Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 08 skin weights painting pt5 add influence_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 08 skin weights painting pt5 add influence_frames_transcription.json

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+  "text": " And the next thing that I wanted to show you is adding influences. So, for example, on our... let's go out of Isolate Selector. For example, on our hand here, we have our wrist. We haven't really painted that yet. But then if we go in and we curl our fingers, for example, example, you can see that we get all of this mass kind of moving with the finger. So we have our finger joints here and all this mass is moving with it when in fact it should actually stay flat, it should kind of like be attached to the palm. But you might remember, you might have wondered already, we haven't really added a hand joint in there yet. What we have is we have our finger joints and we have the end of the arm, but we don't really have anything for the palm here. We don't really have a hand joint that is not rotating. So we can add that now. So let's create a new joint. And we can really create it anywhere we like. Let's scale it up to radius of one. And then let's bring it in where the hand needs to sit or where the palm is. We can either place it exactly where the end of the arm is, or kind of like more in the center of the palm. I think both will work fine. So we go to Front View and we move it up. Just want to have something where we can skin to. Okay, so perhaps something like that inside here of the palm. So this is going to be our palm joint, our hand joint, our hand, J&T. And we can create another one for the other side. So we have kind of two options here. could obviously use a mirroring joint or joint mirror tool or what we can also do is we can just duplicate that and here we know that this is in world space at a moment so what we can do is we can just remove the minus from the x which will basically bring it over to the other side so if we just remove the minus it will be from the origin plane moved over in x positive amount while the other one is moved negative from the plane. So then we rename that to left hand, left hand joint. And the next step would be to parent those joints under the hand control. So we'll take the joint parent and underhand control parent that goes along for the right. And same thing on the other side. Apparently under the hand control and then it follows that. Now what we can do is we can add those new joints here as influences. Right at the moment you can see that if we select a finger joint it is an influence. So it is influencing the skin. The skin here, the wireframe is turning pink. But the hand joints, they're not influencing that at the moment. So let's add those as influences. So I'll select both of these new joints. I'll select the skin. If we were to unbind it and use our tool, use our shelf button to select all the skinning joints, those new joints would also be selected because we just call them hen-jnt. So they're getting picked up, but then I would lose all the weighting that I've already done here for my arms and feet and legs and all that stuff and jaw. So instead here I'm just going to select those joints, keep my weighting as it is, select those joints, select my skin, go to Skin, Add Influence, and the option box here. And what I want to do here is if we reset all the settings, this is how it comes in by default, we want to turn off the Use geometry. It's not geometry that we're adding here, it is joints, so we don't need the Use geometry option. And then we also want to come in and lock our weights with our default weighting of zero. If we hit Apply, now you can see those new joints are now influences, so we have them selected, they're turning the wireframe here purple pink, but they're not doing anything yet, because we have locked the weights and set a default value of 0. But now we can come in here and we can actually paint them. So if we go to the paint tool and we find our hand, hand joins our hand star, here is our hand joins. So now we can unlock this. And we haven't really talked about locking actually, but I typically, I'm not a huge fan of locking. I mean in this context it makes sense locking them and assigning a weight of zero. But now I come in and I unlock the right hand and I find my left hand to star hand star. So I add one as well. And the reason why I don't like locking my weights in particular, I mean, sometimes there is a use for it. But the problem occurs is if you forget that you had some weights locked or some influences locked. And now you're starting to paint and you think you're painting actually and then only when you kind of deselect and re-go into the painting tool then you realize that it didn't really paint anything because those joints were locked so it cannot remove weights from them or add new weights to them. Therefore I typically work in a mode where I have everything unlocked here. I just have to keep that in mind that you know if I overwrite something it will kind of remove that weight from anywhere else since I don't have them locked. But this is for me a better way of working. That's just my personal preference. So now we can paint to the hand here. Let's add a bigger value here, maybe one. And we saw what it was doing before. So before what we had was using the curls. We kind of like take everything with it when in fact we want this to stay stable. So let's try to paint that. So what we do now is we paint the whole palm area to the hand joint or palm joint. Maybe all the way here to the knuckles. Those we probably have to paint back to the fingers a little bit later on. Now we can come all the way around here. All the way around. Paint all that. Here we have to be a little bit careful. This would be thumb then, that big area. And here we have our three joints for our wrist, or three edges for our wrists. So the first one would be weighted 100% to the hand. This one would be weighted 100% to the lower arm, and this one kind of 50-50 or if we add partial joints later on then we can weight it to that. That is the first loop. Here we go. Then we go to our arm. And we have our left, our right arm. That's what we're working on here. So the lower one, we already have that actually painted. Then we can just come in here and paint this area here also 100%. and we'll paint it 50% to... Actually, I think now I made a mistake here. I think that was already okay last it is. So now we want to wait this area here in the middle between that line and that line 50%. So we go back to our hand, joined our hand, and paint that 50% now. So 0.5 value. Now we can go to our color ramp to see it better. better. We're essentially painting with 50% yellow here. And then as we are rotating this down, you can see it's kind of doing the right thing now with those edges. Perhaps what we could do is have that second line here be a little bit more towards the wrist because we have that additional line here. So those two don't need to do the same thing. So let's try that. Select those ones here and paint those a little bit more towards the arm. It's just kind of 10% or so. Let's go to the arm and mid and now let's wait that 10% or so. So 0.1. Flood and then it follows that a little bit so we're getting a little bit more space here. Maybe a little bit more so let's add another one. see how that looks. Okay, it kind of works. I mean I don't like that I'm losing volume up there, so I think at the end of the day we probably definitely do want to have a partial joint in there so that we're not losing the volume. And then we have some issues here with our thumb so let's paint that. It's weighted here to the arm all that area so instead it should be weighted to the thumb. Right thumb root so we paint all All that 100% replace or add doesn't matter. all that up till the next joints that I would probably be somewhere around here. And I want to keep in mind that we have our three loops there. The first loop is for the previous joint and the last loop or third loop, which would be We could either have this one be the middle one and that one the next one, or that one the middle one, this one the first one, third one. It's kind of sitting here exactly in between two loops here again. But this one should probably be the next one. So then we go to mid, paint those all here 100%. And that whole section here, the whole bone, can go to the thumb, mid. And then this is all end, or tip. fingers can be a little bit tedious to paint just because we have five of them. And then this here should be weighted to the index finger instead or to the palm or hand control hand joint and let's wait all that to the hand. This one also maybe. And then this one could all be fingers, index, continue painting that. Here we probably have to do quite a bit of cleanup. cleanup didn't come out so well when we waited it automatically. We have a lot of influence here over. to the next one. This is what the heatmap blind method is meant to help with. Again, I wasn't getting the results that I was looking for, instead I'm just going to paint it manually. And then here a tip. Paint that. I don't want to paint all the fingers here with you guys, just the first two or so. and then talk about a few other things here. Okay, so that's okay and then we continue with the middle finger, ring finger and pinky here, but first to our... okay, or at least we have something here. And now if we try to use our index, we can see that it actually does not take the palm with it anymore. So the palm is kind of independent now. And now here we can go in and we can see that we have all that weighted to the finger, to first digit and all that weighted to the palm. So now we can probably go in and paint the middle one here that knuckle 50% between the two. So let's select all those or paint them. 50%. So I'll replace it with a value of 0.5. Oops, make the smaller. All the way around. Okay, it already looks a little bit better. painted the second one here are the middle finger also real quick here middle Let's add a value of 1. Okay. Okay. It's pinned all the way to the middle, and then we can replace it with 50% later on. And then here, same thing. one should be 50 50. Okay. And let's paint those here real quick also. So let's come in selected whole loop. Here we have a, it's quite a little animation here too. So that one here should probably be 50%. Going all the way around the middle. Maybe even these ones here too. Because if we paint those 50%, then that will kind of be one unit, so it will maintain the The distance here as we collapse the finger. Let's paint those first. Let's come back to index. Root, set it should be, and at the moment, it's 100% on the mid. So if we go to the root and assign 50% to it, 0.5. Well, you flood. This is 50%. And at the moment, as you can see, It's kind of collapsing quite a bit here. So if we want to keep that a little bit better, what we can do is we can paint the way how it is modeled here. We can paint that whole section here 50%. So let's come in here. Paint this one here 50% as well. And that one here as well. Now that should kind of stay. We can see this is actually what is happening. So this thing. But at the same time, we're also losing volume. And we're losing volume because we don't have a partial joint in there. At the moment, we're just waiting in between those two joints, between the first one and the second one here that is rotating down. So what we should rather probably do is to maintain that volume or also be able to stretch that a little bit or scale it, we should probably add partial joints in here for those digits. Let me quickly add that one finger here, or kind of complete that. So here we want to have that middle one painted 50% between the mid and the tip. So I can weight those 50% to the tip and I will remove it from the mid. Those 50%. Okay, something like that. Now in midway all say 50%. Now if we come in here, there you can see this actually doesn't look too bad. This one here does. So we could paint it a little bit differently maybe, but I still think that we're losing volume as we saw before early on with, you know, when we're waiting between two joints. It's always going to lose volume so I think a better way would be to add partial joints, especially here for those fingers and maybe some other areas too, where we saw before. And now that we know how to add influences, we can actually quite easily do that. So let me save here before I decide to crash on me. Let's create a joint, a new joint somewhere, and then we'll take this this joint and we'll parent it under that joint here. Okay, parent. Then I'll zero everything out, zero. So now with that zeroed out and being parented under the first joint, that will have exactly the same space now, the same orientation, everything. So if we reveal it, we can see, okay, this is our joint. So let's call this partial maybe index, so write index partial. And actually it should probably be index. So this was the root, this was the mid, so let's call this mid index mid partial jnt. And let's create another one, so duplicate that and bring it in here. So this is going to be our, and we zero it out too. So this This is going to be our partial tip, our index tip, partial, JNT. Let's maybe also create one for the root. So I'll duplicate it one more time, parent and root joint, parent, zero it out. Let's call this index root partial joint. So at the moment, these partial joints are parented exactly where under the same joint it is rotating. So that's not good. What we want instead is we want to parent it under the previous thing. So for the partial tip, for example, we want to parent it under the previous ones. Instead of being parented under tip joint, we want it to be under the, probably the tip orient here, actually. That's parent under tip orient. Now we can see that it actually draws this line here again, but this is only because that's only because we have kind of a joint and then a group and then a joint again. At the moment this is not rotating anymore, so just let me undo here real quick one more time. I want to demonstrate it a little bit better. So let's add a little cube here and parent a little cube under our partial joint and zero it out so that it comes into the same space. So at the moment, if I'm rotating this, the cube, the partial joint, and the rotate underneath it are rotating 100%. So this is not really what we want. So instead, what we want is we want this partial joint to be under the previous one. So we just go up, and instead of parent it to the tip control, parent it one up, so under the tip orient, or we could go even one up under the mid joint here as well. Actually, that doesn't seem to be working. So let's parent it under the tip orient instead. By doing that, now if we rotate this joint here, we can see now the cube is no longer rotating with it. So it just stays exactly as the previous joint. It only follows with the previous one. That's exactly what we want now, because now what we can do is we can take this rotation and apply 50% of it to that partial joint so that this will rotate 50%. Okay, so let's try that. One thing that I'm seeing here, it seems to be okay, rotate y, and this one here is... here we have different orientations because we parented probably under the orient group. Let's see if we can try to make the orientation exactly the same. Let's try to zero out the joint orientations on the joint. Zero, zero, zero. That should now bring it into the same space here really. Basically what I want to try to achieve is that we can connect the rotate x of our tip joint, whatever the tip is doing, to the rotation x of our partial joint. Therefore, I went in on the partial joint and zeroed out all the joint orients and also making sure that there is nothing on joint x to zero either. they're in the same space and now we can connect this up. So let's connect the... Here we actually have a little bit of a challenge because we have two things that can control that. Joint one is the joint itself which is connected to the index curl attribute or any type of attributes that we might have and then we have our group here or our control rather that is also controlling it. So So we probably have to add those two together to get the whole rotation. So tip control plus tip joint divided by 2 gives us the end result. We can then connect to our tip partial. Okay, let's connect the first one first without adding the control. So let's just connect the joint. So rendering, hypershade. that one in here. Let's add our partial joint in there as well. Add selected. We add a multiply or create a multiply. Ideally we should name it too. Might not do it here now. Rotate X goes into input X and then output X goes into rotate X. And the thing is here you can see it doesn't show us anything. If we refresh, show input and output, then it actually shows us the connections. So you can see if we were to do that in the node editor, we would always get these unit conversions in between there now. Which probably is not ideal. But now if we rotate this, we should see the cube here rotating 50% between the two joints. And we can see that is actually true. So the cube is in fact always like kind of rotating half of whatever this joint here is rotating. But now as I said before if we now rotate our control the cube won't do anything. Cube just stays there. It's hard to see I guess now. So So what we have to do is we also have to bring in the control here as well. So let's do that. Graph add selected. So we need a plus minus before. and we can add tip, joint, rotation, so rotate, x. Actually here I forgot to add two new items here, so we can actually connect to it. So let's try this again. So rotate x goes into input, the first one x, and then the control goes into the second one x. So we're adding those two together, rotate, output, the second one x. So here those two are going in, and then from here we're going into the plus, minus, enter multiply node, output x goes into the input 1x. And here we are actually at a moment I think it wasn't even doing half, it was just doing the full thing because we forgot to multiply it with 0.5. And now it's doing the right thing. So now we have it actually go 50% between those two. Here we go. So now we have our partial joint added in there. What we can do is perhaps if we want color code our partial joints so that we can distinguish them from the other joints, we don't have to do it, but it makes it a little bit easier to see what's going on. To draw an overwrite, let's color code that way. I don't know, perhaps red. Then we know the red joints are our partial joints. We can also change the radius a little bit, so it makes it a little bit easier to see too. And lastly, what we can also do is we can, actually you know what, perhaps we should make them red really. Perhaps we should make them green. I have a new color here, perhaps. Or dark red or something like that. Not sure. We don't need the cube underneath there anymore, so I'm going to delete that. And then we can color code the other ones here too. So that one, set the radius to 1. Let's color code it also like this dark red. And the next one, here too. Partial, root partial. Set this to 1, color code it. OK. And then we have to do kind of the same thing what we did with this one here for these partial joins as well. And I know that on the fingers, it's quite a lot. And we might get away without doing it, those partial joins, but I just want to show you kind of the difference here real quick so we can see what it currently does. So we're losing volume. So let's set it up at least on the first finger. So the tip we already covered is already connected. The mid, we kind of have to do the same thing. So we have to parent that first, not under the mid-join, not under mid-control, but one up from there. So that would be the mid-orient group. And we can see we're showing this line here now. And then the root partial, it's kind of the same thing. So instead of being under the index root or index root control, we want to go one up. So that would be the index root aurean group here. So that they're not moving by default when this gets moved. And then we can connect the rotation here from the control plus the rotation from the joint. Let's bring those two guys in here. Go through a plus minus node. And it doesn't really matter which one comes first. as long as we're adding those two together. Rotate X. Actually, I think we forgot one thing with the partial joint, resetting the rotations there we did before. Let's add two more here. Let's connect it. rotate x into the first one x and then the second one rotate x into the second slot here x adding those two together and then we're going through a multiply node multiply so we're x into x and we're multiplying with 0.5 to result And then from here we are going into the partial join. So that would be the partial join for not the tip but the mid. And here we want to make sure that we have the same kind of orientation here. You can see it is kind of wrong. It's rotating around set here at the moment, but we wanted to go around x. So that means we have to come in here into the attribute editor and zero out any rotate axis or joint orientation that we might have. Zero those all out. and then it actually should be rotating around x now for the band. We can do the same thing here on the root partial joint already. So let's come in here, attribute editor, zero out the joint orient, okay. And then let's connect the mid one up here, graph, and select it. So we go from the multiply into the rotation x, I'll put x into rotate x. So now we have that one hooked up. And let's do the same thing for the last one, for the root partial. So let's bring that one in here and select it. Then we need the rotation of the control plus the rotation of the joint. Add those two together in a plus minus node and a multiply afterwards. Add our two new items, connect those up, rotate X. First one, and then we connect this in here. Rotate X into second X, and then we go from here into the multiply node, so that the result can be... We can get the half, then we multiply with 0.5, and then that result goes into the partial joint. Okay, so that should all work now. So we should be seeing this one rotating 50% so if this is 24, this joint here is actually rotating 49 almost 50. So that is working. And now we can skin our partial joints. So we will use those partial joints, select those, and select our skin and go to skin add influence, just like we did with the hand. We can still keep the same settings, so no geometry. So we turn that one off. Lock weights 0 because we don't want to change any existing weighting only once we start painting. So lock the weights with a value, a standard value of 0, apply. And now we can come in here and start painting the weights. Before we do, let's take one more look at how it looks like at the moment. So you can clearly see that we're losing volume here quite a bit. So let's see if painting those points here to the partial joint will actually help with that. So skin paint, we have our partial joints in here, then we go to the partial for a mid, which is this one. try to paint this 100% to the partial joint instead of 50-50 between two other joints. Let's paint those ones here as well and see what we get on the looks then. It might not work 100% out of the box so we have to still maybe make some adjustments and also paint the ones here for the mid partial as well while I'm at it. our tip partial rather. Here we go. And then the root partial here as well. That was I think this line in there, which is now 50%, so that's painted 100% to the root partial instead. Okay. Okay, let's see how it looks now. We call our finger. Looks quite a bit better, I feel. We're still losing a little bit of volume here, but not as bad as it used to be as it was before. So we have kind of two options here. I think this looks a lot better now, too. We have, and here also, we have two options, how we can resolve that. So one would be to just paint this a little bit differently. The other option would be we could try to scale this partial joint out as it rotates. So either with a set driven key or a connection or so, we could now take this partial joint and we can scale that to keep the volume here a little bit better better or even like exaggerate, you know, how much we want just to be scaled, right? Then also translate this here too, which helps as well. Really only a matter of what we are interested in. So we could scale it, we could translate it, do whatever we have to, but I'm still probably before I do that, resort to that, try to see if I can get this a little bit better with just weights painting. So perhaps we should actually paint this a little bit back to those two joints that are surrounding that partial joint. So let's see what happens if we paint that closer to this and the next one closer to that. Let's see what we get from there. Might work better. I think actually it does look better probably. Could also try 50-50 perhaps at moment I've just painted it 100% again. If we painted this 50% between the partial joint and those surrounding points or joints, it will probably even look better. But no matter what, we can still use that partial joint. We have that ability of scaling the partial joint or translating the partial joint, which will eliminate the need for creating a lot of the corrective shapes for volume preservation. And we have all the zero values here, 1, 1, 1, so it will make it very, very easy to connect up based on the rotation, for example, with a remap node or multiply a divide node or something like that. How much we want these knuckles here to scale to kind of keep that volume.",
+  "segments": [
+    {
+      "text": " And the next thing that I wanted to show you is adding influences. So, for example, on our... let's go out of Isolate Selector. For example, on our hand here, we have our wrist. We haven't really painted that yet. But then if we go in and we curl our fingers, for example, example, you can see that we get all of this mass kind of moving with the finger. So we have our finger joints here and all this mass is moving with it when in fact it should actually stay flat, it should kind of like be attached to the palm. But you might remember, you might have wondered already, we haven't really added a hand joint in there yet. What we have is we have our finger joints and we have the end of the arm, but we don't really have anything for the palm here. We don't really have a hand joint that is not rotating. So we can add that now. So let's create a new joint. And we can really create it anywhere we like. Let's scale it up to radius of one. And then let's bring it in where the hand needs to sit or where the palm is. We can either place it exactly where the end of the arm is, or kind of like more in the center of the palm. I think both will work fine. So we go to Front View and we move it up. Just want to have something where we can skin to. Okay, so perhaps something like that inside here of the palm. So this is going to be our palm joint, our hand joint, our hand, J&T. And we can create another one for the other side. So we have kind of two options here. could obviously use a mirroring joint or joint mirror tool or what we can also do is we can just duplicate that and here we know that this is in world space at a moment so what we can do is we can just remove the minus from the x which will basically bring it over to the other side so if we just remove the minus it will be from the origin plane moved over in x positive amount while the other one is moved negative from the plane. So then we rename that to left hand, left hand joint. And the next step would be to parent those joints under the hand control. So we'll take the joint parent and underhand control parent that goes along for the right. And same thing on the other side. Apparently under the hand control and then it follows that. Now what we can do is we can add those new joints here as influences. Right at the moment you can see that if we select a finger joint it is an influence. So it is influencing the skin. The skin here, the wireframe is turning pink. But the hand joints, they're not influencing that at the moment. So let's add those as influences. So I'll select both of these new joints. I'll select the skin. If we were to unbind it and use our tool, use our shelf button to select all the skinning joints, those new joints would also be selected because we just call them hen-jnt. So they're getting picked up, but then I would lose all the weighting that I've already done here for my arms and feet and legs and all that stuff and jaw. So instead here I'm just going to select those joints, keep my weighting as it is, select those joints, select my skin, go to Skin, Add Influence, and the option box here. And what I want to do here is if we reset all the settings, this is how it comes in by default, we want to turn off the Use geometry. It's not geometry that we're adding here, it is joints, so we don't need the Use geometry option. And then we also want to come in and lock our weights with our default weighting of zero. If we hit Apply, now you can see those new joints are now influences, so we have them selected, they're turning the wireframe here purple pink, but they're not doing anything yet, because we have locked the weights and set a default value of 0. But now we can come in here and we can actually paint them. So if we go to the paint tool and we find our hand, hand joins our hand star, here is our hand joins. So now we can unlock this. And we haven't really talked about locking actually, but I typically, I'm not a huge fan of locking. I mean in this context it makes sense locking them and assigning a weight of zero. But now I come in and I unlock the right hand and I find my left hand to star hand star. So I add one as well. And the reason why I don't like locking my weights in particular, I mean, sometimes there is a use for it. But the problem occurs is if you forget that you had some weights locked or some influences locked. And now you're starting to paint and you think you're painting actually and then only when you kind of deselect and re-go into the painting tool then you realize that it didn't really paint anything because those joints were locked so it cannot remove weights from them or add new weights to them. Therefore I typically work in a mode where I have everything unlocked here. I just have to keep that in mind that you know if I overwrite something it will kind of remove that weight from anywhere else since I don't have them locked. But this is for me a better way of working. That's just my personal preference. So now we can paint to the hand here. Let's add a bigger value here, maybe one. And we saw what it was doing before. So before what we had was using the curls. We kind of like take everything with it when in fact we want this to stay stable. So let's try to paint that. So what we do now is we paint the whole palm area to the hand joint or palm joint. Maybe all the way here to the knuckles. Those we probably have to paint back to the fingers a little bit later on. Now we can come all the way around here. All the way around. Paint all that. Here we have to be a little bit careful. This would be thumb then, that big area. And here we have our three joints for our wrist, or three edges for our wrists. So the first one would be weighted 100% to the hand. This one would be weighted 100% to the lower arm, and this one kind of 50-50 or if we add partial joints later on then we can weight it to that. That is the first loop. Here we go. Then we go to our arm. And we have our left, our right arm. That's what we're working on here. So the lower one, we already have that actually painted. Then we can just come in here and paint this area here also 100%. and we'll paint it 50% to... Actually, I think now I made a mistake here. I think that was already okay last it is. So now we want to wait this area here in the middle between that line and that line 50%. So we go back to our hand, joined our hand, and paint that 50% now. So 0.5 value. Now we can go to our color ramp to see it better. better. We're essentially painting with 50% yellow here. And then as we are rotating this down, you can see it's kind of doing the right thing now with those edges. Perhaps what we could do is have that second line here be a little bit more towards the wrist because we have that additional line here. So those two don't need to do the same thing. So let's try that. Select those ones here and paint those a little bit more towards the arm. It's just kind of 10% or so. Let's go to the arm and mid and now let's wait that 10% or so. So 0.1. Flood and then it follows that a little bit so we're getting a little bit more space here. Maybe a little bit more so let's add another one. see how that looks. Okay, it kind of works. I mean I don't like that I'm losing volume up there, so I think at the end of the day we probably definitely do want to have a partial joint in there so that we're not losing the volume. And then we have some issues here with our thumb so let's paint that. It's weighted here to the arm all that area so instead it should be weighted to the thumb. Right thumb root so we paint all All that 100% replace or add doesn't matter. all that up till the next joints that I would probably be somewhere around here. And I want to keep in mind that we have our three loops there. The first loop is for the previous joint and the last loop or third loop, which would be We could either have this one be the middle one and that one the next one, or that one the middle one, this one the first one, third one. It's kind of sitting here exactly in between two loops here again. But this one should probably be the next one. So then we go to mid, paint those all here 100%. And that whole section here, the whole bone, can go to the thumb, mid. And then this is all end, or tip. fingers can be a little bit tedious to paint just because we have five of them. And then this here should be weighted to the index finger instead or to the palm or hand control hand joint and let's wait all that to the hand. This one also maybe. And then this one could all be fingers, index, continue painting that. Here we probably have to do quite a bit of cleanup. cleanup didn't come out so well when we waited it automatically. We have a lot of influence here over. to the next one. This is what the heatmap blind method is meant to help with. Again, I wasn't getting the results that I was looking for, instead I'm just going to paint it manually. And then here a tip. Paint that. I don't want to paint all the fingers here with you guys, just the first two or so. and then talk about a few other things here. Okay, so that's okay and then we continue with the middle finger, ring finger and pinky here, but first to our... okay, or at least we have something here. And now if we try to use our index, we can see that it actually does not take the palm with it anymore. So the palm is kind of independent now. And now here we can go in and we can see that we have all that weighted to the finger, to first digit and all that weighted to the palm. So now we can probably go in and paint the middle one here that knuckle 50% between the two. So let's select all those or paint them. 50%. So I'll replace it with a value of 0.5. Oops, make the smaller. All the way around. Okay, it already looks a little bit better. painted the second one here are the middle finger also real quick here middle Let's add a value of 1. Okay. Okay. It's pinned all the way to the middle, and then we can replace it with 50% later on. And then here, same thing. one should be 50 50. Okay. And let's paint those here real quick also. So let's come in selected whole loop. Here we have a, it's quite a little animation here too. So that one here should probably be 50%. Going all the way around the middle. Maybe even these ones here too. Because if we paint those 50%, then that will kind of be one unit, so it will maintain the The distance here as we collapse the finger. Let's paint those first. Let's come back to index. Root, set it should be, and at the moment, it's 100% on the mid. So if we go to the root and assign 50% to it, 0.5. Well, you flood. This is 50%. And at the moment, as you can see, It's kind of collapsing quite a bit here. So if we want to keep that a little bit better, what we can do is we can paint the way how it is modeled here. We can paint that whole section here 50%. So let's come in here. Paint this one here 50% as well. And that one here as well. Now that should kind of stay. We can see this is actually what is happening. So this thing. But at the same time, we're also losing volume. And we're losing volume because we don't have a partial joint in there. At the moment, we're just waiting in between those two joints, between the first one and the second one here that is rotating down. So what we should rather probably do is to maintain that volume or also be able to stretch that a little bit or scale it, we should probably add partial joints in here for those digits. Let me quickly add that one finger here, or kind of complete that. So here we want to have that middle one painted 50% between the mid and the tip. So I can weight those 50% to the tip and I will remove it from the mid. Those 50%. Okay, something like that. Now in midway all say 50%. Now if we come in here, there you can see this actually doesn't look too bad. This one here does. So we could paint it a little bit differently maybe, but I still think that we're losing volume as we saw before early on with, you know, when we're waiting between two joints. It's always going to lose volume so I think a better way would be to add partial joints, especially here for those fingers and maybe some other areas too, where we saw before. And now that we know how to add influences, we can actually quite easily do that. So let me save here before I decide to crash on me. Let's create a joint, a new joint somewhere, and then we'll take this this joint and we'll parent it under that joint here. Okay, parent. Then I'll zero everything out, zero. So now with that zeroed out and being parented under the first joint, that will have exactly the same space now, the same orientation, everything. So if we reveal it, we can see, okay, this is our joint. So let's call this partial maybe index, so write index partial. And actually it should probably be index. So this was the root, this was the mid, so let's call this mid index mid partial jnt. And let's create another one, so duplicate that and bring it in here. So this is going to be our, and we zero it out too. So this This is going to be our partial tip, our index tip, partial, JNT. Let's maybe also create one for the root. So I'll duplicate it one more time, parent and root joint, parent, zero it out. Let's call this index root partial joint. So at the moment, these partial joints are parented exactly where under the same joint it is rotating. So that's not good. What we want instead is we want to parent it under the previous thing. So for the partial tip, for example, we want to parent it under the previous ones. Instead of being parented under tip joint, we want it to be under the, probably the tip orient here, actually. That's parent under tip orient. Now we can see that it actually draws this line here again, but this is only because that's only because we have kind of a joint and then a group and then a joint again. At the moment this is not rotating anymore, so just let me undo here real quick one more time. I want to demonstrate it a little bit better. So let's add a little cube here and parent a little cube under our partial joint and zero it out so that it comes into the same space. So at the moment, if I'm rotating this, the cube, the partial joint, and the rotate underneath it are rotating 100%. So this is not really what we want. So instead, what we want is we want this partial joint to be under the previous one. So we just go up, and instead of parent it to the tip control, parent it one up, so under the tip orient, or we could go even one up under the mid joint here as well. Actually, that doesn't seem to be working. So let's parent it under the tip orient instead. By doing that, now if we rotate this joint here, we can see now the cube is no longer rotating with it. So it just stays exactly as the previous joint. It only follows with the previous one. That's exactly what we want now, because now what we can do is we can take this rotation and apply 50% of it to that partial joint so that this will rotate 50%. Okay, so let's try that. One thing that I'm seeing here, it seems to be okay, rotate y, and this one here is... here we have different orientations because we parented probably under the orient group. Let's see if we can try to make the orientation exactly the same. Let's try to zero out the joint orientations on the joint. Zero, zero, zero. That should now bring it into the same space here really. Basically what I want to try to achieve is that we can connect the rotate x of our tip joint, whatever the tip is doing, to the rotation x of our partial joint. Therefore, I went in on the partial joint and zeroed out all the joint orients and also making sure that there is nothing on joint x to zero either. they're in the same space and now we can connect this up. So let's connect the... Here we actually have a little bit of a challenge because we have two things that can control that. Joint one is the joint itself which is connected to the index curl attribute or any type of attributes that we might have and then we have our group here or our control rather that is also controlling it. So So we probably have to add those two together to get the whole rotation. So tip control plus tip joint divided by 2 gives us the end result. We can then connect to our tip partial. Okay, let's connect the first one first without adding the control. So let's just connect the joint. So rendering, hypershade. that one in here. Let's add our partial joint in there as well. Add selected. We add a multiply or create a multiply. Ideally we should name it too. Might not do it here now. Rotate X goes into input X and then output X goes into rotate X. And the thing is here you can see it doesn't show us anything. If we refresh, show input and output, then it actually shows us the connections. So you can see if we were to do that in the node editor, we would always get these unit conversions in between there now. Which probably is not ideal. But now if we rotate this, we should see the cube here rotating 50% between the two joints. And we can see that is actually true. So the cube is in fact always like kind of rotating half of whatever this joint here is rotating. But now as I said before if we now rotate our control the cube won't do anything. Cube just stays there. It's hard to see I guess now. So So what we have to do is we also have to bring in the control here as well. So let's do that. Graph add selected. So we need a plus minus before. and we can add tip, joint, rotation, so rotate, x. Actually here I forgot to add two new items here, so we can actually connect to it. So let's try this again. So rotate x goes into input, the first one x, and then the control goes into the second one x. So we're adding those two together, rotate, output, the second one x. So here those two are going in, and then from here we're going into the plus, minus, enter multiply node, output x goes into the input 1x. And here we are actually at a moment I think it wasn't even doing half, it was just doing the full thing because we forgot to multiply it with 0.5. And now it's doing the right thing. So now we have it actually go 50% between those two. Here we go. So now we have our partial joint added in there. What we can do is perhaps if we want color code our partial joints so that we can distinguish them from the other joints, we don't have to do it, but it makes it a little bit easier to see what's going on. To draw an overwrite, let's color code that way. I don't know, perhaps red. Then we know the red joints are our partial joints. We can also change the radius a little bit, so it makes it a little bit easier to see too. And lastly, what we can also do is we can, actually you know what, perhaps we should make them red really. Perhaps we should make them green. I have a new color here, perhaps. Or dark red or something like that. Not sure. We don't need the cube underneath there anymore, so I'm going to delete that. And then we can color code the other ones here too. So that one, set the radius to 1. Let's color code it also like this dark red. And the next one, here too. Partial, root partial. Set this to 1, color code it. OK. And then we have to do kind of the same thing what we did with this one here for these partial joins as well. And I know that on the fingers, it's quite a lot. And we might get away without doing it, those partial joins, but I just want to show you kind of the difference here real quick so we can see what it currently does. So we're losing volume. So let's set it up at least on the first finger. So the tip we already covered is already connected. The mid, we kind of have to do the same thing. So we have to parent that first, not under the mid-join, not under mid-control, but one up from there. So that would be the mid-orient group. And we can see we're showing this line here now. And then the root partial, it's kind of the same thing. So instead of being under the index root or index root control, we want to go one up. So that would be the index root aurean group here. So that they're not moving by default when this gets moved. And then we can connect the rotation here from the control plus the rotation from the joint. Let's bring those two guys in here. Go through a plus minus node. And it doesn't really matter which one comes first. as long as we're adding those two together. Rotate X. Actually, I think we forgot one thing with the partial joint, resetting the rotations there we did before. Let's add two more here. Let's connect it. rotate x into the first one x and then the second one rotate x into the second slot here x adding those two together and then we're going through a multiply node multiply so we're x into x and we're multiplying with 0.5 to result And then from here we are going into the partial join. So that would be the partial join for not the tip but the mid. And here we want to make sure that we have the same kind of orientation here. You can see it is kind of wrong. It's rotating around set here at the moment, but we wanted to go around x. So that means we have to come in here into the attribute editor and zero out any rotate axis or joint orientation that we might have. Zero those all out. and then it actually should be rotating around x now for the band. We can do the same thing here on the root partial joint already. So let's come in here, attribute editor, zero out the joint orient, okay. And then let's connect the mid one up here, graph, and select it. So we go from the multiply into the rotation x, I'll put x into rotate x. So now we have that one hooked up. And let's do the same thing for the last one, for the root partial. So let's bring that one in here and select it. Then we need the rotation of the control plus the rotation of the joint. Add those two together in a plus minus node and a multiply afterwards. Add our two new items, connect those up, rotate X. First one, and then we connect this in here. Rotate X into second X, and then we go from here into the multiply node, so that the result can be... We can get the half, then we multiply with 0.5, and then that result goes into the partial joint. Okay, so that should all work now. So we should be seeing this one rotating 50% so if this is 24, this joint here is actually rotating 49 almost 50. So that is working. And now we can skin our partial joints. So we will use those partial joints, select those, and select our skin and go to skin add influence, just like we did with the hand. We can still keep the same settings, so no geometry. So we turn that one off. Lock weights 0 because we don't want to change any existing weighting only once we start painting. So lock the weights with a value, a standard value of 0, apply. And now we can come in here and start painting the weights. Before we do, let's take one more look at how it looks like at the moment. So you can clearly see that we're losing volume here quite a bit. So let's see if painting those points here to the partial joint will actually help with that. So skin paint, we have our partial joints in here, then we go to the partial for a mid, which is this one. try to paint this 100% to the partial joint instead of 50-50 between two other joints. Let's paint those ones here as well and see what we get on the looks then. It might not work 100% out of the box so we have to still maybe make some adjustments and also paint the ones here for the mid partial as well while I'm at it. our tip partial rather. Here we go. And then the root partial here as well. That was I think this line in there, which is now 50%, so that's painted 100% to the root partial instead. Okay. Okay, let's see how it looks now. We call our finger. Looks quite a bit better, I feel. We're still losing a little bit of volume here, but not as bad as it used to be as it was before. So we have kind of two options here. I think this looks a lot better now, too. We have, and here also, we have two options, how we can resolve that. So one would be to just paint this a little bit differently. The other option would be we could try to scale this partial joint out as it rotates. So either with a set driven key or a connection or so, we could now take this partial joint and we can scale that to keep the volume here a little bit better better or even like exaggerate, you know, how much we want just to be scaled, right? Then also translate this here too, which helps as well. Really only a matter of what we are interested in. So we could scale it, we could translate it, do whatever we have to, but I'm still probably before I do that, resort to that, try to see if I can get this a little bit better with just weights painting. So perhaps we should actually paint this a little bit back to those two joints that are surrounding that partial joint. So let's see what happens if we paint that closer to this and the next one closer to that. Let's see what we get from there. Might work better. I think actually it does look better probably. Could also try 50-50 perhaps at moment I've just painted it 100% again. If we painted this 50% between the partial joint and those surrounding points or joints, it will probably even look better. But no matter what, we can still use that partial joint. We have that ability of scaling the partial joint or translating the partial joint, which will eliminate the need for creating a lot of the corrective shapes for volume preservation. And we have all the zero values here, 1, 1, 1, so it will make it very, very easy to connect up based on the rotation, for example, with a remap node or multiply a divide node or something like that. How much we want these knuckles here to scale to kind of keep that volume."
+    }
+  ]
+}