issue. We So just in a moment I'm talking about this issue right here, So select again the body geometry and enter the edit envelopes. No. Now select the line, which represents behead bone as you can see the job area is not control at all by the head of. And this is not a good thing for our little friend. So to fix this, we have the possibility to select the capsule control point and start either moving. Yeah, changing this size off the let me and due back or changing the size on the capsule right here. Very cool. Now it depends, of course. On what point you are selecting this point right here allows you to reposition this section of the capsule. And these and these points right here allow you to control the size and the shape off the capsule. See Death. Very cool. Noticed how the waste distributed continually as I manipulate you. Cancel and notice how the head geometry now is in Kim pissed by the head bone capsule. And now watch this. If you were to exit the edit envelopes mode and start rotating the head bone watch will happen. The problem has gone anti head is deforming. Very well. How cool is that? And our friend agree also. Yeah, How cool is that? All right, beautiful. So this will be a good time to stop the lesson here, and in the next lesson we will discover some cool techniques you can use to refine and enhance even more deformation off the body. 20. 16 Refining And Enhancing The Skin Deformations: yellow over one and welcome. In this lesson we will discover some cool techniques to use to refine and enhance skin deformation. So as you saw in the previous lesson, envelope capsules are a great way to initially block in waste. But if you look closely to the head, deformation is, for example, you will notice that you definitely needs some additional work, especially in the neck area. So three DS max skin modifier offers Lenti off tools to use to refine and edit skin deformation. If you were to select the body geometry and go ahead to the modify tab within the skin modifier school older way down to the end off the parameters rollout until you find these buttons right here, these are actually the tools I was talking about. The way table is a data sheet that shows the exact wearing off each vertex off your model. Way to is a condensed version off the weight table, where we can find some really cool, preset options that you used to quickly just waiting the pain's waits toe or the bank waits . Rush is a way off Inter actually going in and editing the weights by painting directly over your geometry. Sounds cool, right? So let's see, How does each tool works? First and foremost, it's a good idea to throw in some animation on the selected bone object you would like to fix to see how the geometry deforms in real time as you're fine, the skin wait with the head bone selected, for example, click on the Orochi and drag the time flight er forward. Now rotate the head bone awkward in the X axis, then move the times lighter forward again, but this time rotate downward in the X axis. Very cool. Now these able the Orochi and there we go. Congratulations. You have created a very life will animation. Awesome stuff. Now go back to the skin modifier and make sure to enable the edit envelopes mode before making any adjustments, you have to be able to select the virtus. Ease off your geometry. To do that, simply check the virtuous ease check box. Now you can access and select easily the Vertex or diversities off your model. Go ahead, for example, and select for example, G's to be. Vertu sees right here. This one, this one and this one. All right. Cool also it is a good idea to turn on the U Edge faces mode by pressing the F four or your keyboard because that we show you how rough each edges and courtesies looks like so that you know exactly how to tweak them to smooth things out. Now what you can do from here, it's basically going a way down to the end with the parameters rollout. And with these reverse is selected, Choose the weight, too. All right, cool the way to shows you how many points are selected. In this case. Reverses are selected as well as the bone objects that's articulately influencing those courtesies and the amount off ways that each bone has. You have the possibility to select the bone object right from this list, and here is the interesting part. If you are now to select, for example, the head bone, he had bone and it blinds some recent values. Gen percents, for example, 25% 50% 75 were sent, 90% notice how the selective urgencies are. We waited between the head and neck bones according to the values who are given to them. Next, I would like to introduce you to the weight table. The wind table might seem daunting. Actors glance, but it is actually very easy to use. It lists all diverted, sees off your model as well as each bone object and the amount off influence it has over a specific Vertex. Obviously, the list is very huge. But in this case, you may want to show just the selected Vergis is and to do so from the overseas drop down menu, select selected virtus ease and take a look. Now, if you were to search for the head bone, for example, you will find the exact value this bone has as influence over these three selected verte sees, the same thing applies for the neck bone. As you can see you right here and now it is just a matter off entering some values eater individually into each field or highlighting all the virtus ease with the control key on your keyboard and type game, for example, Euro point for you. That means the neck bone is now controlling by 40% The tree birth theses, right? Yeah. Let me show you again. I work to type in 0.1. Take a look at the tree adversities. All right, cool. Now let's get this back 0.4 and watch this. All right. Very cool. Now the neck bone is controlling by 40%. These three emergencies right here. All right. Awesome. And now for the paint ways to the bench. Wait to let me first thing. Let's take a look at the bench. Which options? We do that by pressing this button right here. This will open up the pager options. The max strength is the amount off. Wait. You are able to paint on diversities. One means you are going to paint 100% max. Size is the actual size off the rush. Who are going to use to paint with to see the paintbrush simply enable the pained wait toe . And as you can see, 50 centimeters brush size is way too large will behead our friend. So bring it down to, let's say, two centimeters. All right, that looks much better. You would also want to drop down the massive strength. Do let's say 0.5 so we will be able to add just 5% off influence. What also you can do from here is basically changed the paint interpellation curve from smooth to heart. That way you can quickly block in weights. And then after that, you can start refining with smooth Stroh's just for the sake of demonstration with the head bone selected, switch to the fast ball off girl and start painting. By the way, if you are not getting a the kind of results we expect, turn off this option right here paints plane ways, turn it off. And now notice what you will be painting is going to be much harsher. All right, if you weren't out to switch over to this mood interpellation curve and start painting again, notice how smoothie you are able to paint weights. All right, awesome. Very cool. So you may. You might start with the harsh brush, for example, to block in weights quickly, Then switch over to the smooth rush to refine and polish your weight. So just go in and take your time policy, and we're finding your weight to get the best results possible. At the end, you would like to have smooth edge and very smooth edge flow. All right, very to just continue. You were fine and edit more weights and For example, if you want to, for example, take take off and remove weights. Just simply risk the Olt key on your keyboard while changing a death will allow you to remove the same amount off. Wait in the max swing. Very cool. All right, take a look. Now how the informations are getting much better. All right. Very cool. How cool is that? There is some areas in the body that needs some work to. For example, this area right here may benefit from some of the additional enhancement. So take your time going over Oh, the body and see how you can refine and in hence, even more Diskin informations and apply the techniques we have seen in this lesson. And in the next lesson, we will see a nice little wage, a mirror you waste over and save Lanny of time. 21. 17 Mirroring Skin Weights: Hello, everyone. And welcome in this lesson, we will discover how to mirror skin. Wait. So I have gone ahead between lessons and smooth things out in this area over here, using the same techniques and tools you have seen in the previous lesson. Obviously, repeating the same thing to the right side and painting manually would be a very cumbersome and a very time consuming process. But I have got good news for you. Actually, you don't have to do that. Three DS max skin modifier offers a very handy tool you can use to quickly transform skin ways to the other side. Here's how you can do it. With the body geometry selected, go ahead to the modifies have and within the skin modifier, scroll inter. First, the edit envelopes Mom and scroll all the way down until you get to the mirror Parameters rollout. All right. Very cool. If you were now, toe, enter the mirror mode by clicking on this button over here. Whoa, What's going on in here? I know it seems weird. Blue dots weaned us yellow dots and an orange rick tango, but no worries. Just keep up with me and I will explain what each does. First of all, this orange rectangle right over here is the mirror plane, and you can control it over here in the mirror. Plane wrote down options. You can switch from the X. Why and z off course. It depends on your situation and the way your model has bean created. But in this case, since you won't twins for weight to the right side, the X option is going to be the best choice. Alright, awesome. The mirror offset or amateur allows you to adjust the position off the mirror plane, but often times the default should work just fine unless your model is somewhat asymmetrical. Now, as for as the blue and green dots are concerned, three DS max, as you can see, lift the mother into two sides, giving the blue puller to D. Burgess sees on the left side and the green color to the virtuous ease on the right side. And this is how three DS Max knows exactly how to copy and transfer for weights from one side to the other. The move fresh hole allows you to control the accuracy off this operation. If you were, for example, to bring it all the way down. Most Vergis ease should turn red. And now Tweedy s Max is confused and don't know exactly how to handle these. Vergis is more often than not. You will be increasing this value quite a bit to make sure that VDs max is going to perfectly handle the mirroring for you. This is also the case. If you have an asymmetrical model where the left and right side of the model don't line up exactly. So the best practice would be to always crank this up until you get rid off any red points in your model. All right, beautiful. Now you have the choice to either transfer weights from the blue side to the green. Yeah, from the Greece side. So the blue and this is controlled right here with these buttons in this case. And since the left side has already being taken care off, the best choice will be to transform from the left to the right side. In other words, based blue to green purchases, which is represented by this button right here. Let's click on it and see immediately. You are going to see a different kind of display This is just the way that three DS Max uses to tell us that it has successfully mirrored the weights over. So thank your three DS max. And now let's try this out and see how the right side is before me. If you were now to exit the mirror mode and select the shoulder bone and start rotating, watch this. Everything is deforming really well, and look how much time this saves us. How cool is that? Now? Something I would like to point out to you is that whenever willing to mirror skin weighs over, always make sure that your model is in a neutral toast or the fault close so that everything gets great sport as expected. And that's it for this lesson. You have seen how to use this can modifiers handy mirror into to transfer weights over to the other side. And in the next lesson, we will start building an emission controls for our little friend 22. Introduction to Section 04: hell over one. My name is Anna Shek A. We and I would like to welcome you to the Beginner's Guide to Rigging Into Yes, Max 2000 and 18. So now that you have skin your character successfully and discovered the really neat features in the skin and modifier, it's almost time to actually start building the animation controls, which you will be using toe, animate, oppose and eventually animate your character with much more efficiently. No, now you may be wondering, why not animating directly the skeleton? And when should I use these animation controls? Well, think of it for a second, searching for every bone objects heading within the mesh or the model showing and hiding your mesh frequently to see clearly where each bone objects is located and trying to determine where which one object or joints manipulates the elbow, for example, is going to be very, very tedious and time consuming process and often times. This is not the best way to do it so, and hence comes the need for actual control curves or, in other words, animation controls located outside the model used to streamline and simplify the process off posing and eventually animating the character in a more professional work for Okay, so you will start the section by building the global control, which will act like a super mover or used to reposition, reorient and resize your character much more easily. Then you will move on to build the torso controls and discover the really cool constrains that's we allow you to set the right connection between control curves and bone objects. The neck and head controls would be very similar and set up to the torso controls. Okay. And as you go along, you will be discovering some really cool techniques to build awesome looking control cures in no time. Next opulence thought building the I controls and discover how to set up to look at this swing that will allow you to eso that eyes will move properly with their control curves. After that, you will move on and start working on the arm and leg controls and discover how to set up the inverse schematics. Correct? OK. And to wrap things up, you will take this a step further and set up a really Nate foot roll system. By the end of the section, you will have a working rig character ready for animation? Sounds amazing, right? So without further ado, let's say we begin with the first lesson, which is a Building D global control. 23. 18 Building The Global Control: Hello, everyone and welcome. In this instance. We will move on to build the animation controls, and we will start by building the global control. So now that the skeleton has bean created and the model has bean skinned and refined the last stage, this coast is going to be building the animation controls that will eventually be used by either you or other animators to bring the life to our friend. But are probably asking yourself what is an animation control and why should I use it? Animation controls or control curves, as you might have heard off them before, are created by the rigor to assist the animator in manipulating bones within rig. Typically, as we have seen into now in discourse, a rig consists off many components that need to be manipulated to move the character in the desire post. This can be very difficult to dio without animation controls, because the animator would need to hide the mesh to see the skeleton within the character and try to determine which down or joint manipulates the elbow. For example, control curves are typically simple to the shapes placed outside of the character, so that the animator can easily select the curve. Position the character instead of the actual bone object we will spot by building the global control, which is going to allow you to reposition, reorient and resize your character. So let's get started. First thing to do is create a two D shape control. The reason why every Regan artist refer to the shapes over other primitive objects and you must to is because they are very customizable. And don't show up in the final render. You would want to create a triangle of shape that shows you exactly where the character is facing. Now head over to the Wii, a tab within the command panel, switch from geometry to shape and choose the store to June on snapping either by getting the S key on your keyboard or by clicking right on the natural I can't found in the Mito. Go make sure that you're snapping to the grid points by right clicking over this natural icon and which will break, ring the grid and snap settings and double check that the great points option is checked and close the window you will notice. That's where cursor is snapping to the grid intersections and that's what you want to make sure natural shape is exactly created a deep origin from here and with the start to activated, like at the origin and drag outward by June squares or two units to set the first radius. Release the left mouse button, but this time drag inward by one square or unit to set the second radius off your shape. Click on the left mouse button and then right click to exit the tool. Now turn off snapping by heading, he s your Cabo and we d Spark Tool selected Head over to the modify tab in the command panel and within the parameters rollout, bring down the number of points to three. This will give you, at the end a nice and an even triangular shape. The triangle is now facing the wrong direction. So which over to the rotate? Oh, by hitting the e key on your keyboard, you would want to rotate to try and go 90 degrees in the easy access. To do that, simply mouse over the Z transform value field at the bottom, the interface and type in 90 degrees and there we have it. All right, Beautiful. Now let's give this new control and name, since it will be used for animation, given a name off and him control Underscore logo. All right, very poor. Now, to make sure this control is going to work properly and don't cause any issues down the road, I recommend that you always we set and freeze transforms on your controls, just like we did previously with the mean model. So with the global control selected, head over to the utilities tab. Choose the reset at form and hit the reset. Selected after that, choose the collapse option and with the modifier stack. Result is that as the output type option, yet he collapsed. Selected button and now with the control Global Control selected old right click and choose . These transforms like on the yes Button and Gwala, a perfect control girl. All right, beautiful. Now feel free to select your shape and hit over to the modify tab and within the rendering rollout, check the enable in you port so that you can easily view and select your control curves in the scene. If you want to, you can adjust the thickness value to your needs. I'm going to set mind to let's say one 0.5 centimeters. All right, that's looks much better. And now, when working with animation controls, it is a good idea to color to color Children. That way it can easily differentiate which we be right side and the left side and the center animation controls before to choose any color scheme that works for you To change the color off an animation control with the animals she control, selected simply head over to the color palette and choose the color you want and then hit the okay button for me. I'm going to set the color for the center. An emission controls toe, a yellowish color for the left side. I'm going to set the red color and the blue color for the right side. All right. Very cool. And now it's time for the global control to actually control something to make the selection off your bone objects much more easier. Go back to the Layer Explorer and freeze war model. Now you cannot select the model at all and from here, grab the link to found in the mantle below and connect the route won't object to the global control. And now check this out. You can reorient, reposition and resize your model or your character from the base with this awesome control . How cool is that beautiful? Something I would like to point out to you is whenever linking objects together with the length tool and to make sure that the position off every object is zero out and set to the default. And since the route going object has be linked to a new object that is offset from its position, typically it is a good habit to again freeze transforms on that specific object, which has been linked or parented to another object. For example, select the route bone object, which has been linked to the low birth control right, click and choose. Freeze transforms, and there you have it. Well, that's going to be it. For this lesson. You have seen how to set a perfect control that globally controls your mother in the next person who will start building animation controls for the total 24. 19 Building The Pelvis, Back And Chest Controls: yellow over one and welcome. In this lesson we will be creating the pelvis, back and chest controls. Now that the global control has been created, it's time to move on and start creating the upper body animation controls. And today I'm going to show you a nice little trick you can use to create animation controls. So let's get started. First of all, go ahead to D create tab within the command panel and chose the box option from the creation method. Rollout switch from the Bucks T Q. This will allow you to create a perfect Q and now click and drag to create your primitive objects. Don't bother yourself with the actual size of the cube because you will be in reshaping it as you will like later in this lesson, right click to exist, the creation moat, and now you have to access the sub object mode off your cue in order to be able to select and manipulate the edges off your object. Because if you were now to head over to the modified tab, you will notice that the cube is still a primitive objects, and to do that with your cube object selected right click select, convert you and then choose convert you edible part. Now you can grab your objects components by accessing it's some object mode and many people and start manipulating them. How you would like very cool. What's for our purposes. You would like to access the edges of objects moment right over here and grab all off the edges of the two by heading the control A. From here, scroll down until you get to the edit edges rollout and click on the create shape from selection button. You would want to select D linear as your shape site and click OK, and now, if you were to exit from what from the subject mode by clicking again on the editor, will Polly modify your name? Select the Q and hit the delete button. Take a look. A pretty cool animation control from here. What she can do is basically centering the pivot. Point off your newly created shape by go into the hierarchy tab and within the pivot section, click on the effects of it on Lee Button and choose the center to object. Collect again When the next beef it's on Lee to exit and now press the shift. A two. Quick align your shape t tell. Let's go. All right, Cool From here. Brink the size off your shape down just a little bit by scaling it down and with the move toe selected and the shape still selected, hold down the shift key while ragging in the Y direction to create clone objects. This is, by the way, another method to duplicate your objects beside the control Be method we saw earlier in the coast. Now such the number off copies to do and the copy is set as the object type and click OK, now do the same thing for these new objects and quick aligned them to the respective bone objects with disk. You right here selected, addressed the shift A to trigger the quick align tool and click right on top off the back bone object and quick line. The last few to the chefs chest bone objects or right? Awesome. One thing I would like to point out to you is that the pivot point for each off these shapes must mean exactly where the responding but object is in order to get natural looking behavior from the control system who are building. And this is why you make sure to use the quick align toe because its allies, the pivot point off one object to the pivot point off the other. And now, to make sure that when you shaping your objects, the pivot point doesn't shift. Always who shaped objects indeed, stop objects moat, either the Vertex, the Vertex Mode or the segment mode or the explain mode. And now it is just a matter off reshaping your new object to your liking. Feel free to be creative and come up with some gorgeous inshore curves. Or you can follow hold on my lead and build the same control curves I'm about to make All right. Very cool. I'm going to select these two virtues. He's one year and bring them up just a little bit. So, like these two and bring them forward a little bit just a little bit. I'm going to use the control to select all of the versus ease. And when dealing with some object modes, and to make sure that you are transforming your components around their center is a good idea to switch over from the used vivid point center to the second option, which is used selection center. So take your time with shaping your controls until you are happy with them. I'm going to select all of these virtues. Sees right here with deep selection Marquis, and skill them just a little bit so like this too. And skill them in the X axis just like this. Select. These four were to seize. Bring them back word of them in the Y direction to the back. And this is looking pretty good. I might select these four Virtus ease and bring them forward just a little bit. Yeah, this is we need good. I will do the same thing. What do you Other shapes? I was selected the back control girl. Select all of the virtuous ease and skill them in the Z axis. Move them forward in the Y direction. I will select these points and move them forward. Feel free. Just switch over to the other views to see better off the shape is coming along. I will. Still, he's in just a little bit. Do the same thing for these purchases and for the chest choker. I was select all of the Vertex and bring them up. Switch over to the perspective, you and make sure that's the shape matches with the body and the chest of our friend. All right, Very cool. I was which over two different You scale these points in. Let's make sure to check this out from the perspective. You all right? Very cool. I might select deep back before you have. And so, as late it in the Y direction just a little bit to center it between the chest and the pelvis. Control and we shape it just with Let's scale it down. All right, Awesome. That's looking very cool. Now, once the animation controls are finished, the next step will be to clean them up and we set their export. So with all off the new control curves selected, head over to the utilities tab and she was the reset export click on the recess selected button following that choosy collapsed you man. And with the modifier stack result set as the output type click and the collapse selected from here, what he can do is basically queasy. Your selected objects transforms by Ault right leg and choosing freeze transforms and now feel free to recall. Er, your objects from the color pilot. I'm going to choose a shade off yellow for all of the animation controls that happened to be in the center and also for a better vision. Realization off your animation controls. It is a good idea to select each sure good and head over to the modify tab and within the rendering rollout off your invisibles plein. Check the enable in pupil option and set the thickness value to whatever value looks good for you. I'm going to sit mind to one 0.5 centimeters, and I'm going to do the same thing for the other objects. Head over to D one If I tap and within the rendering rollout, check the enable in Newport Option and said the thickness volume to 1.5 and last objects. Make sure to check the enable in view port option and bring down the thickness value to 1.5 centimeters. All right, super cool. The control system is coming along pretty nicely, and that's gonna be it's for this lesson. You have seen how to create some beautiful shapes from primitive objects in the next lesson will be creating the centre off gravity control 25. 20 Building The Center Of Gravity Control: Hello, everyone. And welcome in This isn't we will be creating the center of gravity control. The center of gravity control will allow you to control all off the upper body off your character at once. The creation process is going to be very straightforward. To distinguish the center of gravity control from the other animation controls, you are going to create a C shape which stands for center off grabbing. So let's get started and over to the create app in the command panel. Switch from geometry two shapes and choose the line to switch to the front view by heading the F key on your keyboard and enable snapping by hitting the s key so that you can snap to the with into sections. All right, beautiful. And from here, all you have to do is create a tete shape Glick and drag without holding any mouse button like again down, click over lake down like over lake down lick over like and up and last like most fly Yes, three DS max. Yeah. Now these able the snapping two by pressing the escape of your keyboard and right click to exit the line to All right, beautiful when you can do from here is basically centering the pivot point off this new object. So go ahead to D. However, key tab within the command panel, enter the effects of its only moat and choose the center toe. Object Command says this center of gravity control is going to control the upper body. It's very important to a line this new control to the route off the skeleton. To do that simply with the center of gravity control selected, pressed the shift A to enter the quick align toe, then click right on top off the route. One objects. All right, cool, double check that the pivot point lies exactly on top of the root ball object. All right, it looks pretty good and now, like you did in the previous lesson and to make sure that the pivot point remains exactly where the root bone object is. Always you shape your objects in the sub objects mo either the Vertex mode or the segment mouth or the slight mode. Now it is just a matter off repositioning. Use new shape and exercising, as you did previously with the other yourself. Contro. I will take some time to make sure that the this new control is positioned in the right spot has right skill. Let's bring it up just a little bit and check this from the your report From the perspective view port. Let's bring it down. Let's bring the size down to just a little bit. It's reposition you control. All right. Very cool. It looks much better now, and once the center of gravity control is finished, the next step will be to clean it up, and we set its explore so the center of gravity control selected. Head over to the utility. Stab and choose the Reset Expo, like on the reset selected button. Following death, choose the collapse command and with the modifying a stack result set as the output type, click on the collapse selected button from here. What you can do is basically freeze your selected object transform by pressing the old right click and choosing freeze transforms and now feel free to. We color your new objects from the color palette as previously, I'm going to choose a shade off yellow because it's located in the center and also for a better visualization off your animation control. It is a good idea to select your center of gravity control curb and hit over to the modify tab within the rendering Rollout off your creditable supply. Check the enable you port option and sit the thickness to whatever value looks good for you . For mine. I'm going to set one 0.5 centimeters and there you have it. Now it is just a matter off we naming all of these new. It's also in shows this control is going to be called Annie. Oops, my name control under school pelvis for this one. Let's give it a name off. Anime control under school back. This is going to be called and him Who is going on in here? Control underscore chest. And lastly, the center of gravity control will be renamed to and him control underscore C or G, which of course, is an abbreviation off center off gravity. And that's gonna be it for this Western. You have seen how to build the center of gravity control. In the next lesson, you will start connecting the upper body bones to the new control curves you just created 26. 21 Connecting The Newly Created Torso Controls To The Respective Bone Objects: Hello, everyone. And welcome in. This wasn't who will start connecting the upper body bone objects to the torso. An emission controls. The control system for our friend is coming along pretty well. But these controls are not actually controlling anything right now. So let's see how we can connect everything together for the system to work properly. First and foremost, you will start setting up the proper hierarchy for these controls, knowing that the global control is going to control everything and the center off gravity control will take control over the upper body off the character. Select the link toe fun in the meat toolbar and connect the center of gravity Control back to the global control. All right, as you have seen previously, always make sure to freeze. Transforms again on any objects being linked. Another that happened to be offset from its position. So select the center of gravity control. All right, click and choose. Freeze transforms Now select the chest control and link it back today Back. You sure so that when you select the back and show and start moving it, it will drive the chest as well. In order to make sure that every control year will move properly with your center of gravity control. What you will basically need to do now is take the back and show and the pelvis control and connect them back to the center of gravity control. And again, make sure to select off your sure it also controls and freeze their transforms by old right click and choose. Rees transforms. Great. Now, when you grab the center off gravity control and thought rotating, take a look. The upper body controls are moving properly. All right, Beautiful. The same thing goes for the back and show, which drives me just well, and it just control. And, of course, the global control, which drives everything. How cool is that? All right, beautiful. And now let's move on to constrain the upper body bone. Object to the appropriate animation in shows for the chest, back and pelvis bones you would want to. You would want to drive just their rotations. However, the center of gravity control is going to drive boat the position and the orientation or the rotation off the skeleton route. With that said, select the chest one object and head over to the animation menu and choose constraint sub menu and then select the orientation constrain. We will immediately see an emerging, a dashed line emerging from the constrain objects and telling you to select the object to constrain to, in this case, the just control. So click on the chest control to set the connection. Whoa, what happened to our friend? Don't worry, I will explain what happened. I undo back and switch from the view either the local mouth or the gimbal mouth to see the true orientation off objects. And now, if I select the chest control and the chest bone object, look how their orientations are different with the chest bone access X axis pointing accord and the white access pointing forward and dizzy access pointing to the left off the character. And for the just control, the easy access is punching upward. And what access is pointing to the back and the X axis is wanting to the left and when you will select now, the chest bone objects and go over to the animation menu and within constraints. Some menu. You choose the orientation, constrain and connect. It's back to the chest control. Look what happened. Three. DS Max will try to align both objects orientation, and hence you will get this effect. What years? How you can fix it. With the chest bone still selected, go over to the emotion tab. And because you have applied and orientation constrain, you would want to choose to choose the rotation list. You will find the orientation kissed May listed year. Continue scrolling until you get to the orientation. Get strain rollout. In this list, you will find the object you constrain to and the amount of weight it has over your objects and now futile three DS max to keep the initial offset. But checking this option right here. Three. DS max is going to remember the initial rotation the object has before applying because strain and take a look. Everything is restored back to the default. How cool is that? Now let's repeat the same process with the back and the pelvis controls. So with the back control selected had over two D animation menu in the Constraints sub menu , choose the orientation, constrain and select the back control. Same problem again. But now you know how to fix it With the backbone object selected, go ahead to the motion tab and choose the rotation list and scroll down until you get to the orientation. Constrain rollout. Now you would want to check the tip. Keep initial offset, and there you have it. And now for the pelvis. With departments bone selected, go ahead to the animation menu and indicates strength. Sub menu. Choose the orientation, constrain and select the pelvis control. This is happening again. Now you get the idea. Windy bill this bone still selected. Go over to the motion tab and choose the rotation less. Scroll down until we get to D or, in addition, constraint. Roll out and check the keep initial offset option and but having better bone. Now let's move on to the center off gravity control. As we said before, it is going to drive both the rotation and the position off the skeleton route. So with the root ball object selected, head over to the animation menu and, in the constraint, some menu. Choose the orientation constraint and select the center off gravity control. Obviously, our friend is not very lucky today again with the root bone object, selected it over to the motion tab and select the rotation list and scroll down until we get to the orientation. Constrain. Now check. Make sure to check the keep initial offset and Walla. Now repeat the same process for the position. Constrain with the route bone object Still selected. Head over to the animation menu and indie constraints Sub menu. Select this time the position constrain and so let E center off Gravity Tho. Obviously, this time nothing has shifted because you have a line the pivot point off your center of gravity control to the root bone objects, and hence there is no offset between the two objects. In other words, if you head over to the emotion tab and select the position list this time because you are dealing with the position constrained now you keep initial offset. This time is not needed. And now watch this. If you were to select your animation control owes and start moving them, everything is working properly. How cool is that? Awesome. The center of gravity is controlling everything up in the upper body, and later in the course, you will see how to set inverse schematics. Just sit. She looked down the movements off the arms and legs, all right, very cool and for the global control. It is controlling everything all right, This is looking awesome. Beautiful. So that's it for this lesson. You have seen how to connect the character's upper body bones to the respective animation controls. In the next lesson, we will move on to create the neck and head controls. 27. 22 Building And Connecting The Neck And Head Controls: Hello, everyone and welcome in this. Listen, we were created and connect the neck and head controls so the process is going to be very identical to the one off the toe. So with that said, let's say we begin with great in the First Control, which is going to be the next control. Go ahead to the re a tab in the command panel and within the geometry section choose did cylinder option click and drag to create this cylinder left click to create the cylinder and with the cylinder still selected, set the height segments to one and decides parameter to 20. From here, right click toe exit, the creation amount. And now you have to convert this primitive object to an edible Polly by right clicking and selecting Deacon virtue and then choosing the convert to edible part. Now enter D edge subject mouth by clicking on this icon right over you, and select all off the edges of the cylinder by heading the control A on your keyboard from here, Scroll down until you get to the edit edges rollout and choose the great shape from selection button. Select the linear option and hit the okay button. Click on the Edit Herbal Polly Modifier name to exit from the stuff Objects mode. Choosy so under geometry and hit the delete key on your keyboard and viola. A very needs animation contro. All right, cool. Now it is just a matter off aligning this net control to the neck bone by pressing the shift A to trigger T with a line toe and clicking right on top off the neck low. As long as you are reshaping your control in the sub object note and the U Selection Center is selected, you can resize your ensure good by scaling it now to fit nicely within the neck off the model. You can move it also and reposition it to fit nicely within the neck off our friend, and you can also rotate the control to match this slant over here off the chest. Control. All right, great. And now let's move on to the had control. So go ahead to De creates tab when indie command panel and switch from the geometry to shape and shoes. The circle option Click and drag just said We'll circle to any size and right. Like to exit the creation love What you need to do now is basically pressing the control. Be to replicate your object, set the object type to copy and like the okay button with the duplicated circle still selected. Rotated 90 degrees. Indeed. Why access? And now you are going to combine the two shapes together. To do that, select one of the circles, right click. Choose the convert to and select Convert to edible slime, and now from here, scroll all the way down until you get to the geometry or out and click on the attached button and choose the other circle in the scene. Right click to exit the attach command, and there you have it won control. Object. Cool. To make this shape more beautiful, entered the segment some object mode and select oh off the bottom segments and hit the delete key on your keyboard. Click again on the segment moat. I can't exit from the subject mode and check this out. A beautiful head control. All right, Beautiful. Now it is just a matter off lining it to the head. Don't just like you did with the neck control by pressing the shift A to trigger D quick aligned to and looking right on top of the head bow. Okay, great as you did before with the net control. And as long as you are we shaping your control in the sub object mouth and with the use selection central option is selected right over you. You can reposition your ensure curve to fit my stay around the head. Our character, we size it down the X axis and adjust the position off. The virtue sees as well as their handles tensions handle to create the shape you would like . All right, Awesome. Now what? You can do it from here. Yes, basically, reset the neck and head controls. So with boat control selected, head over to the utility staff and choose the reset export command like under recess elected and to collapse everything down. She's the collapse in men. Make sure that modifier stack result is set as the output type and click on the collapse selected from here. Select the link toe and connect the neck back to the chest control. And because the neck is offset from the position of the chest control, you may want to freeze it, transforms by old right click and choose three transforms. All right, Beautiful. The same thing goes for the head control. You want to connect it back to the neck control. And because the head control is offset from the position off the neck control, you may want to freeze its transforms by also right, click and choose. Freeze transforms. All right, Beautiful. Now let's make these controls much more appealing. So I select you had control head over to the modify tab within the rendering rollout. Make sure to check the enable in people's option and set the techniques to 1.5 centimeters or whatever value works for you. You want to do the same thing for the next show the modified tab and within the rendering rollout, check the enable in view port option and sit the size to this time. One centimeter. All right, cool. Now it is just a matter. Off. Re coloring is to controls from the color palette and choosing the same shade off yellow we were using for the central off the character. And there you have it. You have just created some pretty cool animation controls, and now it's time to connect them to their respective bone objects so that they can actually control something. The process is identical to the one you saw in the previous lesson, where you connected it also control to their respective bone object. So let's say we begin with the neck bone selected head over to the animation menu and in the Constraints sub menu. Choose the orientation, get strain like on the neck and show. And that looks cool. Course not to fix this, select the neck bone and head over to the motion tab. Select the rotation list and school all the way Now until we get to the orientation. Constrain and make sure to check the keep initial offset and Gwala. Now move on to the head. You want to select the head, though, and apply the orientation constrained by going to the animation menu and in the constraints . Some menu. Select the orientation Constrain. Choose the head control. And obviously, our friend is not very lucky today also, so let's quickly fix this with the hand bones still selected, hit over two D motion tab, Select the rotation list and scroll all the way down to get to the orientation constrained and make sure to check you keep initial offset and everything now looks great. And if you were now to move years controls around. Watch this. Everything looks fantastic. How cool is that? Wonderful and everything follows. Traveling. Nice. Awesome. Very cool. Let's check D Mobile control man. There you have it. Everything is working properly. Fantastic. So that's gonna be it for this lesson. You have seen how toe create some beautiful neck and head controls and connect them properly. And in the next lesson, we will start controlling the eyes off our character. 28. 23 Building Eye Controls: Hello, everyone, and welcome in this lesson. We will start building. I can shows you will start by building a control curve for each eye and then build a global I control Dr both eyes together as one unit. So let's get started. First head over to the Wii, a tap in the command panel and switch from the geometry section toe shapes and choose the end gone option. Click and drag to create your end gone shape. And now said the sites parameter for right click to exit the creation moat from here. What you can do is basically a line in the new control to the left eye. And to do that it is just a matter off press indie shift A and clicking right on top off the tip of the left Ibo. And there you go. Now grab the rotate to and rotated 90 degrees in D X axis right over here and bring the size of your control down. So it's right sized, according to the character, and now you want to duplicate this control and snap it to the other side. So with the I control, selected wrested control V set the object type to copy and click OK, button receded. Shift A to trigger the quick align toe and click right on top. The T bone off the rice high and there you go. No, you want to select the control gives and translate them forward in the Y direction. Always make sure that the I controls are not too close to the actual eyes because, as I'm going to show you shortly, that can cause eyes flipping and made badly influenced your rake and eventually your animations. So make sure they are placed where they complain the roll off target objects and for the eyes to actually point toward them and can be easily selected. All right, beautiful. Now let's move on and create the global I can show to save some time. Just select one off the previous high controls. Hold down the shift key while bragging to open the Clone Options Dialog box. Set the copy option as the object type and click the OK button. Now it's time to her name off the eyes controls and also the neck and head controls. This is going to be cold and him control under school. My global this is going to be and in control. And him. You sure? Under school now under school. All right. And copy this name and basis over to the right I control and switch the underscore. Underscore with an underscore Are under school. You wanna also rename the neck and had controls so the net control would be called and him control underscore neck and the head control would be called Annie Control on the school head. Wonderful. Now let's we color these new objects for the level I can show Give it the same shade off yellow we were using for the central controls And for the left in control give it a red color and the blue color for the right I can show All right, Super cool now for the global can show to actually work Probably you want to make sure that it is laced smack dab in the middle between the two I control. And to do that, you have already seen in desperation off the purpose lesson how to do it. But who mined from reiterating the process again. So with the new global, I control selected head over to the animation menu and within the constraints sub menu select the position constrain and click on the on one of the ICANN shows the right one, for example, Why not? And what you should notice is that the control has snapped to the right I control. And now, if you were to go to the motion tab and select the position list, you will find the position constraint listed over here and now school all the way down until we get to the position constrain and what you will notice is that right? My control is controlling entirely the global I control now. And now if you were to click on the add position target and click on the other, I control. Look what happened. The global I is now controlled equally by the two individual I can show. And hence you will get this average position between the two. When ever moving your individual I controls. All right, beautiful. And now it is just a matter off freezing. These new object transforms to get with off. Any I wanted gets twins. And what you need to do now is appreciate this control. So it looks like it is really a master control for the eyes. So with the global I control selected. Go back to the modify tab and, with indeed parameters rollout set the sites parameter to sex. Grab a scale to and skeleton indie X axis, so its shape is somewhat matches. Its neighbors then still scale it in all directions so that the control in campus, the to control curves all right, Beautiful. Next step will be to reset these animation controls by going to the utilities. Stab and choosing the reset X form. Click on the reset selected button. After that, Jews The Collapse Command and make sure that the modifier stack result is set as the output type and click on the collapsed selected button. And now you want a link. The two individual I controls to the global I control. But let me show you what can happen if you don't respect the order. I was given to you throughout the course when I was talking about linking your objects first, then freezing, especially if your child objects is offset from the position of the parents object. I'm going to first freeze that's right, forms of these controls and then link them back to the local control. And now watch this. If I select the two controls Won't like like and shoes dress. 120 Whoa! Where are the I controls? I think they have skate. What I want to see is that you don't want to spend a lot of time posing your character. And when wanted to go back to the before those end up with your controls popping all over the place like the bad I controls where that I don't know where they have gone. So let me undo back and very go Always make sure to link your object first and then freeze in their transforms. So So let the tube individual I controls connect them to the local I can show and then we both I control So selected. All right, click and choose. Freeze transforms now if we were to All right, click and choose Transform 20 Nothing will shift out of place and that's great. And now you want toe connect the global I control today global can show Now you may be wondering why not connect Indy Global I control to be had control Well, simply because you would like these controls to remain free so that the eyes can actually point toward them. So select the global I control now and freeze its last forms. By all right, click and choosing freeze class forms. And now let's give some appeal to these control curves. As usual, Select each control curve and head over to the modify tap. And within the rendering rollout. Make sure to check the enable in view port and set. Take this value toe. Whatever value works best for you. I'm going to set mind to 0.5 centimeters. And I'm going to do the same thing for the remaining objects enable in view port and said the thickness value to 05 centimeters. One object left and do you have it cool and that's gonna be it for this lesson. You have seen how to bill. I can shows the next lesson. We will connect these my controls to the actual I bones 29. 24 Setting Up The Lookat Constraint For The Eye Controls: Hello, everyone and welcome in this. Listen, we will connect the controls using the look as constrain. Now that you have created awesome looking I controls, it's time to actually set up the connection so that the eyes will move correctly with the control girls. And to do that, we'll be using the look at constraint, which is an orientation type of constraint that will allow you to drive the rotation off an object by the position off one another. So without further ado, let's say we begin. First of all, you have to check the iPhone orientation to see exactly which access is going to look at the control. To do that, simply grab the move toe and switch from the view co ordinate system to the local mode. This will ensure that you are looking at the true orientation of your object. Notice now how the X axis is pointing toward the control object. So get this in mind, as you will be telling three DS max to use this X axis as they look at access when you will start standing up to look at constrain and also you want to keep track off this Why access over here pointing downward as you will be using this direction to fix the twisting issue off the I you will see short me. All right. Beautiful. And now select the left Ivo and head to the animation menu. And because strains some menu, choose the look. Ask constrain. Then click on the left I control which is going to drive this ibo All right, What you would notice now is that the default settings? Because trains are not so good for our friend. Obviously getting away with this flip by is not getting Hello the But you will see in this lesson how to sit everything to work properly. So with the lift, eyebrows just elected head over to the motion tab. And because this is an orientation type of constrain, you would want to select the rotation list. Here is a look at Constrain scroll all the way down until we get to the look at constraint rollout. And from here, you want to change d up Note control from the axis alignment to look at because you are not searching for an actual alignment off your object When instead you are Hershey for and look at effect where the orientation off object is driven by one another. All right, who and now remember when you have selected d I bone, were you in this lesson and notice The X axis is the one pointing toward the control objects. Well, this select look at access section is where we gonna said the X option. And now Okay, let's fix this flat to see clearly the problem. We are talking about school all the way up, actually get to the rotation list. And while selecting, do you look at constrain, turn up and down day Wait. The amount of weight the look at constrain and notice, undesired withstand effects, get surrounded fault settings. And now here's how you can fix it. First thing to do is create a point helper, which is going to act like an up note that is going to control the twist access off the ivo . So head over to the creator and in the helpers section, choose the point option like under grid to create a new one, bringing this size down to 10 centimeters and leave it as a gross type of this play and now align it to D left Ibo with the shift a duplicate this point helper with the control be to bring the one options by a lockbox and said the object type to copy And like the okay button with the new duplicated point helper still selected. Chris, you shift a and align it to the other I bone. All right. Excellent. And now let's rename these point Harper's for the left one. It will be told up, node, underscore. Underscore by copy this name and based it over to the right side and switch the understory . L underscore and underscore are under school. Okay, great. And now from here, select the two points helpers. You have to move toe, and Flynn's led them down a bit. Now, you may have seen in some tutorials moving these points helpers or these up notes upward. But remember why access we talked about earlier? I was pointing downward in this case. Depends, of course, on the way you have created the bone object. All right. Next you want a link. These two points helpers Did he headbutt because the actual my bones are also driven by the head bone object. And now select the left eye bomb and go back to the motion tab school all the way down. But you won't find the select up note section within the look at constrain rollout. Uncheck the world option like on the non button and pick the new created point. Helpful. Of course, the left point Harper. All right. Super cool. Still wanting to change. And that's gonna be the source up north. Alignment options. You want to set the source access from the Z toe? Why? And there you have it. Now we can see how the twist access off the eye bone is being driven by the point helper you just created. All right, Beautiful. And now let's try this out. Look at that. Pretty amazing. Right passing. Now, if you are getting watered by this line over here, you can go back to the look at constrain and either on check if you line length. Absolute. Yeah. If you want to limit, of course the display to the control Kerr. Or you can zero out the viewing to get rid of it completely. All right, beautiful. Now, for the right, I set up the process is going to be the same because the right guy orientation is identical to the left Ibo, so let's repeat the process again to get the most out of it. Select your right AIBA head over to the animation menu and the constraints rollout choose. Do you look at constrain, then click on the right I control. Oh no, our friend is getting insane. So let's pick this quickly. Before things get even worse, make sure that the it's access is selected on the need to select Look at Access Section and JD up Note control. Look at and in these select up notes section on Check the World Option and, like when the Not Button and Big D right points helper. Last thing to do now is switching the source access from the Z toe. Why? And feel free to uncheck. Review length Absolute or zeroing out the view linked to get rid off the line completely. And there you go. Now let's try this out and take a look pretty cool, right? You can to show both eyes collectively with the global I control or I've said each one separately, just like that, and you can also rotate the global I control to create some crazy I effect. All right, cool And now that's gonna be it for this lesson. You have seen how to set up correctly. You look at constrain for the eyes to look probably. And in the next lesson, we will move on to be clavicles. 30. 25 building and connecting the clavicle bones: Hello, everyone. And welcome in this lesson. We will move on and start building as well as connection the clavicle controls. So the process is going to be very identical to the previous animation controls. You will start by building actual clavicle control, then wrap things up by setting the orientation constraint so that the controls drive the rotation of the Chronicles. All right, go. So let's get started. We'll be creating an aero shape. And to do that hit over two D, were attempting to command panel and in the shapes section, choose the line to John are snapping by heading the S key on your cable. Then, right click on these natural icon toe rank up secret and snap settings. Make sure that the grids points is selected. For that. You cursed snap city with the intersections. And now from hell. Switch to different view by heading the key on your keyboard and start believe your shape, click, link, click, click, click and last click to close a split. He has three DS max now right click to exit the lento and turn off the snapping by hitting the escape on your cable. Swish over to the perspective you by heading the P key on your keyboard. What you need to do now is a line you can choker to the left clavicle by using the shift A to trigger the with a lyinto and clicking right on top off the left clavicle. As always, make sure that you are reshaping your control in the Vertex object now so that the pivot point doesn't shift our place. And also make sure that you are using the second option over here, which is the used selection center. And now you can bring down the size of the control and joins laid it over so that it can be easily selected. Let's bring this size down just slightly, and there you go, all rights beautiful. What you need to do now is mirror is control over to the right side. To achieve that, you can use the miracle in the metal bar. You want to select the X axis as your access and make sure that what chicken the copy option in the close election and click on the okay. But like you did before, use the quick align toe by pressing the shift A on your keyboard and clicking right on top of the right clavicle. Bone. All right. Beautiful. Now let's rename easier controls so the left clavicle can show will be called and him contro underscore. Underscore clavicle. Help me this name and basis over to do white clavicle control. Then switch on the score. L underscore with an underscore or under school. Wonderful. And now next step to, though, is to reset his control Curse. So would be to ensure Cliff selected get over to the utilities that chooses you. He says x phone command and click on the set selected. After that, choose the collapse command. Then chick, that modifier step result is selected as the hotel type and then like when he collapsed Selected button. Now you wanna link these two control curves to the chest and choker and freezing their transforms by all quite click and choosing these transforms Wonderful. All right now feel free to give from thickness to these control curves by selecting each one individually and head over to the mortify tab in the render were out. Check the enable in report and bring the thickness value to, let's say, zero point life also or whatever Bayou seems to work best for you. Let's be the same process for the right control curve, Check the enable pupils option and bring down the value off the thickness. Zero point by Santini's Now you wanna re color this control curves from the color palette for the right control curve. Let's give it blue collar and the red color for the left. Control. Good. All right. Excellent. And now it's time for these controls to actually control something. You will use the orientation constraint to wag the rotation of the clavicles. So select the logical left clavicle. Don't head over to the animation menu in the constraints. Some menu. Choose the orientation. Yes, plane. Then, like on the left clavicle contro. As you can see, the arm has shifted slightly, but no problem. You know how to correct that? Would the left clavicle boasted selected? Go ahead to the motion tab, select your rotation list and scroll all the way down until I get to the orientation. Constrain. Now you want a chick, you keep initial upset option and there we go. The other side is very identical. Just select the right clavicle. Bell. Go ahead to the animation menu in the constraints sub menu. Choose the orientation gets train like on the right clavicle control and everything looks of weight, right? Well, not quite. So let's pick this rig quick. With the right political boats still selected, Go over to the emotion tap and select the rotation list School all the way down until I get to the orientation constrained and make sure to check the keep initial offset option and Walla. Now let's try this out. If you were to select the classical control and start rotating, watch this pretty cool, right? Everything looks fantastic. Let's check the white political control and there we go. Very cool. Awesome. So that's gonna be it for this lesson. You have seen how to go and connect the Wladika controls in the next Western who will move on and spots working on the arms. 31. 26 Building The Arm Controls: Hello, everyone and welcome in this lesson we will start working on the arm. You are making a grace progress. Everything is looking awesome so far and the rig is almost done and so will be building in this lesson the art controls and in the next lesson will get everything connected using constraint. And also you will discover how to set up and work with inverse schematics to get realistic looking results when the forming your character limbs. So let's say we go ahead and start first with building the hand contro. This time it will be using it. Doughnut shape. Yes, a doughnut shape. So go ahead to the Creator have in the command panel and in the shapes section. Choose the donuts option lake and drag to set the first radius, then relieves you left mouse button and drag to set a second radius right click to exit the creation now arised Beautiful. Next set to do now you see quick aligned its shape to the actual and bone by using the shift a keyboard combination. Excellent from you, Randy. Rotate to and rotate this control 90 degrees in the white access, then bring the size all the way down until it wraps perfectly around their wrists. Our friend, that's looks much better. Excellent. From here, you can rename this control Julie Anne Control understory l underscore Hand Okay, Great. And now alone this control with the control B to bring up because options dialog box, make sure to choose the top option. And also we have the possibility to rule Name this object from the name field. You can do that. Just take away the 001 and replace the underscore. Underscore with an underscore are under school like on the tape button. And that's cool now with the clone objects it selected with the line it to me white handgun with the shift a keyboard combination just like you did with the left and control And there you have it. Wonderful. Now it's time to create an elbow control, which will be used to control the arm twisting. And to do so, go back to the three. A tab in the command panel and this time in the Shapes Section two Deed circle option click and drag to sit shape, then right click to exit the creation moat. What do you want to do now is select each circle, shape and clone. It's using the control via your people. Make sure that you're choosing the copy option and click on the OK button with the clothes object selected. Bring the rotate Oh, then rotated 90 degrees. What access? And now let's combine the two shapes together. So to do that, simply right, click with one object selected and choose to convert to sub menu, then choose to convert to edible supplying from here in the modified tab Scroll all the way down. Actually get to the geometry section or geometry rollout and choose the attached. But now we wanna pick or the circle in the scene, and there you have it in eyes control. Kurt. Awesome. Next step to do now is quick aligning its control to the left elbow Ba Oops, select. First Be controlled. Occur then president. Shift A to to do the week aligned toe, then click on the elbow. Go All right now, rank its size down, and what you need to do now is duplicate its control. My press indie control V on your keyboard. Make sure to choose copy option as the object type and click on the OK button with declined control since elected. Quick Online it two d right. El Bobo. Now select the to elbow controls, grab the move toe and translated them backward in the Y direction. We are moving them away from the elbow so that you don't get flipping when setting up in verse. Schematics. All right, Cool. And now what you can do from you if we're naming these control curves So this one will be called Annie Control under school Hell under school elbow. Copy this name and based it over to the right to show curve. Then replace the underscore l under school with an underscore are under school, right? It's excellent to distinguish the left side from the right side and from the color palette , choose the red color for this objects intro curve, then do blue color for the right side. And now it's time toe reset these control girls. So of course you wanna recover this control also to be the blue color I forget to do, of course, and now select all of the four control curves and we sit them. But going ahead to the utilities tap, then choosing the Reset Expo click on the process elected and then choose the collapse command. Make sure to choose what fire stack results as the output type. Then, like on the collapse selected but writes beautiful. What you can do now is link. These control occurs to the global control, using the link tour and dragging all the way down to the global control. These controls are going to be controlled by just the global control because you need to have a big amount of flexibility when it comes to posing these arms, the arms off court character. And of course, you need do you? It shows right here to Ramin three and not control from any other control except for the global control. So it is preferable to make them three and like them just to de global control. Once that's done, the next step will be to yes, that's right. Select all of the control curves, then frieze transforms by, oh, twi click, then choosing freeze transform. And now it's time to give some thickness. To these control goes to add more pill. You know how to do that already. Simply select each control curve individually, then indie modify tap in the run. The rollout. Make sure to check the enable in view polls option and bring the thickness value all the way down to one centimeters. Let's do the same thing for me. Are they control curves enable you port. Then make sure to bring the thickness value to one centimeters to control curves left and you are Donald. And here you have it. Excellent. So that's gonna be it for this lesson. You have seen have to create and build controls in the next lesson will discover how to work with inverse schematics. 32. 27 Setting Up Inverse Kinematics For The Arms: Hello, everyone and welcome. In this lesson, we will discover how to work with inverse schematics now that on controls have been created , it's time to start working with him. Burst canna Mannix. So you are probably asking yourself now, what is inverse schematics? Well, we nothing fastening this, but before understanding inverse schematics, you have to understand. First, what is forward Kenny Matics or F K, as you might have heard of it before. So if you were, for example, to select the shoulder wound, grab the rotate Oh, and start rotating. Notice how each shied object within the hierarchy is reoriented properly to follow the parents object, which is, in this case, shoulder bone. So that's all there is to it for the forward dramatics. Simple as that. Umer schematics, on the other hand, is the total opposite. For example, if you were to select the shoulder bone head over to the animation menu in the I. K silver's sub menu, choose the H I saw over which sense, of course, for history dependent so over. This is, by the way, the most common type off inverse schematics. There's other types off inverse schematics with their special special usage. What? The H Vice over will give you the most realistic looking results when animating the arms and legs. Now you want to select and pick the hand though, and had set the inverse schematics Has bean set up And now watch this. If you were to select the handle which is known as the like a go grab the move tool and start moving. I noticed how the actual rotation of the bone objects is in versed in the opposite direction. In order for them to follow properly, I can't go which is the complete opposite to what you So about the forward came attics where the parents object is influencing all of the child objects in this direction. All right, beautiful. And now that you have seen the i, k and F K and understand the difference between each explained to complete the actual set up off inverse cinematics, you have created the I k cinematic off the left side you can rename it could rename this I can go to like a underscore l on the score hand. Wonderful. You want to do the same thing and for the opposite side and create a I can't go just like it did with the left fight. So the shoulder bones selected the right side. Go ahead to the animation menu. The Nike Eights overs someone you choose the each fights over in big right and rename it to I K on the score are in the score you hand And now he were to select the left like a go. For example, head over to the motion tab. You will find all of the settings at options relative to the universe. Cinematics, you want to scroll down in Chile, get to the like a display options rollout. Underneath you go display section bring the size parameter all the way down to seven. Do the same thing for the opposite, like a handle and bring the size parameter all the way down to seven. All right. Excellent. What you need to do now is basically link the I k. Go today hand control so that you can drive the position off the bike a easily. Okay, easily like that because you will be hiding these. I k go later in this course, and you need to have control over the position off the A k. Right. Cool. Now we want to also look right. A rotation of the hand down to the hand contro. You can do that easily by setting up orientation constraint just like you did previously with the other Control Europe's So with the hand won't selected. Go ahead to the animation menu, then indicates trains some manual, choose the orientation constrain then picked the and control the hand has shifted slightly , but you know how to fit that already. So with the hand bones still selected, go over to the motion tap, select the rotation lists and scroll all the way down until we get to the orientation can swing. Make sure to check. You keep initial offset And there we go. Everything looks great. You can now pose the arm and also reorient hand however you want. All right, Pretty cool. Wonderful. One thing left to do to complete the set up And that's gonna be the swivel off the wall. If you want to select the i k go, then it's scroll until it gets a d. I kiss over properties rollout. Underneath my case over plane section This swivel mango is what you will be using to control twisting off the arm. But as you can see, selecting the I K then going over to the motion tap and searching for this parameter right here is going to be a very time consuming and tedious process. And that's where this pick target section comes. Very hand. If you click on the button, you will get the chance to pick an object from the scene, which is going to live the rest of the arm. And this is why you have created this elbow control right over a year. This is going to actually drive the twisting of the arm in this case. And now if you were to grab day, moved to and starts moving decontrol. Watch this. You are now driving the to a thing off the arm. How cool is that? All right. Excellent. Now we want to repeat the same process for the other outside. First thing to do is link the I can't go to the and Control, then select the handgun and look. It's rotation to the and control by going to the animation menu because joins some menu, choose the orientation can strain, then pick the rights and control. Who's this? Yes, right, So let's pick this quickly in the motion tab store all the way down until I get to the orientation. Gets went off course. So, like the rotation less first, then score all the way down and you get to the orientation constrained. Roll out and make sure to check the keep initial offset option. Wonderful. That's looks much better right now. Setting the elbow control is gonna be the final task. This lesson. So you're almost there. Select d, right? I can't go. Then look for the swivel angle parameter within the case over properties rollout. Then click on the non button after that Big D right, Elbow Control. And you are stated yet. Now, let's try this out. Pretty cool, right, Morrison? One thing I would like to point out to you is when you have gone and link these I k goes to the hand controls. You may want to freeze their transforms, just in case you have, for example, offset the I can go from its position and wanting and want to bring it back to its original position by oh, why? Click and choosing transforms zero. All right. Excellent. So that's gonna be it for this lesson. you have seen difference between like A and F K and discovered how to set up in verse, schematics and the next lesson we will move on and start working on the Lexx. 33. 28 Setting Up The Legs: Hello, everyone and welcome in this lesson we will start working on the legs so the process is going to be very similar to the arms. And to save some time, you will duplicate the control curves for the arms and using for the legs So we don't do the rodeo. Let's get started. First thing to do is set up in verse. Can a Matics for both legs For with the left, I've been selected it over to the animation menu in the case. Overs some menu. Choose the history Independence solver or the each ice over from you. You wanna right one a click on the and this tip burn right here, which is the bone end off the Inco and not on the actual ankle bone that you have skin too . You want to do that because remember the ankle bone off the thoughts that you have skin to is already parented to the two. That tip O and the chip on is what actually is part off the original chain. So you might want to make sure to connect to the appropriate objects so that when you start moving, the I k around it will drive not only the leg, but also the foot. Okay, great. Now repeat the same thing for the other side. Would you write? I want Select it. Head over to the animation menu. Indeed. My case. Overs some menu, Choose the h, my sober. Then you want to make sure to like right on top off this tip. Alright, Beautiful. Don't forget to rename this like a goals. This one will be called. I can't underscore Underscore leg. Copy this name and paste it over to the right. I can go then It's which he underscored. L underscores with underscores our under school. Excellent. And now that skin versus automatics have been set up, it's time to get some control curves. And as I said before, we are going to duplicate the arm controls to save yourself some time. So select all of the in four curves on the arms trusty contro V To bring up the options dialog box, make sure that the copy option is selected. Then click on the OK button. Now we have the move toe and twenties late. These controls forward in the Y direction so that you can see them better and all. You have to do now is snap every animation control, each appropriate on objects. He was in the shift a keyboard combination to bring the we aligned to. So this control over here will be snapped to this t bone or the actual bone or d I can handle because all of these objects are located in the same spot. Okay, great. You want to do the same thing for the control over here and snap it white once up off the bone, same thing goes for the actual new controls. Wanna snap them to the chin bone for the left side and right one. Snap it to the right chin. Bone overrides. Excellent now. So let's the do he controls. Grabbed the Noto and translate them forward in the Y direction to avoid any flipping issues when setting up immersed cinematics. All right, it's beautiful. The cool thing about duplicating these already made controls is that for one thing, they are already given thickness and re color, and that's great. But also they have bean already linked to eat global control, which is super cool. Now it's time to rename these objects. It's control. What we call and in control underscore underscore leg happy this name and paste it over to do right. Like control and swept, eat, underscore. Underscore with Underscore are under school for the knee controls. This one would be called and him get sure underscore. Underscore Knee copied his name and face. It's over to the right side. But, of course, switch. The other school l underscore within Underscore are understood, All right. Excellent. Make sure to freeze these control curves by selecting them. Then, like like choose for his transforms, like when the okay pattern. That's great. One thing I would like to point out to you is that you are not going to link. He's like a handles to the actual like controls yet, And that's because in the following, losses will be setting up and really need full system. So you will be connection. The I K goes to another object, but you are all going to get connected back to the legs controls. With that said, Let's start now standing up. We need controls to drive. Of course, the twisting off the Lexx, just like you did with the elbow shows the process is very simple. Just select the Nike go the motion chap Scroll all the way to get to the eye case over properties rollout, then from year. You wanna like, not button on the need the pick targets section and make the left naked short. Now you are able to move. You can show and drive with it. The twisting of the leg Pretty cool, right? The other side is gonna be very identical. Just select the Ike ego and Emotion Tab Scroll all the way down until I get to defy Cates over properties from here. You want to click on the nonpartisan and choose the right you can show. Let's just this out. And that's great. Everything looks beautiful. So that's gonna be it for this lesson. You have seen how toe set up the legs of our friend in department. One lesson we will start working on the photo system. 34. 29 Setting Up The Foot Roll System: Hello, everyone. And welcome in this. Listen, we will start setting up the foot broke system, So yeah, nothing much left to do to finish things up. And everything looks great so far. And now let's say we go ahead and start standing up the parole system I told you about to set things up. We need first creates point helpers, which will write rotation off the footballs from specific locations within the foot. I know you are maybe confused right now, but this actually is going to be very straightforward, as you will see the process and practice it on your own. So go ahead to the Huit. Tapping the command panel and indeed, helpers section is the point option link to create a new one said the size to about 10 centimeters or so and leave the cross display option selected right click and the creation process. Now, you want a quick align this point helper to the actual leg control. Using the shift A on your keyboard. Duplicate this point helper by pressing control V on your keyboard, make sure to choose the copy option and click on the OK button. All right. Excellent. With the points help pursue selected this time you want to use the align to by pressing the old A on your keyboard. Then select the ankle bone. A new dialog box will open up from here. You have the possibility to align, not Onley your object position, but also the orientation which you will be doing by making sure to check. Okay, orientation and position access Check boxes, then click. Ok, great. Next You want to snap this club, object to the actual pivot point off the foot ground using the shift A on your table of course. Select this Duplicated which helper and cook align into the football if it using the shift a more Cabo Wonderful. And now let's pause for a second Because I know that you are asking yourself why going through all these steps. Well, what do we saw? Because you wanna make sure that the ankle bone will rotate around this point helper which is going to act like it. Give it to get the NYSE, Bo wrote, we're about to see okay, and now you want to beat the same task for the Toro. So with that said, duplicate this points helper and with it still selected. Used you old a on your keyboard to line its position and orientation to be put down. Okay, Once you have managed to do that, use the shift again on your keyboard to quick align it to the toe will be able to get and nice looking Toro when this set up is done. Okay, Wonderful. What you have to do now is basically duplicate this point hopper again. And this time, translate it locally backward in Chile have managed to place it where you can get a nice year. Oh, around this. If it right, you're free to move it downwards slightly to make sure when rotating from this pivot point , the actual foot doesn't penetrate the ground. All right. In fact, you can do the same thing for the Joe Rowboats helper. Move it slightly downward so that the foot doesn't penetrate the ground. All right, Super cool. Now it's time to rename these you helper object. So this once helper will be your name to ph. For which helper underscore l on the score. Inco copy this name and basis over to the next one. Then replaced the ankle Will do do the same thing for their meaning. Objects. This one will be called so and the last point helper were named to be h underscore. L underscore. Deal. Wonderful. What you have to do now is link these objects together in the appropriate order that will injure. The system is gonna work properly so the ankle will be parented to the foot helper. The foot helper will be parented two d so helper and the two helper will be parented to the hell helper. And lastly, the hell helper will be parented to the actual leg control. We're beat the steps again so you can better grasp the process. So be ankle. What's helper will be parented to the foot points helper. Then foot went helper will be parented to the toe point helper. Then he points helper. The toe points helper will be parented to the yield points helper. And then the hell points helper will be parented to the actual leg control. All right. Excellent. Once that's done, you wanna link the actual I can't go to the ankle. Help her. By the way, if you are having troubles selecting between the I k and the actual ankle helper, you can select the ankle helper. Then let me select it. Then what's okay Then make sure to change its display type from cross two bucks and Walla. Now you can select it much more conveniently. All right. And now you can link me. I can't go to the points helper off the ankle. All right. Super cool from here. Select all off the point Helpers just created as well as the actual like a go and freeze their transforms by hitting the old and right click. Then choose if we've transforms. And now it's time to set up the actual orientation constraints in order to get the role in effect we're looking for. So with the ankle bone selected, head over to the animation menu in the constraints some menu choose the orientation case land, then select. This time the foot point helper, you will notice how the ankle bone it didn't shift out of place. And that's because when you have used the line toe, you have made sure to align, not Onley this helpers position, but also its orientation with the ankle don't. So everything is lined up perfectly for the foot bone. You want to make sure to constrain it. The orientation cast plan to the toe point! Help! And now check this out. If you were to select, for example, the what's point helper and start rotating. Watch this Pretty amazing, right? This is what called the ball road. Be cool, right? This and this one. If you selected and rotated, it's actually called the tow row. Look at that. Pretty cool, right? Look how wonderful this is. Everything is working perfectly. What about the role? Well, everything looks fantastic and the leg control is driving everything as it showed. How cool is that for the amazing right? More right. Super cool. Basically, the other side is going to be the same thing. I will leave it up to you to practice what you have learned in this lesson. So this is it you have seen how toe Sit up the front row system. In the next lesson, you will discover how to create a custom. We're amateur in three DS max so that you can try the whole system to that parameter 35. 30 Creating A Custom Parameter For The Foot Roll System Camproj 6: Hello, everyone. And welcome in This wasn't you will discover how to create a custom parameter each with DS Max. You're probably asking yourself why do I need this parameter? Actually, it's very simple. You will need it so that you could automate the whole foot rope system using just one setting which is going to be awesome. You want to show the whole system using this parameter you are about to make So let's get started. Typically you will be adding the parameter to the actual like control. Because think of it. This parameter is going to control the foot roll right? Adding this parameter to the arm control, for example, while its main purpose is relative to the legs would not be a wise decision. So you get the idea. So demo adding this extra parameter underneath all off these settings and options is gonna be very inefficient. Way to work with the parameter having to scroll all the way and search for the We're amateur. Okay, so the best practice is going to be adding a modifier. Call the attributes holder unities attributes holder click on it to add it. As you can see, it is a blank modifier ready to receive any kind of parameters and settings. And now, to add a new parameter, head over to the animation menu and choose the parameter editor. You can see the actual hockey for that which is fault one like on the parameter editor in your dialog box with low that in de parameter type section, you can specify the type off your parameter you want to add. Either float into your material strength. You can add whatever you want does. In this case, you want to choose the flow type, which will give you a lot of control over the value you type in in the U I type section. You can choose to work with a spinner or a slider parameter. In this case, you want to leave it to spinner option. Okay, You can rename your parameter from here. Let's go. Name it, you foot row, All right. And then in the range section, you can specify the rage off your parameter. For example, in this case, you want to work from minus 10 to positive tenant. Once that's done, you will see the change is actually reflected right over here. Actually, this is the final looking off the parameter as well end up being when added to the modifier . All right, beautiful. If you have this option over here June on, you have to uncheck it because it will load up unnecessary options with the parameter who are about to make. And now simply click on the add button and take a look. You have a pretty need. Custom parameter ranges from minus 10 to 10 right? Excellent. Let's say, for example, that you wanna added this parameter. You can do that very easily, but going to the edit and delete like on it. From here you can select the custom parameter you would like to change and, for example, modify its name. For example, I will had changed. Once that's done, click on the except for amateurs changes and then click on the quiet changes. Very important, one up late. First on the except Ramit your changes Dan. Click on the flight changes and take a look. The actual parameter has been changed Successful. And there you go. So that's gonna be it for this lesson. You have seen how to create a custom parameter into DS Max. In the next lesson, you will discover how to work. We do really need reaction manager to complete the foot roll system 36. 31 Using The Reaction Manager To Finish Setting Up The Foot Roll System 7: Hello, everyone and welcome in this lesson you will discover how to work with the reaction manager to finish standing up for parole system. So I have gone ahead. It coalesces and set up the parole system for the right side. As you can see, the process is very identical to the left for oil system. Just following the same steps we did in the previous lessons when we talked about setting up for off system for the left side. OK, and now the last stage in this whole process is going to be working with the reaction manager so that you can drive the whole system with just one parameter, which is the foot rope parameter you have created in the previous lesson. So what I would waiting for. Let's say we go ahead and start finishing being stopped. First of all, head over to the animation menu, then choose the reaction manager. A new dialog box will open up at first glance, this window my look very intimidating, but don't worry. In fact, it's actually very sweet forward, and as long as you will be using it often and practice what you will be learning in this lesson you will get used to it very quickly. Trust me. Okay? What you need to do now is add the parameter which will control the whole system. This actually will be eaten master control. And you can add it really easily by clicking on this button right over here. You already know that the parameter that's going to control the front row system is added to the like control. Okay, from here, you wanna click on the add master button following that, like on the light control. Now you want to find the foot roll Ram Mitory have created previously You can find it within the modified object attributes holder trustem attributes. And here is the rope parameter. Well, looking for Okay. Now, if parameter has been added successfully as it master, he show next up to do it would be adding what's going to be controlled. In other words, you would want to add the point helpers rotations as slave objects. Okay. To see exactly which axis we'll be, right want to add switch over to the gimble mode, which is going to show you the true orientation of your objects. Now you can see it better. Which access will give the role effect which is in this case, the G access the same thing for the row. And for all the points helpers they have Oh, the Z axis as the road access. Okay, Wonderful. And now, to add a slave objects, you have two choices either using the ad slave button or at selected. But the S lave button will behave exactly like the ad Massa button in that you have to click the button first, then select e object you would like to add like as a slave. Okay, the at selected on the other hand in this case is going to be the best choice as you can add all of the slaves at once by selecting the Sui Point helpers. Then let me select the three points helpers and choose the at selected button within the what? I have a never But I think let me open it again. Okay. With the sweet points help for selected choose the at selected, then within the transform choose the rotation and the zero Oiler x y z. And here is the Z quotation access and take a look. All of this lays have been added successfully and very quickly without having to add each one individually as the ad slave. But from here, you want to make sure that every point helper is zero out, as you can see right here so that you can get a clean connection. Okay, great. In fact, what you have done now is still three ds max depth. When you furrow parameter is set at zero, all of the points helpers rotations are zero out. This is actually what's shown right over here. Next to do now is still three ds max that when the front row Ram Attar is set, that's positive. 10. Activate the foot role. And to do that said the for a parameter to positive 10. Just to show you this, if you were now to select, for example, the Joe wrote Helper, for example, and starts rotation around to see access, nothing will happen. That's because the easy access is now left by the reaction manager. So you cannot control this access anymore. But you can still get show the other axis and actually controlled is the access you have to go to D create mouth. Now you can easily control the Z axis. You see this. All right. Excellent. From here, Rotate e told Helper around 60. Also, Once you have managed to do that, click on the create stage a button to add a new state. You can see from here that Wendy, for a parameter is set at 10. The toll helper rotate 60 degrees in the Z axis. Okay, Now disabled. They create mode and check this out. If you were now to lay around with different role parameter, see how the helper, who the two helper is adjusted it totally to get this toe role effect. Wonderful for the euro effects. This time you wanna tell tedious Max that Wendy, for rock parameters says that minus 10. Activate the hell row. So Daio Quattro parameter all the way down to minus Stan interdiction unit mode. But as you can see, it is actually great out because you have to select me. Let control first or domestic and your first, then enter the creates mode. Next thing to do is now rotate this helper. He'll help around two around minus 40 or so. By the way, when it's standing up the furrow system for the other side, you want to make sure to use reciprocal values. What I mean by that is when, for example, you have set this hero to minus four e. You want to set the white heel toe positive for it, And that's because you have mirror like chain when you have duplicated. Remember, if you have just learned the leg chain without mirroring it. In that case, you can use the same values of the left road system. Okay, wonderful. With that said, and with the hero rotated to about minus 40 also lake on the Create States button. And now let's try this out. If you were now to exit the create mouth and start manipulating the rope parameter, check this out. Really amazing, right? Awesome. And now, to make this effects more appealing, you want to add, and in between, when the foot rope parameter is set at five. So let it be master control. Enter the get mouth, then who wants to zero out the toe points helper only nap. Select the row helper and rotated about 50 or so. Then click on the create state button. By the way, these graphs right over here represent the connection that have been made as well as the type off manipulation between each value. Notice how you are getting a when your type the population. In this case. Okay, and now, if you were to exit it creates mouth, select the leg control and start adjusting the rope parameter. Look at the beauty and power off the reaction manager. Pretty cool, right? Some stuff. Let's say, for example, that after the connection has been made, I would like to adjust it disposed rights over here so that it is somewhat smoother. Well, you can do that's very easily by searching the state where the actual so row is involved the year it is state. When the foot drop parameter was at 10 the hero has rotated 60 degrees. Actually, this is the state well looking for. So select the states by clicking on its name, then click on the edit mode. From here, you start adjusting the foot row helper to smooth things out and just soften the transition between the length and foot. And all you have to do now is exit the edit mode and that's it. Everything has been updated successfully and now take a look. The modifications has taken effect and everything is working lice, Lee, How cool is that? If you have accidentally, for example, close the reaction manager window, you couldn't get it back easily by going to the animation menu clicking on your reaction manager. And there you have it. Everything is laid out in the same way as before, so that you don't have to look for every parameter and waste your time by doing that Pretty it is right. And now you can be proud of yourself. We have just created a really neat furrow system using the reaction manager Pretty cool, right? Awesome. Obviously, the right side will be set up the same way as the left side. But as I have told you before, make sure to use reciprocal values. So I will leave right side up to you to practice what you have learned this lesson. And in the next lesson, we'll move on to read in the fingers off our friend 37. 32 Create Custom Parameters To Drive The Fingers 8: Hello, everyone. And welcome in this lesson you will start creating custom parameters to drive the fingers. Okay, Last set up this course and that is controlling the fingers of our friend as you did before . When you have added the foot roll, ram it into the light control this time will be adding specific parameters for the fingers to the arm control using the same tool, right? Would that said, Select the gun control at over City modified having to command panel then within the modifier list, add the tribunal's holder. Wonderful. And now, with I'm still selected, go ahead to the animation menu, then choose the parameter editor in new window will load up. What you will be doing now is adding a strength parameter describing each finger so we can better this sandwich between them. Okay, In fact, the string parameter holds on lee text, so it's gonna be very helpful in this case. With that said, make sure to select the string type in the Ram Attar type, Then in the U eye sight, leave the edit text option selected and now you can rename your corrector toe. For example. Let's start with the from first So you name it, son. Right? Wonderful. Feel free to play with these settings If you want to or skip right to the default next section. You have the choice to either leave this entry empty or typing some descriptive text. This case And since you will be adding more parameters, you wanna type in some descriptive text like, for example, rotation controls. Okay, as you can see down here, the final appearance of the parameter, which looks pretty good. Okay, great. All you have to do now is on checking. You add resets option to prevent any additional parameters from being added. Then click on the add button and take a look. The parameter has been added successfully to the arm control, right? Excellent. Since you will have to add a different some for each section of the jumbo, it's gonna be wise decision to add a separator between each section. Okay, This is actually very simple to add. Just select the strength type in the rabbit er type. Then in the u I type, select the separator option. Then in the name feel given a name off some underscore a You can see down here how it's gonna look like or you have to do now is click on the add button and voila! Uh, Mariah. Excellent. Next step to do now will be adding the actual parameters that we control fingers. Okay, so with that said, and with the parameter editor windows still open, choose this time the float option from the parameter type in the U I type. Leave the spinner options selected and rename your parameter toe X underscore. Done. Underscore A. Which means, oops, that which means the rotation X access off the first time, Bones. All right. From here, you can move on to specifying the range off your parameter from minus 3 62 Positive 3 60 so that you have lots of control over your rotation of the fingers and not restricted to anything. Okay, great. Once you have managed to do that, simply click on the add button, and there you have it. Wonderful. And now all you have to do is repeat the same thing for the why and the access. Let's do it together so you can better grasp the process. Okay, select the flow type from the parameter type in the U eyesight. Leave the spinner option selected. Of course, depending on your preference, you can switch to the slider option if you want to. You can see right down here the appearance off the slider. Both have the same fax for only in the appearance. But for the second demonstration, let's leave it as spinning. Then we name your parameter. Why underscore thumb underscore a next move on to the rage section and type in minus 3 60 to part of the positive tweets 60. Okay. And like on the add button to add Ramit and well, uh, one last parameter to finish things up. So make sure to select the flow type from the Rahmatullah type in the U I type. Leave the spinner option selective. Then we name your parameter. This timeto g funk underscore a next. Make sure that war parameter is ranging from minus to be 62 positive tweets sexy at the parameter. By clicking on the add button and their ego. Everything looks very nice and organized for the remaining fingers. The process is going to be the same. You will have to repeat the same steps you saw in this lesson for each finger, bone section and for all the fingers. Okay, So to give you a quick hence, finish the fun by adding a separator for each section. Okay, then add the actual float. Ramus is once that's done at a descriptive string parameter for the index finger, for example, and go again. So all of the steps we have seen in this lesson just like you did with some fingers. Okay, so that's gonna be it for this lesson. You have seen how to to create custom parameters that will control the fingers. The next lesson you will discover how sighing his parameters to the actual orientation off each finger ball using the wire parameters feature into DS max. 38. 33 Using The Wire Parameters To Finish Setting Up The Fingers: Hello, everyone. And welcome in this lesson you will start using the wild parameters to finish setting up fingers. I have gone ahead, ritual lessons and add all of the necessary. We're amateurs for each finger bone, as you can see. Why Over here. Okay, so now it's time to actually sign these newly added parameters to each finger bone rotation using the powerful wire parameters toe into the S. Max the wire parameters talk is somewhat similar to the reaction manager in that it connects two or more objects together. The only difference is that the wire parameters to set a 1 to 1 connection with the possibility to add expression on top of that to create some even more complicated connections, which makes it an awesome toe to have under your belt. All right, wonderful. With that said, unless so we go ahead and start finishing the fingers set up, you have actually to waste the access. The wife Ramus is full. You can either select the arm control head over to the animation menu. Year is the wire parameters sub menu where you can find the wire parameters to the hockey. For that is control or another method to access the Y parameters to be simply right, click on the selected arm control. And here is the wire parameters. OK, Now you want to select which parameter is going to be the master control. In this case, you wanna assign the X some a parameter to the actual rotation X access off the a some bone . Okay. As I said before, this operation resembles somewhat to the reaction manager. And now you can find the parameter within the modified object attributes, holer, custom attributes, and year is the XT um a parameter. After clicking when the parameter you would like a sign, you will notice a dash line emerging from the master control or the massive object and telling you to specify which objects you would like to control. Want to select? In this case, the first, some bone label bone underscore l on the score a instantly will be asked to choose which parameter you would like to be controlled in this case. And since we're looking to control an actual rotation access you would like to choose transforms rotation zero Oiler X y Z, Then select the X axis. All right. And now comes the very complicated window in three DS Max. I'm just joking. You will see how this window is very easy to use. Just follow along with me and you will be fine. Okay. On the left hand side, you have the master control with the master parameter highlighted. Okay. On the right hand side will find the attributes which will be controlled in the middle. You have the type of connection you can set either to a connection or one way connection with the right parameter controls the Let Ram Attar and the last option available is the left parameter controls you, right? Ram Attar's right. You already now that in this case you wanted the X from a parameter on the left hand side to control the X rotation for the first from bone on the right hand side. So with that said, the best practice will be to select this icon over here and instantly you will see you next button has become available for you to click on full go ahead and do that. Said the connection. If you ever wanted, for example, to break the connection, you can simply cluck click on the disconnect button and that's it. The connection has bean broken. Let's connect them together. Okay. What you will notice now is that the master parameter has turned green and the slave parameter or the parameter which mobile control has turned red. And now let's check this out. You're to close the wire parameters window, select the I'm control and within the one fight tap start just in the Ekstrom a parameter take a look. You are now controlling the some roots bone with this parameter. Pretty cool, right? Something you may have noticed when adjusting this parameter is that when you are broken in small values, we're getting actually, Willie, drastic changes quickly, and this may not give you full control over the way you manipulate your bone object, as you can see. Okay, So to fix this, get back to the wire parameters window by going to the animation menu and indiewire parameters sub menu. This time you want to choose the parameter while dialogue. Since you have already made the connection, okay. And now where have gone parameters. We were sitting previously, obviously trying to find, then again, underneath and inside. All of these options will be a very, very tedious process so no worries only have to do to get everything back to where it waas it. Select the arm control. Okay, then click on this button over here which label refreshed review content to selected No, and take a look is the master parameter we were looking for. And now you want to select the first some bone and click on the refresh review content to selected No. On the right hand side, you will instantly announced see the red parameter which has been controlled by the extend A. Okay, make sure that you're selecting boat Ram Attar's on each side to get the actual connection and now to fix the problem, you're so in a moment you have to use these filled over here, which is the expression field you're You can type in mathematics and expressions in order to enhance and get some really, really sophisticated results in this case. And since the bond rotation was changing really drastically when just in the Ekstrom parameter, you want to convert the values blood in within the X, some a parameter from degrees to radiance. You can do that very easily by heading over to the expression feel and type in DEG to rat expression and make sure to put the ex some a parameter in parentheses. Okay, from you take on the update button, minimize the window and take a look. If you were now to start in just in the x some a parameter notice How much more conveniently you are able now to control the some rotation will now have a much greater range. Control the tongue and that's Ah, Hasam. Okay, wonderful. So this is the meat processing unfold. Sit all off the remaining finger bones. The process is very identical. And to show you this, we will do the Romanian access for this some bone. Then I will pause the video and sit the other fingers and come back with the finish set up because this may take a little while and therefore the video will take much longer. So let's say we go ahead first and set the connections from you. Okay? Just sit sometime. You can said the connections from here every parameter we are about to connect is visible right over here. So you went up you? Why? From a to control the white rotation, access off the humble select boards parameters Okay. Then click on the connect left from right direction. Click on the connect button, then make sure toe type in the deck to rad expression. Then d y from a variable in fantasies like on the update button. And there you have it. Okay, let's repeat the same task for their meaning. Z axis. She was both dramatist. You wish she control? Choose the last control direction option. You can specify the expression prior to connecting the two parameters. So let's stipend. Dig too rat, and make sure to put the variable in parentheses. Then click on the connect button and there you have it. Now, if you were to close the window, select the arm control and start adjusting each off the parameters you have just connected . Check this out. We're now able to I can show you some very easily and effectively. Pretty cool, right? So as I told you before, I will pause the video and go to all of the remaining finger bones that you have skin to and come back with the finish set up. Okay, you're I am again. Eso Let's see how things look. Obviously, everything looks pretty cool as you can see that's hers. Let's check you index finger and see how things perform right. Very get. Let's see the middle finger. And obviously this looks fantastic. Everything is set up properly. As you can see, you want to get the same results when finishing your fingers set up. Let's check the pinky finger and this is it. Everything looks fantastic, so I will stop the lesson your at let you finish. We'll set up for the left hand. Also, you may want to do the same thing for the right. Pan says the process will be the same, and once that's done, you can move on to the final lesson where we will wrap up the red with some cleanup work. 39. 34 Cleaning Up The Rig: Hello, everyone. And welcome in this lesson You will finish up the Rick, by the way, some cleanup work so the rigging process is done. You really have to be very proud of yourself for your hard work and what you have created. Thus for the last stage before calling this rig finished is to make sure everything works correctly. Okay, so if you were to select the gun control and start moving it around look how amazing this looks, OK? The same thing goes for the head. Great. Okay. What about the eyes? Awesome. Everything is following nicely and properly. Great stuff. Let's check chest control and look at that. Pretty cool, right? Awesome stuff. If you were now to select the local control gravity scale too and thought Skilling noticed how everything is resized correctly. Okay, you can reposition and reorient your entire rig. However, you would like this global control and look how everything is following and behaving as it shows. Okay, great. Let me undo back. And now you want to make sure also that everything it's back to the default depots with the old right click and choose the transform 20 Wonderful. Okay, What you can do now from here is create some additional layers to optimize the display for your rig. All right, so with that said, head over to the Layer Explorer, then select oh off the animation controls within the scene instead off selecting them one by one and adding one and adding each one to the other. The control key. You can very easily type in the first prefix off the animation controls, which is an him and take a look. All of the animation controls have been isolated. Now it is just a matter of selecting them. Oh, and clicking on the this part over here, which is create a new layer. Clear out the find feel so that you can see all of your seeing objects, and Walla in your layer has been created containing all off your animation controls. Pretty cool, right? At this point, you can rename this layer to animation controls. Underscore layer. Okay, if you want to, you can show or hide all of your animation controls by clicking on the icon button over here. As you can see, let's now repeat e same process for the remaining items. You will move on and select now the skeleton bones just like you did now with the animation controls. So in the fine field type pain bone. Okay, select all off the isolated bone objects, as you can see right over you. Then click on the create new layer button and make sure to clear out, find feel so that you can see all of your seen objects and these Ebeling filtering. Okay. And now you can see the new layer has been created. Continue all off your bone objects. So for free now, to rename it from here to skeleton underscore a layer and during its visibility off by clicking on the I I can't over here notice how the rig is looking much cleaner. Now can you see that? Pretty cool, right? One last layer to create that will hold the helpers and the eye case. So if you were to expand now the default layer you will find all of the remaining items, so select them all. Okay, then click on the create new layer of button from you. Rename this new layer two helpers underscore I case underscore layer, then turn its visibility off by clicking on the I icon and Well, uh, a very clean looking rig. Pretty awesome. Right now you can animate your character much more conveniently without being distracted by any unknown object. Okay. All right. Excellent. So when animating your character, you would like to have a very smooth looking mesh or model that will look ways at the end, especially when rendered at this point, the model has a somewhat lower resolution, so you may want to select your mesh. Okay, then head over to the modify tab in the command panel and add a your boss mood modifier. So here is the troublesome with modifier. And from here, you can dial up and bring up the situations to increase the amount off geometry and dust. Having a very slowed looking model pretty awesome, right? The mesh will be frozen, okay. And so we not have the possibility to select it. And so you have to find another method to edit the situations instead from selecting the mesh and go over to the modify tab and select your boss moves and then editing the situations from here. The best practice will be too. Add a new custom parameter to the global control. OK, but before you dio, you have to add first and attributes holder just like you did with the previous controls and the finger controls or the light controls. When you have added custom parameters, same process, you're also so add in an attribute shoulder modifier, then would the global control still selected that over to the animation menu? Choose a parameter editor. Make sure to choose the into your type from the parameter type because the turbo smooth modifier alterations are whole numbers. 123 and so on. And so the interest your type is dedicated especially for this type off numbers, right? Make sure you're selecting then the spin option in the u I type. Okay. And from here you can rename the parameter to character smoothie. From here you can go to the range section and specify a range from 0 to 2. Awesome. After that, you can uncheck the ad presets option, then hits the add button and take a look. The parameter has been added successfully. Last thing to do now is connect both parameters together using the wire parameters to so with the global control selected right, click and choose wire parameters. From here, you can find the character smoothing parameter in the modified object attributes Holder costume attributes. And here is the character smoothie parameter. After that, you have to select your mesh. Okay, then you can find the person with alterations in the modified object is the turbo smooth and take a look. This is the situations were looking for like on it and wire parameters Dialog box will load up after that. It is just a matter of doing a simple connection from left to right is in this direction over here, then clicking on the connect button and take a look. Now it mesh situations have dropped down to zero, and now we can control easily smoothing of the character from this parameter. How cool is that? Can you see that three. Awesome. Everything looks beautiful, so we can actually were name. This attributes holder modifier. If you want to weaken right, click and choose your name, then your for you to call it extra controls so that you know exactly what you are dealing with. You can do the same thing for the arm controls, and we named the attributes holder to extra controls. Also you can do really is same thing for the leg control. Okay, right. Collectors who name, then give it a name off extra controls. Okay, Awesome. So that's gonna be it for this Western. You have seen how to optimize and clean up your rig. And you know what? Congratulations. You have just finished the reading process. You have to be very proud off yourself from your hard work and for the time you have dedicated to learn and start making your own rakes. 40. Introduction to BonusSection: Hello over one. My name is Anna Shek A. We and I would like to welcome you to the Beginner's Guide to Rigging in three DS max 2000 and 18. So, congratulations for completing the character rig. You have really made it and build a character rig that you should be very proud off. So I and as a gift from me to you for your hard work, I would like to provide you with two more lectures. I think that you may have Ask yourself by the end of this course, why haven't what about official rigging? Why we didn't talk about it. Obviously, facial rigging is another whole story and needs a dedicated course just for that. But I will not let you down and have good news for you. In the first lesson, I will walk you step by step through the process of creating a simple official expression that can add a lot to your character. Then I will wrap things up by showing you how to optimize your scene for a more animator friendly control system. By the end of this section, you will have created a really need facial expressions set up that will most certainly as a law to your character rig. Okay, So what are we waiting for? Let's say we begin. 41. 35 Adding Facial Expression: Hello, everyone, and welcome. In this lesson you will discover how to add facial expressions to your characters. Of course, as I told you in the introduction of the section official, REGAIN is another whole story with different work flows and techniques we can use to the official Reagan and, of course, which may require a dedicated cause. Just for that have to learn is an out and what tools you can use a sheep. Really nice looking facial expressions. But to assist you in your journey, I will show you today. It's simple method he can use to create not only the smile expression more about to see, but also any other expression you can imagine. So without 30 would do, Let's say we begin. So let's your model first. Okay, then into modify our list and the more for modifying. Okay, What you need to do now is duplicate the mesh the eyes as well as the teeth use Indy shift . Okay, when your people while wagon in the X axis as a copy. Of course, what you'll notice is that the mesh as the seafood, it hasn't actually it has just snapped back to the original model location. To fix this problem, select the clown objects from the Sea Explorer. You can distinguish from the original objects and the duplicated objects very easily with this 001 suffix at the end or some objects, as you can see. Okay, so you have to select one by one. Then get rid off any additional modifier in the stack modifier stack. Okay, let's do the same thing for their meaning items and instantly you will notice everything gets back to D. Right position. So one last objects and here we go. Everything now is looking perfect. Okay, Wonderful. What? Probably asking yourself now. Why is that why we have duplicated the model? Well, simply because you will be sculpting a smile expression on this clown model. Then sign it as a target object to the original model, using the more for modifying. Okay. And now you want out of your name This duplicated body geometry to let's say, for example, a you chicken. Okay. Underscore smiled. The eyes and the teeth year don't play. Actually, any major road will be using them just to judge. If the smile shape you are about to make is well sculptured and not interpret intimate with the actual eyes Offshoot of the model Right with that said you could now start selecting the Vertex off your model. Select for example each vertex from each side with the mouse. Okay, okay. Then you can use hooks. Lets we should like these points again. I will select this one and this one over here so you can make the process. The smoking process is year by selection D Yusof selection option from the soft selection Roll out Okay, then you can adjust The file off has heated just like so. Okay, from here you can use any transformation to like the move told the world taking and the scale toe toe Get the shape you want. OK, so I will use now the scale to then scale out the X axis. Yeah, I will switch over to D move toe and movies. What you see is backward. Why direction? Just like so Then I will move them She access Grab the rotate Oh, and rotate them downward. I will use the movoto again. It was late and now just a little bit. Okay? No, I will select these points over a year. Four points from each side with the model. Okay. Then I will use the scale toe to create a bulging right here. As you may know, when a real person smile a bulls right year, he's will be generated. I will bring it up just a little bit. And with the move to selected, I will move it forward just a little bit. Okay, this looks pretty good. Let's see how this looks. Okay, this looks fantastic. So, of course, this is just a quick sculpture. As you can see, you can take the time you want to get a really nice looking smile using any of the chose available in three DS max for modelling purposes. Okay, if you want to eat concerns, sh the Internet or see your own face for some references or on how smile shape could look like her, right? Excellent. Now get back to the more for modifier in the original body geometry. Then make sure to store this. People's in one off the available cooks lost over here. So so that you can get back to this post very easily if you want to do that scroll all the way. Now until we get to D channels Channel parameters rollout Then, like on the capture Keuren State button from here, you could rename this you target to, Let's say, for example, what would you know? Pose. Okay, you click on the accept button. What he can do from you? You actually add e target? You just stopped it in the second slot over here. You can do that by right clicking on the slot, then choosing the pig from seeing option and pick the target object. Just stopped it. And you go de target smile. Objects has been added successfully. Indeed, Second slot. If you start now to just ing this parameter over here, take a look. You are making our friend smile. And that's hustle. How cool is that? So let's say now that you wish to modify, for example, the shape of this smile. Okay? After we have added it as a target object. Well could do that by simply adjust the target shape over here, but the modifications were not update original model until you click. Let me show you what I mean by that. I work, for example, to select this area over a year and start modifying. I know this looks somewhat frightening. But just for the sake of demonstration, as you can see, the modifications has its bean updated over here in the original mesh. So you have to first select the mesh, then scroll all the way down in the more for modifier. Flake on the will. Load off, move targets. And there we have it. I know it looks frightening, but this is just to show you what I mean. So it been away to do this will be to the modifier. The more for modifier. Click on the automatically reload targets option. And now, if you were to just your mesh or the autopilot objects, notice how the modifications are taking effect in real time. Be careful not hurrying our friend again. So let's undo back. All right. Excellent. So this will be a good time to stop the lesson here. Of course, with this smile, our character, the next lesson. We will continue working on the facial expression. Sarah 42. 36 Finishing The Facial Expressions Setup: Hello, everyone. And welcome in This wasn't you will finish standing up the facial expression for our rent. Okay, here we go again. The previous lesson you have discovered how to create and add in. Nice smile Target to your mother. And now it's time to finish things up with some additional killing up work. Okay, Great. Now something you have to be very careful about. And that is, if you take now the arm control, for example, and start moving it around. What were They seems to work just fine, right? But you were now to get back to the more for modifier and activate the target. Smile parameter. Notice how the model will pop back to the default skin. Boast which is not what you want. Of course. Even if you now grab the arm control and starts moving it around, nothing will happen. What? Well, simply because in March, more for modifier is not evaluated in the right order or in other word modifier. The more for modifier is now overriding the effects off the skin modifier. So to fix this, you wanna drag this more for modifier underneath the skin modifier and instantly you would notice that everything gets back to do right spot. And every day now looks perfectly while at the same time taken into account the smile shape anymore for modifying. All right. Excellent. So keep in mind that every other official expression, whether it be a throne expression grows up or down, or any kind of expressions you can imagine can be sculpted much the same way as you did with the smile shape. Okay, right. Wonderful. At a certain point in your rigging production, you will have lots and the lot off target shapes within your scene and May. And that may make your seen very heavy in terms, off size and in terms or performers. OK, so you could design these targets are objects to it, for example, the more for modifier, then delayed them if you want to and still have them stored and work perfectly. But downside to that is if you ever wanted to modify a certain shape, for example, well, unfortunately, you cannot. So the best practice will be to save a copy off your seen containing all of the targets objects and another copy changing just the main optimize rate so that if you ever want to modify, For example, a certain shape. You can do that easily within the scene with the actual target ships store in it. Okay. All right. Excellent. And now, to optimize the look off your seen even though you can create a new layer within the layer Explorer, select all off the target object. Then click on the create new layer that will coast were in you layer with all of the selected objects from the scene. Now feel free to name this new layer to more underscore TG cheese. Underscore layer right possum in turn its visibility or by clicking on the I icon. Okay, awesome. Now, if you want to, you can save yourself some time. He said off selecting the mash and choosing the more for modifier. Then looking for the target smile, Graham. It'd to justice. You can actually do a better job by adding a parameter to the actual head control. For example, in an attribute told Oh, just like you did with the smoothing parameter you have added to the global control. Ok, so at in a attributes holder to the had control. Okay, then from here, you want to go to the animation menu. Then choose the parameter editor, right? Very good. And now so free to choose the float type as the parameter type. Then leave the spinner option selected as the U I type. Then you can rename your granddaughter to smile. And now you can leave the rage, sit from 0 to 100. This will work just fine And make sure to uncheck the ad. We says option and click on the add button right that has been added successfully. All you have to do now is connect the smile parameter to the actual more targets using the wire parameters. So process is very identical to the previous ones. Just so let the head controls in right click choose the Wyatt parameters then look for the smile parameter you just created. It is located in the modifying objects that have you told her custom attributes. And here is the smile parameter From here you can select the what is your geometry Then look for the target shape in the modified objects is modified objects again more for an year Is the target smile just have created okay And you is the wire parameters. I love box will be doing just a regular connection with the left side, the smart parameter controlling the target shape, like on the control direction right over here and click on the connect button and take a look. Now you can control this. Smile your director from year very easily and conveniently, without having to go into the mash and select more for and so on. Once that's done, go back to the layer Ram, Etta, now to the later explore story and make sure toe freeze the model so you cannot select it. And that's it for this lesson. Let's make our friend happy. You have finished the facial expression set up. I will show you in the next video your assignment for this course. And of course, our friend is very happy. 43. 37 Assignment: hill over one end. Welcome in this lesson. We will cover your assignment. So you're is our final rig. Sure, you have learned a lot about rigging inside off three DS max 2018. You have a solid foundation now that you can build one have discovered how to create. And he made it a friendly controls how to work with get strengths. You wear Skinny Maddox, how to skin your model properly and many, many more. You're also seeing how toe work with custom parameters to build a really need for all system, As you can see, actually, you should be very pleased with what you have here. All right. Excellent. Now, what I would like you to do for your assignment is either to work with this character, or I will go ahead and show you another file or another model UK. Use head over to the file menu that shows the open option. Okay. From your exercise files. Choose the Simon forward, then the beaver model. Okay, open this up and take a look. A really cool weaver model. All right. So, again, here you have a beaver model. You can go ahead and use this asset to kind of confirm that you that she understands all of those techniques that you have gone through this coast. Things like how to set up those how to skin your models helped to set up in various cinematics how to work with constraints, how to set up the front row system and many, many more things we have seen throughout this course. So again, feel free to work with this mother or work with the one we have used in this course. If you have your own characters, sure he can use them. Why not? But remember, the mean thing to take from this is you want to kind of go through and make sure that you understand. Oh, that we have covered so you can start do not only master it, but then you can start to build upon these those techniques and figure out more creative ways to rig your characters. That animators will most certainly enjoy. The goal is to keep it simple. But at the same time, you want to make sure you want to make something that is complex enough to handle and your range of motion. So that's a more advanced ringing topic. But that is the end. Go behind Riggan just to make a rig that is needed for shots to look great in order for an audience to enjoy what they see. So that's it for this course. I will see you in the next one. 44. Conclusion: This brings us to the end off this course on the Beginner's Guide to Regain in three DS max 2000 and 18. Throughout this idol, you have gone through the process off preparing your character for rigging. You have learned how to create the most important component a character, Rick, which is the skeleton. After that, you have seen some cool techniques to use to skin your character much more efficiently. Once you have managed to do that, you have started building the actual animation controls and finish things up by discovering how to create. It really needs special rigging set up. And let me tell you something you are now on with tools, tips and techniques you can start using today to accomplish your own character. Riggs. I hope you have had much fun learning about rigging intrigue. Yes, Max, as I have had recording discourse at, I look forward to seeing some of your rig characters you are going to make, and until next time I'm gonna share Coe. Thanks for watching