Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part5_week07 04 one way of building a muscle pt2_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part5_week07 04 one way of building a muscle pt2_frames_transcription.json

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+{
+  "text": " So now that we have all of that, we can actually take our muscle group and maybe move it into place. Before we do that, I want to try to... Actually, why are these things outside now? Oh, no, they're not. Okay, so here we have our muscle group. Before we connect it to anything in the rig, I want to show you that we can use the same technique that we used before for the legs. We should be able to use the same technique here. Now that we have everything already in place and everything connected up, so we have our little muscle rake, so to speak. So we can take that and we can duplicate it with duplicate special to kind of have multiple ones. So let's take this one and use duplicate special. We want to have a duplicate input graph. So if we have reset our settings here, just turn on duplicate input graph, and that should duplicate everything. And then we have our second muscle here, which should work exactly the same way. So if we come under our muscle group 1 here, we also have our root that we can now have kind of the same thing. So then we can scale this, for example, with minus 1 if we wanted to. Actually, I haven't tried it if that works, but I think it should. So now the root is on the other side. So if we want to use that for, for example, for our left side, biceps or whatever, then we could. And then we can keep duplicating that and only move the ones in place that you want. For example, I can now take this and move that into place, scale it back to one, move it into place for our biceps, and I still have the original one that's not connected to anything. So I can keep duplicating that for other muscles if I want to. One thing that we should probably do is here we have duplicated names now. So we should probably make these names somewhat unique. I know it's going to be tricky, especially for the duplicates that it's going to do for the blend colors and all of that, renaming all of that. That's why it might be better to make it scripted so that we can always prefix it. But just as a quick workaround, at least we have the things that are in the outliner here, uniquely named. We can maybe prefix everything with... Type the shapes here. we can maybe prefix everything with biceps, for example. So let's come in here and say, modify prefix hierarchy names, and then we will add biceps. And we have biceps and all the names. Here, it would have probably been better to name these with capital letters. So because now it's not really camel case, you could obviously, it's not those that many nodes, you can probably go in and rename them. The other thing that we also probably should do is give it a, actually, let's do that here real quick. Let's change all the names to capital letters. We'll make it a little bit nicer and built profile profile. profile. It's not that bad. And then muscle group. Probably cannot change, actually we can. I didn't know that. And then we'll do r-biceps. Here we go. Okay, that looks better. So we have our biceps muscle group and we'll take that and move it into place. So let's show our character here. Here at the moment it's quite small so we probably do want to scale it up a little bit. And I'll show you something here with this in a second. before we do, let's try to position it where it needs to go. So let's see if I can show the joints here as well. Okay, maybe something like that. In terms of muscle attachment, there are two things. So one, we want it to follow the rig. So we wanted to follow the whole muscle, so it would probably follow the arm, since it's moving up and down. So let's take the whole biceps muscle group and parent it under the arm joint. So, and it should be under the blended root joint, right? Not the IK, not the FK, but the blended one. So let's take that and parent it under the blend root. There we go. It's now it's in there. And if we take that and rotate it down, then we can see that our muscle here is following that. So as we said, it's a little bit thin now, but what we can simply do is we can simply come in and go to our profile, C, or profile B at the middle one. And we cannot really scale it because it's already connected up to the scale. But what we can do is we can go into component mode and just scale the components up, something like that. We could potentially also move it out a little bit so that it's not so centered. I think that should also still work, but I'm a little bit hesitant to do it because it might mess us up later on with, you know, once we want to add dynamics and stuff like that. So let's keep it centered for now. We can maybe later on try to move it and see if it will still work. But we should be able to scale it up maybe a little bit more even. Let's come into components and scale this up a little bit more. Okay, the other thing that you will notice now that we made, you know, we changed it a little bit, actually I'm going to change it even more. What I will do is I will take my biceps root joint, and probably it should be the other way around, actually this is kind of like the root, and this is the end, it doesn't really matter, we can simply just change these names here, because we made it symmetrical anyway. So then this would be the root of the muscle and this will be the end. And then the endpoint here is going to attach somewhere around here because it has to pull this bone here in real life. So I'll make this a little bit longer, just extend it a bit. And then the other thing that I'm going to do is I'm going to add a locator here under it is a lower arm and then we're going to point constraint that cluster to that locator. So let's create a locator and parent it under the arm mid, also the blended one. So arm mid parent, we can reset it and that will bring it into the space of the joint And now we can just translate it along the joint a little bit in Y, maybe up till here. We can also move it out. It doesn't really matter. Maybe it might be better to have it out there. But now we can see if we're rotating the arm here, getting a little bit much, then we can see that this one is coming in. Right. So that's what we want. and then we will point constrain the biceps end locator to the biceps end cluster to that locator. So we select the locator, we select the end cluster, and we go to constrain animation constrain point. here I had maintain offset on and we can also turn it off then it will just snap to that location exactly and doesn't really matter now if we check this out and we can see we kind of like get the result that we're after so the muscles getting thicker as the arm is getting bent and it's kind of getting shorter can't really see that here too much but that's kind of like what a real muscle what do. It doesn't look too bad. And now if we come here, the muscle will now already be stretched here by default because we moved that and you know, we changed that. But now we can come to the ratio multiplier. See what the best way will be probably on the biceps path we will go here into the hyper shade and we will show the incoming and upcoming connections so we can see kind of like the whole graph here and here is our ratio for that one ratio one mdi one as I said before you know probably we should also rename all these nodes here but if you're doing it manually and you have a lot of muscles and you're just using the duplicate special trick it will probably be pretty painful naming all of that but if you want to be 100% accurate I probably would name that all especially you know And that's one more reason why to use a script to just build that whole setup for you, because then you can just give it a name at build time and don't even have to use the duplicate special anymore. So on the ratio multiply divide node, we can now see this is the new length here of that curve. So we can see on that one that it's already stretched in default. Now if we take this new length here and just paste it in here, then we can see this is the default thickness of the muscle. So now if we come here, we can see it's one when it's not stretched or not moved. And then if we're compressing it, then it's still getting thicker and we're extending it. It's kind of like getting shorter, not really here in this case, but the thickness is happening in fact. Okay. Okay, alright, so far so good. We can also change the color if we wanted to, but I'm not going to do that here. Then the next thing that we want to do is, and I think we should still be able to turn the volume preservation on and off, actually not really. For some reason we lost the blender connection here, I'm not 100% sure why. It should have copied over too. Let's take this and connect this into the blender again. Maybe I forgot to do that earlier, I'm not sure. I think I might have forgotten it to do it on the original one. So we connect the wall and preservation into the blender, and then we should have a way to turn it off. We probably set it between 0 and 1. One means that we have wall and preservation and 0 means we don't, and then we can always kind of like go 50% or something like that. So let's limit those attributes or that attribute 0 to 1. and we can turn it off and then we can see it's not really changing volume. And if we turn this to 1, then it changes volume. So that's one thing. And now we have to connect the skin to it, right? So at the moment, we have our muscle and all is good. Let me save this here. I'll change this to two muscle setup. Part one. And so now we have our muscle here, but the skin is not really following that, so you don't see any skin movement. So what we can now do is we can come in here and go to our, I'll work on the cage, by the way, that I started last time, last week, but it would be the same principle If you don't use a cage, if you're just skinned your regular mesh, your regular skin to the bones directly without using the wrap, the formal method that I showed, it will work the same way. So what we'll do is, or what we'll have to do is we'll have to take the biceps muscle here or that muscle, and we'll have to go to neutral. And we'll have to use that as an influence object for our skin cluster. So whatever mesh you have skinned and your skin cluster on, it's like that. And then let's come to Smoothbind. And actually not Smoothbind, sorry. Skin add influence option box. And I'll turn on use geometry on here. I don't think we necessarily need that. But more importantly, we have to have locked weights on, because we don't want to change the weighting that we've already done. And just like before with the add influence, We want to have our default weighting at zero and it locked. So we can still, we still can't see any change, which is good. And now we can come in and we can paint the weights. So we come under our mesh and go to paint skin weights tool. Come up here and search for our biceps. So let's search for a star biceps star. Here we go. Biceps muscle. Now we turn the lock off. And let's start with adding a value of maybe 0.5. So now we paint all this area here to the muscle. Might be too much. We might have to dial it down a little bit when let's try that. Still not deforming with the muscle. That is because on the skin cluster, we also have to make a slight change on the skin cluster itself, we want to turn use components on. Let's set this to 1. And now we can actually see the skin being moved with the muscle here. It's kind of like bulging out a little bit. If we show it on the muscle here, let's create a new layer for our muscles. Muscle layer. Put our muscle G on that. Set this to reference and hide it. Actually, maybe not reference, just hide it. We can also change the color to be red here too. Okay. Here we go. So now we have our muscle bulging. And we can maybe also paint this area here a little bit too. This one moves a little bit with it as well. So let's make this a little bit less. Let's make this 0.25. To the biceps muscle. Okay, something like that perhaps. This one might be too strong here, I'm not sure. It doesn't look too bad. And let's look at it how it looks subdivided or smooth. So I'll hide the low mesh and I'll show my mid. And we see a little bit of muscle bulging here happening. So we can turn that off by setting the wall in preservation to zero. Here we go. Okay, that's without and then that is with wall in preservation. There is one little issue here if you're rotating the muscle down or the arm down I think, where it loses volume or like it's kind of like bending to the side. It's hard to see here actually. You can see it a little bit there. And the reason why this is happening is because just like with the aim constraint with the motion path, it's using y as the up vector. And if you're rotating it past y, you're getting some weird results here. Maybe it's might be more visible if we actually take the whole thing and move it to the side. Let's see. Actually, something here is wrong with the shoulder, I think, too. It doesn't really matter, but what I wanted to show here is I don't want to get the sidetrack too much, but what I wanted to show here is how we can fix that issue here, and that is by adding a up vector. So let's work on that next. Side that and let's create a locator, for example. Let's add that in here. And let's add it to our muscle group, not the muscle group, but rather the biceps group. So we will select that. And then we will take the locator and parent it under our biceps group. Biceps muscle group, here we go. and that is going to be our biceps, our biceps up, biceps up locator. And we want to move it up a little bit as well. I think you might be able to see that here. Let's see if I can show that there's probably a good view to see it. You can see what's happening. It's kind of like twisting and everything in a weird way because we don't have an object at the moment. So to fix that, now we've added our locator here. And now we have to select the profile curves and where we had our motion path, if we come to the attribute editor, motion path. Here we can see it's set to vector by default, but now we can change it to be object up. And then we type in our name for our up vector or up object. So that was I think our biceps, biceps up locator. And then it will face always towards that one here. And we'll do the same thing for the other two. So on the other profiles, profile A will also change it to be object up and then R biceps up locator and for our profile C as well, R biseps up locator. Oh, because there doesn't exist typo lock. Here we go. Okay, now we have our up locator and since we parented under that same group, we should be able now to rotate this down without occurring any twisting or anything like that anymore. Okay, that should be a lot more stable now. We're still getting these cycle checks. I'm not 100% sure where they're coming from, but again, let's keep ignoring them for now. After causing issues, then we can fix them later. But we can see that adding that up vector here fix the issue of it getting thinner, causing issues here. So that should work better now. And then we can come in here and hide that up vector. So that's a divisibility to 0. and it's in there in the bicep group.",
+  "segments": [
+    {
+      "text": " So now that we have all of that, we can actually take our muscle group and maybe move it into place. Before we do that, I want to try to... Actually, why are these things outside now? Oh, no, they're not. Okay, so here we have our muscle group. Before we connect it to anything in the rig, I want to show you that we can use the same technique that we used before for the legs. We should be able to use the same technique here. Now that we have everything already in place and everything connected up, so we have our little muscle rake, so to speak. So we can take that and we can duplicate it with duplicate special to kind of have multiple ones. So let's take this one and use duplicate special. We want to have a duplicate input graph. So if we have reset our settings here, just turn on duplicate input graph, and that should duplicate everything. And then we have our second muscle here, which should work exactly the same way. So if we come under our muscle group 1 here, we also have our root that we can now have kind of the same thing. So then we can scale this, for example, with minus 1 if we wanted to. Actually, I haven't tried it if that works, but I think it should. So now the root is on the other side. So if we want to use that for, for example, for our left side, biceps or whatever, then we could. And then we can keep duplicating that and only move the ones in place that you want. For example, I can now take this and move that into place, scale it back to one, move it into place for our biceps, and I still have the original one that's not connected to anything. So I can keep duplicating that for other muscles if I want to. One thing that we should probably do is here we have duplicated names now. So we should probably make these names somewhat unique. I know it's going to be tricky, especially for the duplicates that it's going to do for the blend colors and all of that, renaming all of that. That's why it might be better to make it scripted so that we can always prefix it. But just as a quick workaround, at least we have the things that are in the outliner here, uniquely named. We can maybe prefix everything with... Type the shapes here. we can maybe prefix everything with biceps, for example. So let's come in here and say, modify prefix hierarchy names, and then we will add biceps. And we have biceps and all the names. Here, it would have probably been better to name these with capital letters. So because now it's not really camel case, you could obviously, it's not those that many nodes, you can probably go in and rename them. The other thing that we also probably should do is give it a, actually, let's do that here real quick. Let's change all the names to capital letters. We'll make it a little bit nicer and built profile profile. profile. It's not that bad. And then muscle group. Probably cannot change, actually we can. I didn't know that. And then we'll do r-biceps. Here we go. Okay, that looks better. So we have our biceps muscle group and we'll take that and move it into place. So let's show our character here. Here at the moment it's quite small so we probably do want to scale it up a little bit. And I'll show you something here with this in a second. before we do, let's try to position it where it needs to go. So let's see if I can show the joints here as well. Okay, maybe something like that. In terms of muscle attachment, there are two things. So one, we want it to follow the rig. So we wanted to follow the whole muscle, so it would probably follow the arm, since it's moving up and down. So let's take the whole biceps muscle group and parent it under the arm joint. So, and it should be under the blended root joint, right? Not the IK, not the FK, but the blended one. So let's take that and parent it under the blend root. There we go. It's now it's in there. And if we take that and rotate it down, then we can see that our muscle here is following that. So as we said, it's a little bit thin now, but what we can simply do is we can simply come in and go to our profile, C, or profile B at the middle one. And we cannot really scale it because it's already connected up to the scale. But what we can do is we can go into component mode and just scale the components up, something like that. We could potentially also move it out a little bit so that it's not so centered. I think that should also still work, but I'm a little bit hesitant to do it because it might mess us up later on with, you know, once we want to add dynamics and stuff like that. So let's keep it centered for now. We can maybe later on try to move it and see if it will still work. But we should be able to scale it up maybe a little bit more even. Let's come into components and scale this up a little bit more. Okay, the other thing that you will notice now that we made, you know, we changed it a little bit, actually I'm going to change it even more. What I will do is I will take my biceps root joint, and probably it should be the other way around, actually this is kind of like the root, and this is the end, it doesn't really matter, we can simply just change these names here, because we made it symmetrical anyway. So then this would be the root of the muscle and this will be the end. And then the endpoint here is going to attach somewhere around here because it has to pull this bone here in real life. So I'll make this a little bit longer, just extend it a bit. And then the other thing that I'm going to do is I'm going to add a locator here under it is a lower arm and then we're going to point constraint that cluster to that locator. So let's create a locator and parent it under the arm mid, also the blended one. So arm mid parent, we can reset it and that will bring it into the space of the joint And now we can just translate it along the joint a little bit in Y, maybe up till here. We can also move it out. It doesn't really matter. Maybe it might be better to have it out there. But now we can see if we're rotating the arm here, getting a little bit much, then we can see that this one is coming in. Right. So that's what we want. and then we will point constrain the biceps end locator to the biceps end cluster to that locator. So we select the locator, we select the end cluster, and we go to constrain animation constrain point. here I had maintain offset on and we can also turn it off then it will just snap to that location exactly and doesn't really matter now if we check this out and we can see we kind of like get the result that we're after so the muscles getting thicker as the arm is getting bent and it's kind of getting shorter can't really see that here too much but that's kind of like what a real muscle what do. It doesn't look too bad. And now if we come here, the muscle will now already be stretched here by default because we moved that and you know, we changed that. But now we can come to the ratio multiplier. See what the best way will be probably on the biceps path we will go here into the hyper shade and we will show the incoming and upcoming connections so we can see kind of like the whole graph here and here is our ratio for that one ratio one mdi one as I said before you know probably we should also rename all these nodes here but if you're doing it manually and you have a lot of muscles and you're just using the duplicate special trick it will probably be pretty painful naming all of that but if you want to be 100% accurate I probably would name that all especially you know And that's one more reason why to use a script to just build that whole setup for you, because then you can just give it a name at build time and don't even have to use the duplicate special anymore. So on the ratio multiply divide node, we can now see this is the new length here of that curve. So we can see on that one that it's already stretched in default. Now if we take this new length here and just paste it in here, then we can see this is the default thickness of the muscle. So now if we come here, we can see it's one when it's not stretched or not moved. And then if we're compressing it, then it's still getting thicker and we're extending it. It's kind of like getting shorter, not really here in this case, but the thickness is happening in fact. Okay. Okay, alright, so far so good. We can also change the color if we wanted to, but I'm not going to do that here. Then the next thing that we want to do is, and I think we should still be able to turn the volume preservation on and off, actually not really. For some reason we lost the blender connection here, I'm not 100% sure why. It should have copied over too. Let's take this and connect this into the blender again. Maybe I forgot to do that earlier, I'm not sure. I think I might have forgotten it to do it on the original one. So we connect the wall and preservation into the blender, and then we should have a way to turn it off. We probably set it between 0 and 1. One means that we have wall and preservation and 0 means we don't, and then we can always kind of like go 50% or something like that. So let's limit those attributes or that attribute 0 to 1. and we can turn it off and then we can see it's not really changing volume. And if we turn this to 1, then it changes volume. So that's one thing. And now we have to connect the skin to it, right? So at the moment, we have our muscle and all is good. Let me save this here. I'll change this to two muscle setup. Part one. And so now we have our muscle here, but the skin is not really following that, so you don't see any skin movement. So what we can now do is we can come in here and go to our, I'll work on the cage, by the way, that I started last time, last week, but it would be the same principle If you don't use a cage, if you're just skinned your regular mesh, your regular skin to the bones directly without using the wrap, the formal method that I showed, it will work the same way. So what we'll do is, or what we'll have to do is we'll have to take the biceps muscle here or that muscle, and we'll have to go to neutral. And we'll have to use that as an influence object for our skin cluster. So whatever mesh you have skinned and your skin cluster on, it's like that. And then let's come to Smoothbind. And actually not Smoothbind, sorry. Skin add influence option box. And I'll turn on use geometry on here. I don't think we necessarily need that. But more importantly, we have to have locked weights on, because we don't want to change the weighting that we've already done. And just like before with the add influence, We want to have our default weighting at zero and it locked. So we can still, we still can't see any change, which is good. And now we can come in and we can paint the weights. So we come under our mesh and go to paint skin weights tool. Come up here and search for our biceps. So let's search for a star biceps star. Here we go. Biceps muscle. Now we turn the lock off. And let's start with adding a value of maybe 0.5. So now we paint all this area here to the muscle. Might be too much. We might have to dial it down a little bit when let's try that. Still not deforming with the muscle. That is because on the skin cluster, we also have to make a slight change on the skin cluster itself, we want to turn use components on. Let's set this to 1. And now we can actually see the skin being moved with the muscle here. It's kind of like bulging out a little bit. If we show it on the muscle here, let's create a new layer for our muscles. Muscle layer. Put our muscle G on that. Set this to reference and hide it. Actually, maybe not reference, just hide it. We can also change the color to be red here too. Okay. Here we go. So now we have our muscle bulging. And we can maybe also paint this area here a little bit too. This one moves a little bit with it as well. So let's make this a little bit less. Let's make this 0.25. To the biceps muscle. Okay, something like that perhaps. This one might be too strong here, I'm not sure. It doesn't look too bad. And let's look at it how it looks subdivided or smooth. So I'll hide the low mesh and I'll show my mid. And we see a little bit of muscle bulging here happening. So we can turn that off by setting the wall in preservation to zero. Here we go. Okay, that's without and then that is with wall in preservation. There is one little issue here if you're rotating the muscle down or the arm down I think, where it loses volume or like it's kind of like bending to the side. It's hard to see here actually. You can see it a little bit there. And the reason why this is happening is because just like with the aim constraint with the motion path, it's using y as the up vector. And if you're rotating it past y, you're getting some weird results here. Maybe it's might be more visible if we actually take the whole thing and move it to the side. Let's see. Actually, something here is wrong with the shoulder, I think, too. It doesn't really matter, but what I wanted to show here is I don't want to get the sidetrack too much, but what I wanted to show here is how we can fix that issue here, and that is by adding a up vector. So let's work on that next. Side that and let's create a locator, for example. Let's add that in here. And let's add it to our muscle group, not the muscle group, but rather the biceps group. So we will select that. And then we will take the locator and parent it under our biceps group. Biceps muscle group, here we go. and that is going to be our biceps, our biceps up, biceps up locator. And we want to move it up a little bit as well. I think you might be able to see that here. Let's see if I can show that there's probably a good view to see it. You can see what's happening. It's kind of like twisting and everything in a weird way because we don't have an object at the moment. So to fix that, now we've added our locator here. And now we have to select the profile curves and where we had our motion path, if we come to the attribute editor, motion path. Here we can see it's set to vector by default, but now we can change it to be object up. And then we type in our name for our up vector or up object. So that was I think our biceps, biceps up locator. And then it will face always towards that one here. And we'll do the same thing for the other two. So on the other profiles, profile A will also change it to be object up and then R biceps up locator and for our profile C as well, R biseps up locator. Oh, because there doesn't exist typo lock. Here we go. Okay, now we have our up locator and since we parented under that same group, we should be able now to rotate this down without occurring any twisting or anything like that anymore. Okay, that should be a lot more stable now. We're still getting these cycle checks. I'm not 100% sure where they're coming from, but again, let's keep ignoring them for now. After causing issues, then we can fix them later. But we can see that adding that up vector here fix the issue of it getting thinner, causing issues here. So that should work better now. And then we can come in here and hide that up vector. So that's a divisibility to 0. and it's in there in the bicep group."
+    }
+  ]
+}