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+  "text": " The next thing that I want to look at here is Bendy Limbs. I wasn't going to talk about it, but because it came up, some of you guys asked for it. So I will try to build it here. I want to try to build it live here with you guys, and I haven't done it in a while. But I also want to try to build it on this character instead of building it on a simple example. It will get a little bit more complex now because we already have so much going on in this arm rig, or also in the leg rig obviously. So many hierarchies here already. We have the IK and the FK obviously, then those two IK and FK are blending into the final one, into the blended one. And then we have these partial joints, we have these twist joints, and on top of that now we want to add a ribbon. That's what I would use for bendy arms. Actually if we look at this here I kind of can already do bendy arms just with what I already have, that lower S cage. So if I'm moving this joint, if I were to give a control we can already do bendy arms just by moving this joint. And if I had a twist joint in here, even though I don't connect it, let's try that real quick because we're going to need that anyway. So let's take this joint here, duplicate it, put it under the middle joint here, and let's go into the Outliner, find it, and put it under, actually it is already under the middle joint, so then let's just zero it out, then it will be exactly here where we want it, or not where we want it, but exactly in the same position as the middle joint, the elbow join. Now we parent this under the root instead. Now we can see it's going to be moved, those many units from the root. It's in the space of the root now, but it's moved 24.008 in y. And now what we can do is we can divide it by two or multiply with 0.5. So multiply equals 0.5 and then we'll be exactly in a middle between the root joint and the mid joint. And I think one other thing that we have to do, because we have the wrong axis here at the moment. So let's also go into the attribute editor, and we have to probably clear out the joint orientation. So let's zero those all out. And now we have it in the same space here, and in the same orientation and everything as the root joint. And if we now take this twist joint and we can rename this to arm up twist 50 joint and we can include it here into our skin cluster. So add it as an influence. Add influence and we can paint to it. So it would be arm, twist here we have it up arm and now we can paint all that. Add one... Okay, seems like in smooth preview I can't really see the painting here for some reason. It doesn't display it properly. But if I go out and we can see that and now I could take this one here for my... If I weird in smooth preview and I could take this one and do some sort of like bendy limbs. Let's see how it looks without that. This is not perfect. You know, there is a lot of improvement that could be done, but just to give you an idea like how quick it actually is if you're using the low-risk cage, it's quite simple. If you don't have the low-risk cage, that doesn't really matter. We can do it in a different way. I think it will be pretty tricky to wait, especially if you have more resolution than this. It will be quite tricky to wait it in such a way that we get the same smoothness that we're getting from just these. And even here, you can see it's also not 100% smooth. I mean, maybe if we were to smooth preview that, or if we were going to apply a smooth, then it would actually look smoother. But here you can see we don't have enough resolution here this mesh even to see bendy limbs. I want to show you another technique which is kind of similar to this, a little bit more complex, a little bit more complicated, but assuming you don't have a low risk cage. And that would be to just add ribbons here, okay, and then new joints that's similar to what we were doing with the spine already. We are going to add surfaces here to the arm. And then we're going to create follicles on the surfaces. We're going to create joints under these follicles. And then these joints are going to be what's going to drive the arm, what we're going to skin the arm geometry to. No longer these joints that we have it skin to at the moment. No longer these blend joints and the partial joints, but rather the joints that are going to sit under the follicles that are going to be glued on or riveted onto the surface. So let's see if we can try to get that done. So first what I'm going to do is I'm going to create a surface. And there is also a simpler method and a more complicated method. I want to start with a little bit simpler method. And then maybe if we have time, we can do the different, the other method, a little bit more complicated one, but maybe a little bit more advanced. So let's start with an EP curve here, and I'll start from this point, and then I'll go to the center here of the twist, I'll snap it to that one, and then I'll, oops, something went wrong. Let's try this again, snapping, this join, this join, and that joined. And EP code just means that you can also use here with the EP you can also use a linear and cubic but it just means that although you're clicking just three times you're actually getting five points. So if I come in here we should be able to see that we have five points. Ah, come on. There we go. Two here, one here, and then two there. And now obviously we want to create a surface between those. So let's duplicate that curve. And select the points of one of them. Actually, I think I might have two now. No, the other one is still there. OK, that's good. So what we can do here now is we can move these points in. We want to move them in the space of the joint. So we just want to move them a little bit in this direction the outer curve a little bit in that direction. But they're going to be in world space, but what we can do is we can move these points in the normal space, in its normal space. So if we go to move the move tool, instead of object or while they're local, we're going to move them in normal space and then we can just push them out a little bit. It will probably be good to move them in a specific way. So maybe let's try to discreet here and maybe step size one. Let's see if this works. Actually it doesn't seem to be working for normal mode. I think it only works for local mode where we can use the step size. So that does not work. What we could try to do is use mel. So if we're moving that, we should see the mel command for it. If we go into the script editor, this is it. Okay. Now for undo, ctrl-z, then we can see that was a command. So we could use that command. I've already tried it out here to move these five points one unit out. The reason why I like to do it that way as opposed to just moving it, eyeballing it like that is that we can get the other one exactly the same amount in the opposite direction. That means that these follicles that we're going to create, they can sit exactly at 0.5. Otherwise we have to shift them around a little bit, which wouldn't be too bad. We can do that, but if we can do it precise, why not do it precise? I'm going to move those one unit. I'm going to select the other curve here. It's there. And select those guys. And these should move minus one, minus, minus, minus, and minus. Here we go. And now we will need to create the same thing here on the upper one. So I'll also create a curve from snapping it to this joint, to that twist joint, and to the middle joint. And then we'll duplicate that. Move these. Now we can apply our same command here. Let's keep that for in a second. Let's move them first. The first curve here with positive one. One, one, one and one. execute that command, here we go, and then the curves of the second one, or the points of the second curve, select those and then we move them with minus one, we have that. Now we create two loft surfaces, so we select these two curves, create a loft under surface, surface loft, and then the same thing here for this lower one, G for repeating the last actions and now we have two lofts and if we go into the Outliner we don't necessarily need these curves anymore we can just delete them or delete or keep them around if we want to maybe do something with them later on but we should delete the history on these lofts because they will have history on them so let's go to edit delete but type history for loft surfaces and we have one surface for our upper arm. So right upper arm, serve. And actually, this is kind of like messing up my whole naming convention now. But I think it's called arm. That's what I always started our arm and upper surface. And then lower, lower surface. And now we want skin these surfaces appropriately. So let's take the blend joint, blend root, and then Let's take the partial joint here in the middle and let's take the twist joint here and take our surface for the upper arm skin it animation skin smoothbind and Then let's do the same thing for the lower one here. We also want to take our partial joint We want to take our twist joint and now here we want to take Actually, we could probably take this twist joint that we already have, or we can take the hand joint, also it doesn't really matter. Let's select our lower arm surface and skin it smooth. But what we want to do is we want to have, we try to rotate it, we want to have it so that the surface here twists, so we want to have that lower part here twisting, so that once we create our joints here along that surface, that these joints are partially twisting. OK, so then let's set this back to zero. And you know what? I'm going to actually delete these curves. I don't need them anymore. And I'm also going to remove or hide, maybe, remove these cubes. I also don't need to see them anymore. No, that cube here as well. Just for helping us understand that it's twisting. But now that we have these surfaces, we can see when we rotate the surface, we can see that it's twisting. right a little bit and we get this nice distribution because of the weighting. So if we go here and go into the painting tool, skin paint weights tool, we see that this one is weighted or should be weighted to three joints. To the hand, let's paint this 100% to the twist joint 50% and then to the partial joint here in the middle. And then for the other surface actually, you should probably paint this a little bit better here too. So maybe this could be weighted to the hand as well. Maybe this should be 50 to the hand and 52. I'm just thinking out loud here, but if we display the CVs, then we can see we have these five, we don't only have three, we have actually five isoparms in here, and our points were DC, so we have to wait these probably 50% between the hand and the twist joints, and let's come in here and wait that 50%. Try if that works. Oops, now I've added 100%. Let's remove this and say replace. I think that should probably be better. And same thing here, similar. Let's weight it 100% to this one. And then 50% back to the twisting. To the partial, oh actually a twisting joint here. Yeah, here we go. So there we get this gradual twist in there. We have to do something similar for this one here as well. So we want to have our twist join 100%. I'll paint this 100% as well, and this one there 100%. This is the same thing, same deal. We have kind of five rows of words or CVs here. And this should be 100. And that one should be 100. And then we want to add 0.5 to this one. And then also to the upper one here, also 50%. And now if we're moving these partial joints here, or twist joints, we can see that, Actually, I think I still have the discrete move on. We can see that we can bend this one, and we can see that we can bend that one as well. Now it's just a matter of adding these follicles to these surfaces, and then creating the joints underneath there so that we basically have joints riding on these surfaces. And if we take our arm here, now we can see it's kind of doing the right thing. This is maybe a little bit problematic. Maybe this should actually be weighted to something else, because we can see that is here already bending, so my concern is that at the moment here this joint that sits exactly at 50% on its surface, or actually on these two surfaces, is probably going to move a little bit inwards, but we want to keep exactly where it is. So I think it would be better instead of waiting it to that partial joint as I did, maybe waiting it to one that's actually rotating 100% with that one. I'm not 100% sure about that, but the reason why I waited it to that partial joint is so that we can still translate this and also move to middle part if we wanted to have that not really bendy, but Then we can have influence over that one as well. Here at the moment we are already controlling it with something else, I think with the rotation of the elbow, but what we could do, or what we'd have to do here in this case, and we can probably already go ahead and do it. Instead of driving the joint directly, as we do right now, here is scaling and the translation, we should drive a group on top of it and insert a control, then we can actually move this around. It's also true for these twist joints. Instead of doing the joint directly, we should probably add a control on top of the joint and then a group on top of the control, and then do the twisting on that group. So let's add those controls in here. So some circles. Now over there, we have one circle. We can just take this and parent it under the twist joint. parent zero everything out to bring it into the same space. Let's scale it up a little. Here we go. Let's zero out the rig. Always keep doing that, working on a rig that's not zeroed out, not good. So here we, this is going to be a one control for our bendy arm. Set this to three maybe, depending on how big we need it. maybe a little bit bigger before. Let's do the same thing for these other two joints that we want to drive. So this one, duplicate, parent on this one, zero it out. Here we want this probably to be bigger, maybe five. And then another one, duplicate. Under this partial joint, zero it out. Here we have it. Okay. And now we want to create groups on top of these controls. Let's call this R-arm bendy A, maybe running out of ideas how to call this R-arm bendy B, bendy B control, and then bendy C control. c control. Let's create the groups on top of these controls, group. It should have the same orientation and everything already. We can just inherit the name, so reveal selected control, the bandier control, and we just copy the name onto the group and call this group and we do it for the other ones as well. So reveal selected, group it and it should have the same position and same orientation as the control itself also. So let's copy that, paste it, change this to group. Let's do the same thing on this upper one here as well. Reveal selected, group it, change the name. Okay, and then we'll take these groups and I will parent them above the joint. Basically where the joint is parented at the moment because what we really want is we want it the other way around. We want the joint to go under the control, right? So that we can take the control and that will move the twist joint around. And then the twisting we have to move from our, actually this is not a good example because it doesn't have twist, but here we want to take it from the joint and instead move it on the group. So the group is going to do the twisting and in the joint underneath there will twist, but we have a way to offset that control for our bendiness. So let's take those guys and try to figure out where we have to parent it probably under the blend mid. Blend mid. Here we go, then it gets these values and then we can take our twist joint 51 and parent under the control. Here we go. Actually now here we're getting values because I think I forgot to freeze the scale. So let's do that real quick before we do any parenting under those. So we'll take those, freeze the scaling, or freeze everything just in case, and then now we should be able to do that. Now we can take this parent under and we can see we're no longer getting the we're getting the transform here. And we'll do the same thing for the other two as well. So we take that and parent it wherever the joint is parented that we want to drive with the controls that will be under here. And then we take the joint and parent under the control. So now we have group that's going to get the movement here in a second. And then we have to control and then we have to join. Okay, very nice. And same thing here on the upper one. So this one would be parented. Let's collapse all this. I said it's going to become a little bit more tricky now. Not too much. So we take the group and parent it here under the same thing. So it was blend root. And then we're going to take the joint and parent it under the control. Now we have group, control, which is all seared out, the joint, which is all seared out because they're all in the same space as that group now. And now we can basically take this and moved it around. So we have created our Bendy control that we can then and we can also twist that and do whatever we want with that scale it if we wanted to. And that will then also drive our surfaces here as we can see. One for this one, one for that one, one for this one. The only thing that's now left as we want to change that the twisting is not happening under the control, but rather above on the group. So let's work on that. Select a joint, select a group on top of it, and then we have to rewire that. Bring those in here, graph add selected. Now we have to see what we have connected here. So let's show the incoming connections to that. It's this one. And now I lost, I think, my group. So let's bring the group in here again. Add selected. So we have probably output x going into y, so we do the same thing for the group. Output x goes into rotate y for the group, and then we can delete or break this connection on the joint itself. That's no longer needed, otherwise we get twice the rotation, one from the group and one from the joint underneath. So break this connection, alright. And we should be seeing the same result only that if we for a second here yank out this a little bit, then we can see that it's no longer a circle. Now if we rotate this, we can see that the control itself is also twisting because the group above is twisting, right? And then we can take this and we can apply our bendy arm after that, after the twisting has happened. Alright, it's undo here. And... Here we don't have to do anything because this drone we had never hooked up to any twisting, but on that one we actually have a translate set and scale set coming in. So we have to rewire that as well. So let's show that and show the incoming connections to this as well. Let's get a little bit also complicated. I think this one here is scale inverse scale we can ignore, but these two here we have to revire to the group instead. That's two above. So let's reveal select that. Here it is our group above. We bring that in. And now we have to figure out what we have to connect. So out value goes into scale set. Okay, I'll do the same thing for the group, out value into scale set. And then, um, we'll see the one out value into translate set. Out value of that one into translate set. And then we can break these two guys here on the actual joint, because now we have it on the group instead, right? So let's come onto this and break the connection on the joint. And then it should also still do the same thing as before, essentially. So so far we have only done some reviring, but it should work exactly the same way, only and now we can take these controls here and we can offset it or move it. I'm wondering if we should also include here again, you know, I haven't really combined the bendy arms before with these partial joins and you know, it's kind of like a different method, like for one we are trying to get more realistic deformations with those partial joints and all that stuff and for the other one we're trying to add a cartoony feature. So there are you know points when you cannot combine certain things anymore, like one might be using muscles and the other one might be using bendy arms or bendy limbs, more cartoony squash and stretch type of features. So here we're trying to add two different things that don't really fit together so well. Let's try to keep on working on this a little bit more. But this is basically how you could do Bendy, Bendy Limson, and again we have to create these follicles here. But let's change these colors here for a moment. The color coding, so we can clearly see these are our new additional controls on the shape drawing over right. Oops, drawing over right. And we could also use, you know, if we could go with the same colors here red, but we already have so many red colors, so perhaps it might be better to add different colors that we can see. Okay, these are secondary controls. these are tree controls. So perhaps I'll add a darker red here. Then we can see, okay, they're a little bit special. Not really the same as, uh, we seem to be having two different reds, dark reds. This one here is that one. Okay. Oh, something went wrong. What did I do? Shape and evolve, right? Here we go. And then on the other side we can maybe add a darker blue or maybe a different color, I'm not sure. Okay. I don't really like it, it's so hard to see now the darker color. Anyways, this is more or less how we could do it. Again, we're missing these follicles and we're missing the joints and then we have to also change our weighting and so on and so forth, but you can basically then move it away from the arm regular arm hierarchy. I want to show you a different method, I mean not really a different method, it's almost the same, but maybe a different thought, a food for thought that is at the moment here what we can see, what I don't really like 100% about the setup yet is if we move this we get kind of like a direction change here. Okay, especially if we move it something like this we get and then another sphere here in a way. There's also some issues probably going on down here. I wonder if we can alleviate that. Actually yeah, that might work. But even if we take this and we move it forward, well can kind of get almost a round shape here. It's not that bad. But what about if we could just use one continuous surface at a moment? We're using two surfaces, so a thought would be to only use one surface for the entire arm as opposed to two. That has some benefits, but it also comes with some downsides. And let's try to look at this a a little bit. Next, let's reset everything.",
+  "segments": [
+    {
+      "text": " The next thing that I want to look at here is Bendy Limbs. I wasn't going to talk about it, but because it came up, some of you guys asked for it. So I will try to build it here. I want to try to build it live here with you guys, and I haven't done it in a while. But I also want to try to build it on this character instead of building it on a simple example. It will get a little bit more complex now because we already have so much going on in this arm rig, or also in the leg rig obviously. So many hierarchies here already. We have the IK and the FK obviously, then those two IK and FK are blending into the final one, into the blended one. And then we have these partial joints, we have these twist joints, and on top of that now we want to add a ribbon. That's what I would use for bendy arms. Actually if we look at this here I kind of can already do bendy arms just with what I already have, that lower S cage. So if I'm moving this joint, if I were to give a control we can already do bendy arms just by moving this joint. And if I had a twist joint in here, even though I don't connect it, let's try that real quick because we're going to need that anyway. So let's take this joint here, duplicate it, put it under the middle joint here, and let's go into the Outliner, find it, and put it under, actually it is already under the middle joint, so then let's just zero it out, then it will be exactly here where we want it, or not where we want it, but exactly in the same position as the middle joint, the elbow join. Now we parent this under the root instead. Now we can see it's going to be moved, those many units from the root. It's in the space of the root now, but it's moved 24.008 in y. And now what we can do is we can divide it by two or multiply with 0.5. So multiply equals 0.5 and then we'll be exactly in a middle between the root joint and the mid joint. And I think one other thing that we have to do, because we have the wrong axis here at the moment. So let's also go into the attribute editor, and we have to probably clear out the joint orientation. So let's zero those all out. And now we have it in the same space here, and in the same orientation and everything as the root joint. And if we now take this twist joint and we can rename this to arm up twist 50 joint and we can include it here into our skin cluster. So add it as an influence. Add influence and we can paint to it. So it would be arm, twist here we have it up arm and now we can paint all that. Add one... Okay, seems like in smooth preview I can't really see the painting here for some reason. It doesn't display it properly. But if I go out and we can see that and now I could take this one here for my... If I weird in smooth preview and I could take this one and do some sort of like bendy limbs. Let's see how it looks without that. This is not perfect. You know, there is a lot of improvement that could be done, but just to give you an idea like how quick it actually is if you're using the low-risk cage, it's quite simple. If you don't have the low-risk cage, that doesn't really matter. We can do it in a different way. I think it will be pretty tricky to wait, especially if you have more resolution than this. It will be quite tricky to wait it in such a way that we get the same smoothness that we're getting from just these. And even here, you can see it's also not 100% smooth. I mean, maybe if we were to smooth preview that, or if we were going to apply a smooth, then it would actually look smoother. But here you can see we don't have enough resolution here this mesh even to see bendy limbs. I want to show you another technique which is kind of similar to this, a little bit more complex, a little bit more complicated, but assuming you don't have a low risk cage. And that would be to just add ribbons here, okay, and then new joints that's similar to what we were doing with the spine already. We are going to add surfaces here to the arm. And then we're going to create follicles on the surfaces. We're going to create joints under these follicles. And then these joints are going to be what's going to drive the arm, what we're going to skin the arm geometry to. No longer these joints that we have it skin to at the moment. No longer these blend joints and the partial joints, but rather the joints that are going to sit under the follicles that are going to be glued on or riveted onto the surface. So let's see if we can try to get that done. So first what I'm going to do is I'm going to create a surface. And there is also a simpler method and a more complicated method. I want to start with a little bit simpler method. And then maybe if we have time, we can do the different, the other method, a little bit more complicated one, but maybe a little bit more advanced. So let's start with an EP curve here, and I'll start from this point, and then I'll go to the center here of the twist, I'll snap it to that one, and then I'll, oops, something went wrong. Let's try this again, snapping, this join, this join, and that joined. And EP code just means that you can also use here with the EP you can also use a linear and cubic but it just means that although you're clicking just three times you're actually getting five points. So if I come in here we should be able to see that we have five points. Ah, come on. There we go. Two here, one here, and then two there. And now obviously we want to create a surface between those. So let's duplicate that curve. And select the points of one of them. Actually, I think I might have two now. No, the other one is still there. OK, that's good. So what we can do here now is we can move these points in. We want to move them in the space of the joint. So we just want to move them a little bit in this direction the outer curve a little bit in that direction. But they're going to be in world space, but what we can do is we can move these points in the normal space, in its normal space. So if we go to move the move tool, instead of object or while they're local, we're going to move them in normal space and then we can just push them out a little bit. It will probably be good to move them in a specific way. So maybe let's try to discreet here and maybe step size one. Let's see if this works. Actually it doesn't seem to be working for normal mode. I think it only works for local mode where we can use the step size. So that does not work. What we could try to do is use mel. So if we're moving that, we should see the mel command for it. If we go into the script editor, this is it. Okay. Now for undo, ctrl-z, then we can see that was a command. So we could use that command. I've already tried it out here to move these five points one unit out. The reason why I like to do it that way as opposed to just moving it, eyeballing it like that is that we can get the other one exactly the same amount in the opposite direction. That means that these follicles that we're going to create, they can sit exactly at 0.5. Otherwise we have to shift them around a little bit, which wouldn't be too bad. We can do that, but if we can do it precise, why not do it precise? I'm going to move those one unit. I'm going to select the other curve here. It's there. And select those guys. And these should move minus one, minus, minus, minus, and minus. Here we go. And now we will need to create the same thing here on the upper one. So I'll also create a curve from snapping it to this joint, to that twist joint, and to the middle joint. And then we'll duplicate that. Move these. Now we can apply our same command here. Let's keep that for in a second. Let's move them first. The first curve here with positive one. One, one, one and one. execute that command, here we go, and then the curves of the second one, or the points of the second curve, select those and then we move them with minus one, we have that. Now we create two loft surfaces, so we select these two curves, create a loft under surface, surface loft, and then the same thing here for this lower one, G for repeating the last actions and now we have two lofts and if we go into the Outliner we don't necessarily need these curves anymore we can just delete them or delete or keep them around if we want to maybe do something with them later on but we should delete the history on these lofts because they will have history on them so let's go to edit delete but type history for loft surfaces and we have one surface for our upper arm. So right upper arm, serve. And actually, this is kind of like messing up my whole naming convention now. But I think it's called arm. That's what I always started our arm and upper surface. And then lower, lower surface. And now we want skin these surfaces appropriately. So let's take the blend joint, blend root, and then Let's take the partial joint here in the middle and let's take the twist joint here and take our surface for the upper arm skin it animation skin smoothbind and Then let's do the same thing for the lower one here. We also want to take our partial joint We want to take our twist joint and now here we want to take Actually, we could probably take this twist joint that we already have, or we can take the hand joint, also it doesn't really matter. Let's select our lower arm surface and skin it smooth. But what we want to do is we want to have, we try to rotate it, we want to have it so that the surface here twists, so we want to have that lower part here twisting, so that once we create our joints here along that surface, that these joints are partially twisting. OK, so then let's set this back to zero. And you know what? I'm going to actually delete these curves. I don't need them anymore. And I'm also going to remove or hide, maybe, remove these cubes. I also don't need to see them anymore. No, that cube here as well. Just for helping us understand that it's twisting. But now that we have these surfaces, we can see when we rotate the surface, we can see that it's twisting. right a little bit and we get this nice distribution because of the weighting. So if we go here and go into the painting tool, skin paint weights tool, we see that this one is weighted or should be weighted to three joints. To the hand, let's paint this 100% to the twist joint 50% and then to the partial joint here in the middle. And then for the other surface actually, you should probably paint this a little bit better here too. So maybe this could be weighted to the hand as well. Maybe this should be 50 to the hand and 52. I'm just thinking out loud here, but if we display the CVs, then we can see we have these five, we don't only have three, we have actually five isoparms in here, and our points were DC, so we have to wait these probably 50% between the hand and the twist joints, and let's come in here and wait that 50%. Try if that works. Oops, now I've added 100%. Let's remove this and say replace. I think that should probably be better. And same thing here, similar. Let's weight it 100% to this one. And then 50% back to the twisting. To the partial, oh actually a twisting joint here. Yeah, here we go. So there we get this gradual twist in there. We have to do something similar for this one here as well. So we want to have our twist join 100%. I'll paint this 100% as well, and this one there 100%. This is the same thing, same deal. We have kind of five rows of words or CVs here. And this should be 100. And that one should be 100. And then we want to add 0.5 to this one. And then also to the upper one here, also 50%. And now if we're moving these partial joints here, or twist joints, we can see that, Actually, I think I still have the discrete move on. We can see that we can bend this one, and we can see that we can bend that one as well. Now it's just a matter of adding these follicles to these surfaces, and then creating the joints underneath there so that we basically have joints riding on these surfaces. And if we take our arm here, now we can see it's kind of doing the right thing. This is maybe a little bit problematic. Maybe this should actually be weighted to something else, because we can see that is here already bending, so my concern is that at the moment here this joint that sits exactly at 50% on its surface, or actually on these two surfaces, is probably going to move a little bit inwards, but we want to keep exactly where it is. So I think it would be better instead of waiting it to that partial joint as I did, maybe waiting it to one that's actually rotating 100% with that one. I'm not 100% sure about that, but the reason why I waited it to that partial joint is so that we can still translate this and also move to middle part if we wanted to have that not really bendy, but Then we can have influence over that one as well. Here at the moment we are already controlling it with something else, I think with the rotation of the elbow, but what we could do, or what we'd have to do here in this case, and we can probably already go ahead and do it. Instead of driving the joint directly, as we do right now, here is scaling and the translation, we should drive a group on top of it and insert a control, then we can actually move this around. It's also true for these twist joints. Instead of doing the joint directly, we should probably add a control on top of the joint and then a group on top of the control, and then do the twisting on that group. So let's add those controls in here. So some circles. Now over there, we have one circle. We can just take this and parent it under the twist joint. parent zero everything out to bring it into the same space. Let's scale it up a little. Here we go. Let's zero out the rig. Always keep doing that, working on a rig that's not zeroed out, not good. So here we, this is going to be a one control for our bendy arm. Set this to three maybe, depending on how big we need it. maybe a little bit bigger before. Let's do the same thing for these other two joints that we want to drive. So this one, duplicate, parent on this one, zero it out. Here we want this probably to be bigger, maybe five. And then another one, duplicate. Under this partial joint, zero it out. Here we have it. Okay. And now we want to create groups on top of these controls. Let's call this R-arm bendy A, maybe running out of ideas how to call this R-arm bendy B, bendy B control, and then bendy C control. c control. Let's create the groups on top of these controls, group. It should have the same orientation and everything already. We can just inherit the name, so reveal selected control, the bandier control, and we just copy the name onto the group and call this group and we do it for the other ones as well. So reveal selected, group it and it should have the same position and same orientation as the control itself also. So let's copy that, paste it, change this to group. Let's do the same thing on this upper one here as well. Reveal selected, group it, change the name. Okay, and then we'll take these groups and I will parent them above the joint. Basically where the joint is parented at the moment because what we really want is we want it the other way around. We want the joint to go under the control, right? So that we can take the control and that will move the twist joint around. And then the twisting we have to move from our, actually this is not a good example because it doesn't have twist, but here we want to take it from the joint and instead move it on the group. So the group is going to do the twisting and in the joint underneath there will twist, but we have a way to offset that control for our bendiness. So let's take those guys and try to figure out where we have to parent it probably under the blend mid. Blend mid. Here we go, then it gets these values and then we can take our twist joint 51 and parent under the control. Here we go. Actually now here we're getting values because I think I forgot to freeze the scale. So let's do that real quick before we do any parenting under those. So we'll take those, freeze the scaling, or freeze everything just in case, and then now we should be able to do that. Now we can take this parent under and we can see we're no longer getting the we're getting the transform here. And we'll do the same thing for the other two as well. So we take that and parent it wherever the joint is parented that we want to drive with the controls that will be under here. And then we take the joint and parent under the control. So now we have group that's going to get the movement here in a second. And then we have to control and then we have to join. Okay, very nice. And same thing here on the upper one. So this one would be parented. Let's collapse all this. I said it's going to become a little bit more tricky now. Not too much. So we take the group and parent it here under the same thing. So it was blend root. And then we're going to take the joint and parent it under the control. Now we have group, control, which is all seared out, the joint, which is all seared out because they're all in the same space as that group now. And now we can basically take this and moved it around. So we have created our Bendy control that we can then and we can also twist that and do whatever we want with that scale it if we wanted to. And that will then also drive our surfaces here as we can see. One for this one, one for that one, one for this one. The only thing that's now left as we want to change that the twisting is not happening under the control, but rather above on the group. So let's work on that. Select a joint, select a group on top of it, and then we have to rewire that. Bring those in here, graph add selected. Now we have to see what we have connected here. So let's show the incoming connections to that. It's this one. And now I lost, I think, my group. So let's bring the group in here again. Add selected. So we have probably output x going into y, so we do the same thing for the group. Output x goes into rotate y for the group, and then we can delete or break this connection on the joint itself. That's no longer needed, otherwise we get twice the rotation, one from the group and one from the joint underneath. So break this connection, alright. And we should be seeing the same result only that if we for a second here yank out this a little bit, then we can see that it's no longer a circle. Now if we rotate this, we can see that the control itself is also twisting because the group above is twisting, right? And then we can take this and we can apply our bendy arm after that, after the twisting has happened. Alright, it's undo here. And... Here we don't have to do anything because this drone we had never hooked up to any twisting, but on that one we actually have a translate set and scale set coming in. So we have to rewire that as well. So let's show that and show the incoming connections to this as well. Let's get a little bit also complicated. I think this one here is scale inverse scale we can ignore, but these two here we have to revire to the group instead. That's two above. So let's reveal select that. Here it is our group above. We bring that in. And now we have to figure out what we have to connect. So out value goes into scale set. Okay, I'll do the same thing for the group, out value into scale set. And then, um, we'll see the one out value into translate set. Out value of that one into translate set. And then we can break these two guys here on the actual joint, because now we have it on the group instead, right? So let's come onto this and break the connection on the joint. And then it should also still do the same thing as before, essentially. So so far we have only done some reviring, but it should work exactly the same way, only and now we can take these controls here and we can offset it or move it. I'm wondering if we should also include here again, you know, I haven't really combined the bendy arms before with these partial joins and you know, it's kind of like a different method, like for one we are trying to get more realistic deformations with those partial joints and all that stuff and for the other one we're trying to add a cartoony feature. So there are you know points when you cannot combine certain things anymore, like one might be using muscles and the other one might be using bendy arms or bendy limbs, more cartoony squash and stretch type of features. So here we're trying to add two different things that don't really fit together so well. Let's try to keep on working on this a little bit more. But this is basically how you could do Bendy, Bendy Limson, and again we have to create these follicles here. But let's change these colors here for a moment. The color coding, so we can clearly see these are our new additional controls on the shape drawing over right. Oops, drawing over right. And we could also use, you know, if we could go with the same colors here red, but we already have so many red colors, so perhaps it might be better to add different colors that we can see. Okay, these are secondary controls. these are tree controls. So perhaps I'll add a darker red here. Then we can see, okay, they're a little bit special. Not really the same as, uh, we seem to be having two different reds, dark reds. This one here is that one. Okay. Oh, something went wrong. What did I do? Shape and evolve, right? Here we go. And then on the other side we can maybe add a darker blue or maybe a different color, I'm not sure. Okay. I don't really like it, it's so hard to see now the darker color. Anyways, this is more or less how we could do it. Again, we're missing these follicles and we're missing the joints and then we have to also change our weighting and so on and so forth, but you can basically then move it away from the arm regular arm hierarchy. I want to show you a different method, I mean not really a different method, it's almost the same, but maybe a different thought, a food for thought that is at the moment here what we can see, what I don't really like 100% about the setup yet is if we move this we get kind of like a direction change here. Okay, especially if we move it something like this we get and then another sphere here in a way. There's also some issues probably going on down here. I wonder if we can alleviate that. Actually yeah, that might work. But even if we take this and we move it forward, well can kind of get almost a round shape here. It's not that bad. But what about if we could just use one continuous surface at a moment? We're using two surfaces, so a thought would be to only use one surface for the entire arm as opposed to two. That has some benefits, but it also comes with some downsides. And let's try to look at this a a little bit. Next, let's reset everything."
+    }
+  ]
+}