Add transcription for: week01 04 intial joint placement and naming pt1.wav

transcriptions/week01 04 intial joint placement and naming pt1_transcription.json

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+  "text": " Okay, let's get into the rigging part here in my actually. This is the model that I would like to rig or work with over the next 8 weeks. I've modeled it a while ago. Topology could probably be better in some places. We have a couple of 5-sided polygons, a couple of triangles in here. So we could probably make this a little bit better. but what I like about this is that it's fairly low rest so it should be pretty easy to to weighting and everything. The other thing what I would recommend doing is that you always kind of get your model in in T-pose. It will just make it a lot easier to work with you know when placing joints and making sure everything is in a straight plane will make your life a lot a lot easier than if you had for example an A pose or some other kind of random pose, it will be a lot harder to kind of place your pole vectors and everything like that. So again, if you have control over the model, I recommend the T pose with straight arms looking from the front and straight legs so that we can place these joints kind of like in one straight line looking from the front. And then when we look from the side, we do want to have a slight kink in the knee here. So it shouldn't be too straight. So that when we place the joint here in the middle, and we place one for the knee, and we place one for the ankle, or the end of the leg, that we can get a natural bent in here already, kind of like for our preferred angle for the IK. Same thing for the arms too. We want to have a slight kink in there looking from the top so that our elbow is kind of like in the back and that's where our pole vector is going to be. And again this is going to be our preferred angle. Like if you kind of, you know, put out your arm and try to bend then that's going to be the direction bending forward that is going to be the default for this model. The other thing here, I haven't modeled any clothing. In this case I would probably go with cloth in the end to do some clothing here. But I also want this to be about rigging and kind of like, you know, that we can get good deformations here out of this and probably will also work a little bit with muscles maybe down the line. We'll see how that goes. Okay. Let's jump in and let's get started. What I would like to do first is create a basic and simple rig first and show you a couple of things that probably you hopefully know most of it already, just as a repetition and then also maybe there will still be some useful information within that. Then afterwards, once we have our stable and robust base rig, you know, that's simple to use, intuitive for any matters and so on, then I would like to start talking about some more advanced concepts, like for example, building a different type of spine or, you know, adding on to arms and legs and so on. So okay, let's get started here. So first let's hide the hair. We don't necessarily need to see that. And what we want to start with is we want to start with creating some joints in here. So let's do that. tool. And for the drawings, I'll start drawing some hierarchies. I'll probably, you know, break them so that we only have independent hierarchies for the individual body pieces, but you can also create them as one, and then later we can kind of disconnect them. So let's start maybe with some spine joints here. So I'll start kind of where you know the center of gravity would be like the hip area here beginning of the spine. So you can kind of see like the torso will probably be somewhere around here right and all of that. So let's start by creating the first spine joint here and and then I guess I've joints turned off. Here we go, and then I'll try to aim for five joints, okay, to begin with. So, if I know I want to have my end joint somewhere probably up here where the neck would start then, and then I want to have one in the middle, so kind of somewhere around here, and I want to have one in between there at like 25%, so I'll draw one here, next one here, Next one here, next one up there. And so I'm trying to kind of make them more or less even. We have even spaces. And the reason why I'm going with 5 is that, again, then we have, you know, one at 0%, one at 100%, one at 50%, one at 25%, one at 75%. Another good number is 9 joints. So then you can have one additional one here in between all of these joints. and then you have 5 plus 4, so that would be 9. And the reason why we're doing that is basically with every new joint that we're creating here, we are essentially getting a new rotation point here. Okay. Let me show everything here, I think. Okay. So we can kind of rotate from here or a little bit higher up. The last one here might not make too much sense, because that's typically word rip cages. There would probably not be too much bending going on. But since I think a cartoon character is probably useful to still have that additional joint in there. And then I'll start creating some new joints here. I'll put those joints on a layer for a moment. Set it to reference. Now what I can do is I can create a new hierarchy without selecting the old one. I can start in more or less the same spot here, because that's where my leg would be. We draw a circle here. That's where the leg would start, rotating from probably. I will draw one for the knee, one for the ankle. the ankle. As I said, I want to make sure that I have a slight kink in here. We turn off the geo, then we can see it's very, very subtle, but we have the knees a little bit more in the front here and those two joints are a little bit more in the back, so we got this triangle. So that means that this is going to be our preferred angle where the leg is going to bend like this by default for our IK. And let's see where my joints are here. Sure, here we go. So since we drew them from the side, now our leg joints are actually going to be in the center. But what we can now do is we can just take the first joint and kind of like move them to the side. Okay, I want to make sure that it's kind of lining up here. So what I wouldn't do is taking these individual joins and kind of like, you know, moving them to the side or something like that because then you will have a hard time getting your rotation axis to work properly. We'll talk about it at a later point, but I would only move kind of the first joint here for our leg and that is kind of also why I was saying that the legs, ideally, they should be straight looking from the front. Now we'll do the same thing for the arm. So the arm I'm going to draw from the front. And actually sorry, not from the front, from the top. But I kind of want to think about where the arm should kind of start. So if we're thinking kind of like this is the shoulder here, the model, and probably somewhere around here, this is where we want to be able to bend the arm, the arm where from somewhere around here. If we look at the topology, you know, kind of like view via frame and shade it here and probably somewhere around here, like kind of the second line of those two. So we will look from the top, it's probably like that line here. So I'll start my first joint here in the center, kind of like, you know, same distance from front to back. And then the next one here, we can cheat a little bit. So we can actually, we don't have to put it exactly in the center, but a little bit further back, kind of like closer to the elbow. And then here for the wrist is kind of important again that it's in the center. So I'll draw that probably here. And again we have kind of like this natural bend here already in there because of the way how we modeled it too. Okay and then that's going to be at the ground and then I'll take again my first joint and I'll just translate it up making sure that it stays all in one plane. Okay, these three points, they're all lying in the same plane and that will make it later on very, very easy to add our IK and other things in there. So I'll move this a little bit up, again making sure that we have kind of the, the wrist here in the center. Okay, and then let's start creating some more joints. So I'll probably start creating my feet joints here. Now we can probably take this leg hierarchy and also put it on our joint layer that is referenced because if you don't reference it, then what will happen is if you try to create a new joint here too close, it will kind of start from the same hierarchy, which is maybe not too bad, but I want to keep them separate later on. But now here we want to kind of decide how many rotation points we want to have in the foot. I think at least we want to have kind of one here for our ball joints. Let's maybe put one in here. Actually probably a little bit further forward I would say for our toes. Well, it kind of depends. Let's put our ball joint here. And then let's put our, from the side view, let's put our toe joint kind of at the end where we want to roll around. And then let's create another joint back here for our heel roll. And let's parent disjoint up here to the foot. OK. Later on, when we talk about the foot rigging, we might add more joints in between. But for now, let's go with those kind of four joints, one at the start here, and then one in the middle, one in the end, and then the heel. And let's see, then we'll need some neck joints here too. So we'll keep it very, very simple for starters. And then later on, we can add more detail. So we can probably add one here and then end joint here. And then I'll create a new hierarchy. So I'll start my head joint. Where do I want my head to rotate from? Probably somewhere around here. And then an end joint here again. I will create some jaw joints too. I'm not sure if we're actually going to rig the jaw. Since this is more going to be about body rigging, but let's put it in. For jaw joints, I got into the habit of, first of all, our root joint, we want to create it. For humans, it's typically between the corner of the eye and the ear. If you draw a straight line, and then on that line, you kind of go 25% from the ear, okay, on the line, or 75% from the eyeball. That's usually typically for humans where the jaw draw in is kind of located. Maybe not exactly 25%, but definitely closer towards the ear than towards the corner of the eye. So here we have our startups. Should have created a new hierarchy. What we can now do is we can just disconnect that so we can go to skeleton, disconnect joint, nope, it doesn't work. Then I'll just undo deselect here and create a new one, new join. Again this line kind of coming somewhere around here. Now we could just create an end joint here and be done with it, but what I got into the habit of doing is I'm creating another pivot joint for the draw. So I'm going probably somewhere around maybe here and then the end joint. The reason why I'm doing that is there are kind of two reasons for it really. One is maybe a little bit stupid but first of all it looks a little bit more like a draw bone which is probably totally unimportant and then the other more important reason is that this will give us two rotation points for our draw. So one, we will be able to rotate it from up there to open a draw, which is kind of like the more realistic point rotation, or draw open. And then we have another drawing down here, where we could kind of like basically skin the lower part to the lower part of the draw. We could skin to this joint. And then we have a second pivot point, which could be used for more cartoony characters depending on what we're doing. But at Dreamworks we used to have a system like that too, especially on characters for Madagascar. That was actually used quite a lot. So that was called Jaws and that was called Lower Jaws. And the animators used that for characters like Marty and Melman, the giraffe and the zebra of Madagascar quite a lot because then if you open the Jaws first and then you're rotating it back up, then you're automatically getting a frowning expression without even putting any shapes on. So that was used a lot on the Madagascar movies. And then let's maybe also create some eye joints, although, again, it's more face rigging. But let's drop them in, and maybe we'll rig them. We will see. For eye drawings, we want to go into the center of the eyeball. But the problem is we don't have a good way of snapping to the center of the eye. If we want to kind of snap to, we can use grid snapping with holding down x. So we can use curve snapping with holding down c, or point snapping with holding down the v-key, and holding it pressed. But you can see that it will only kind of snap to the points outside, right, to the word disease, and there is no word in the middle. But there are kind of like two ways how we can fit your drawing. Well, I mean, actually, probably three ways. If you count the manual, you know, manual fitting. Here in this case, we're kind of lucky because we have, our eyeball is like perfectly round and it's not rotated or anything, something like this, and maybe rotate it down. We'll make it harder if it's like perfectly, you know, facing forward, then again it will also make it a lot easier to place your joint in here. So what you could do with that is you could use snapping, holding down V and then you can just snap in one axis towards here and then you can snap in the other axis towards there and then looking from the top you can also snap. Getting a little bit crowded here but what we can probably do is we can take this joint, can take the eyeball geometry here and isolate those two things. So now you can just take that and again hold down V for point snapping and now just snap in that a ZI-X this here and then it should be exactly in the center of the eyeball where we want this joint to be. There are two other options. So one option would be you can use a point constraint. So if you have your eyeball already there and you know that the pivot is kind of in the center, so the pivot is kind of where you want the joint to be. Then what you can do is you can just select the eyeball, then select the joint and then go to constraint point and turn the maintain offset off hit apply and that will bring the joint exactly where the pivot is. Okay so that's then you have it in there. Now then you can go in and delete that point constraint. So if we go to the joint here we find our point constraint here and we can just select it and delete it and the joint will still remain where it needs to be. And then there is a third option if you actually let's hide the body here for a second. Maybe also the face. So the other option is in the attribute editor, if you come in here, and you go to the transform node under display, there is this display handle. If we show that, we'll get a little cross inside here. That's a display handle. So now what we can do with this eye joint here, we can actually snap to the display handle with holding down the V key. So we can go here, snap to the display handle, and then we have it also exactly where we want it to be. And Then we can turn the display handle off again on the eyeball geometry here. Turn it off. And then we're done and we have our joint placed properly.",
+  "segments": [
+    {
+      "text": " Okay, let's get into the rigging part here in my actually. This is the model that I would like to rig or work with over the next 8 weeks. I've modeled it a while ago. Topology could probably be better in some places. We have a couple of 5-sided polygons, a couple of triangles in here. So we could probably make this a little bit better. but what I like about this is that it's fairly low rest so it should be pretty easy to to weighting and everything. The other thing what I would recommend doing is that you always kind of get your model in in T-pose. It will just make it a lot easier to work with you know when placing joints and making sure everything is in a straight plane will make your life a lot a lot easier than if you had for example an A pose or some other kind of random pose, it will be a lot harder to kind of place your pole vectors and everything like that. So again, if you have control over the model, I recommend the T pose with straight arms looking from the front and straight legs so that we can place these joints kind of like in one straight line looking from the front. And then when we look from the side, we do want to have a slight kink in the knee here. So it shouldn't be too straight. So that when we place the joint here in the middle, and we place one for the knee, and we place one for the ankle, or the end of the leg, that we can get a natural bent in here already, kind of like for our preferred angle for the IK. Same thing for the arms too. We want to have a slight kink in there looking from the top so that our elbow is kind of like in the back and that's where our pole vector is going to be. And again this is going to be our preferred angle. Like if you kind of, you know, put out your arm and try to bend then that's going to be the direction bending forward that is going to be the default for this model. The other thing here, I haven't modeled any clothing. In this case I would probably go with cloth in the end to do some clothing here. But I also want this to be about rigging and kind of like, you know, that we can get good deformations here out of this and probably will also work a little bit with muscles maybe down the line. We'll see how that goes. Okay. Let's jump in and let's get started. What I would like to do first is create a basic and simple rig first and show you a couple of things that probably you hopefully know most of it already, just as a repetition and then also maybe there will still be some useful information within that. Then afterwards, once we have our stable and robust base rig, you know, that's simple to use, intuitive for any matters and so on, then I would like to start talking about some more advanced concepts, like for example, building a different type of spine or, you know, adding on to arms and legs and so on. So okay, let's get started here. So first let's hide the hair. We don't necessarily need to see that. And what we want to start with is we want to start with creating some joints in here. So let's do that. tool. And for the drawings, I'll start drawing some hierarchies. I'll probably, you know, break them so that we only have independent hierarchies for the individual body pieces, but you can also create them as one, and then later we can kind of disconnect them. So let's start maybe with some spine joints here. So I'll start kind of where you know the center of gravity would be like the hip area here beginning of the spine. So you can kind of see like the torso will probably be somewhere around here right and all of that. So let's start by creating the first spine joint here and and then I guess I've joints turned off. Here we go, and then I'll try to aim for five joints, okay, to begin with. So, if I know I want to have my end joint somewhere probably up here where the neck would start then, and then I want to have one in the middle, so kind of somewhere around here, and I want to have one in between there at like 25%, so I'll draw one here, next one here, Next one here, next one up there. And so I'm trying to kind of make them more or less even. We have even spaces. And the reason why I'm going with 5 is that, again, then we have, you know, one at 0%, one at 100%, one at 50%, one at 25%, one at 75%. Another good number is 9 joints. So then you can have one additional one here in between all of these joints. and then you have 5 plus 4, so that would be 9. And the reason why we're doing that is basically with every new joint that we're creating here, we are essentially getting a new rotation point here. Okay. Let me show everything here, I think. Okay. So we can kind of rotate from here or a little bit higher up. The last one here might not make too much sense, because that's typically word rip cages. There would probably not be too much bending going on. But since I think a cartoon character is probably useful to still have that additional joint in there. And then I'll start creating some new joints here. I'll put those joints on a layer for a moment. Set it to reference. Now what I can do is I can create a new hierarchy without selecting the old one. I can start in more or less the same spot here, because that's where my leg would be. We draw a circle here. That's where the leg would start, rotating from probably. I will draw one for the knee, one for the ankle. the ankle. As I said, I want to make sure that I have a slight kink in here. We turn off the geo, then we can see it's very, very subtle, but we have the knees a little bit more in the front here and those two joints are a little bit more in the back, so we got this triangle. So that means that this is going to be our preferred angle where the leg is going to bend like this by default for our IK. And let's see where my joints are here. Sure, here we go. So since we drew them from the side, now our leg joints are actually going to be in the center. But what we can now do is we can just take the first joint and kind of like move them to the side. Okay, I want to make sure that it's kind of lining up here. So what I wouldn't do is taking these individual joins and kind of like, you know, moving them to the side or something like that because then you will have a hard time getting your rotation axis to work properly. We'll talk about it at a later point, but I would only move kind of the first joint here for our leg and that is kind of also why I was saying that the legs, ideally, they should be straight looking from the front. Now we'll do the same thing for the arm. So the arm I'm going to draw from the front. And actually sorry, not from the front, from the top. But I kind of want to think about where the arm should kind of start. So if we're thinking kind of like this is the shoulder here, the model, and probably somewhere around here, this is where we want to be able to bend the arm, the arm where from somewhere around here. If we look at the topology, you know, kind of like view via frame and shade it here and probably somewhere around here, like kind of the second line of those two. So we will look from the top, it's probably like that line here. So I'll start my first joint here in the center, kind of like, you know, same distance from front to back. And then the next one here, we can cheat a little bit. So we can actually, we don't have to put it exactly in the center, but a little bit further back, kind of like closer to the elbow. And then here for the wrist is kind of important again that it's in the center. So I'll draw that probably here. And again we have kind of like this natural bend here already in there because of the way how we modeled it too. Okay and then that's going to be at the ground and then I'll take again my first joint and I'll just translate it up making sure that it stays all in one plane. Okay, these three points, they're all lying in the same plane and that will make it later on very, very easy to add our IK and other things in there. So I'll move this a little bit up, again making sure that we have kind of the, the wrist here in the center. Okay, and then let's start creating some more joints. So I'll probably start creating my feet joints here. Now we can probably take this leg hierarchy and also put it on our joint layer that is referenced because if you don't reference it, then what will happen is if you try to create a new joint here too close, it will kind of start from the same hierarchy, which is maybe not too bad, but I want to keep them separate later on. But now here we want to kind of decide how many rotation points we want to have in the foot. I think at least we want to have kind of one here for our ball joints. Let's maybe put one in here. Actually probably a little bit further forward I would say for our toes. Well, it kind of depends. Let's put our ball joint here. And then let's put our, from the side view, let's put our toe joint kind of at the end where we want to roll around. And then let's create another joint back here for our heel roll. And let's parent disjoint up here to the foot. OK. Later on, when we talk about the foot rigging, we might add more joints in between. But for now, let's go with those kind of four joints, one at the start here, and then one in the middle, one in the end, and then the heel. And let's see, then we'll need some neck joints here too. So we'll keep it very, very simple for starters. And then later on, we can add more detail. So we can probably add one here and then end joint here. And then I'll create a new hierarchy. So I'll start my head joint. Where do I want my head to rotate from? Probably somewhere around here. And then an end joint here again. I will create some jaw joints too. I'm not sure if we're actually going to rig the jaw. Since this is more going to be about body rigging, but let's put it in. For jaw joints, I got into the habit of, first of all, our root joint, we want to create it. For humans, it's typically between the corner of the eye and the ear. If you draw a straight line, and then on that line, you kind of go 25% from the ear, okay, on the line, or 75% from the eyeball. That's usually typically for humans where the jaw draw in is kind of located. Maybe not exactly 25%, but definitely closer towards the ear than towards the corner of the eye. So here we have our startups. Should have created a new hierarchy. What we can now do is we can just disconnect that so we can go to skeleton, disconnect joint, nope, it doesn't work. Then I'll just undo deselect here and create a new one, new join. Again this line kind of coming somewhere around here. Now we could just create an end joint here and be done with it, but what I got into the habit of doing is I'm creating another pivot joint for the draw. So I'm going probably somewhere around maybe here and then the end joint. The reason why I'm doing that is there are kind of two reasons for it really. One is maybe a little bit stupid but first of all it looks a little bit more like a draw bone which is probably totally unimportant and then the other more important reason is that this will give us two rotation points for our draw. So one, we will be able to rotate it from up there to open a draw, which is kind of like the more realistic point rotation, or draw open. And then we have another drawing down here, where we could kind of like basically skin the lower part to the lower part of the draw. We could skin to this joint. And then we have a second pivot point, which could be used for more cartoony characters depending on what we're doing. But at Dreamworks we used to have a system like that too, especially on characters for Madagascar. That was actually used quite a lot. So that was called Jaws and that was called Lower Jaws. And the animators used that for characters like Marty and Melman, the giraffe and the zebra of Madagascar quite a lot because then if you open the Jaws first and then you're rotating it back up, then you're automatically getting a frowning expression without even putting any shapes on. So that was used a lot on the Madagascar movies. And then let's maybe also create some eye joints, although, again, it's more face rigging. But let's drop them in, and maybe we'll rig them. We will see. For eye drawings, we want to go into the center of the eyeball. But the problem is we don't have a good way of snapping to the center of the eye. If we want to kind of snap to, we can use grid snapping with holding down x. So we can use curve snapping with holding down c, or point snapping with holding down the v-key, and holding it pressed. But you can see that it will only kind of snap to the points outside, right, to the word disease, and there is no word in the middle. But there are kind of like two ways how we can fit your drawing. Well, I mean, actually, probably three ways. If you count the manual, you know, manual fitting. Here in this case, we're kind of lucky because we have, our eyeball is like perfectly round and it's not rotated or anything, something like this, and maybe rotate it down. We'll make it harder if it's like perfectly, you know, facing forward, then again it will also make it a lot easier to place your joint in here. So what you could do with that is you could use snapping, holding down V and then you can just snap in one axis towards here and then you can snap in the other axis towards there and then looking from the top you can also snap. Getting a little bit crowded here but what we can probably do is we can take this joint, can take the eyeball geometry here and isolate those two things. So now you can just take that and again hold down V for point snapping and now just snap in that a ZI-X this here and then it should be exactly in the center of the eyeball where we want this joint to be. There are two other options. So one option would be you can use a point constraint. So if you have your eyeball already there and you know that the pivot is kind of in the center, so the pivot is kind of where you want the joint to be. Then what you can do is you can just select the eyeball, then select the joint and then go to constraint point and turn the maintain offset off hit apply and that will bring the joint exactly where the pivot is. Okay so that's then you have it in there. Now then you can go in and delete that point constraint. So if we go to the joint here we find our point constraint here and we can just select it and delete it and the joint will still remain where it needs to be. And then there is a third option if you actually let's hide the body here for a second. Maybe also the face. So the other option is in the attribute editor, if you come in here, and you go to the transform node under display, there is this display handle. If we show that, we'll get a little cross inside here. That's a display handle. So now what we can do with this eye joint here, we can actually snap to the display handle with holding down the V key. So we can go here, snap to the display handle, and then we have it also exactly where we want it to be. And Then we can turn the display handle off again on the eyeball geometry here. Turn it off. And then we're done and we have our joint placed properly."
+    }
+  ]
+}