Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part6_week08 10 combining wrap and skin cluster_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part6_week08 10 combining wrap and skin cluster_frames_transcription.json

@@ -0,0 +1,8 @@
+{
+  "text": " I wanted to do one more video kind of following up from the belt rig because Felix had this question specifically for his character how we could rig these kind of like membrane or how it would go about rigging those kind of like thin webbing like things that we have here and we can probably just skin it you know we can probably just go and I think Felix did a pretty good job here of you know starting point anyways for the skinning. If we have a model like this where it's nice and clean it would probably not be too hard to skin those to those joints to do the right thing but we can also use the same technique that I just showed and I want to kind of lecture an example of that here on this back those back fins for example I have to see and play too much with it we have spreading here on this one. And again, I feel that we can probably get away with just doing weights painting, regular weights painting on this on this mesh here. But sometimes it might be, let's see here, even this one doesn't look too bad. Probably here I would skin it a little bit differently. This should probably go all to the spine and not really follow these fins here. But let's say we want use that technique that I showed of creating a lures plane in this case probably and see how we could potentially do that. So let's hide the G and let's create a lures plane here. What we want to do is we want to probably create one point, one vertex per joint. Quite a lot of joints in here but Let's see. Let's start with a plane, pulley plane. Let's start with a little lower subdivisions here. And then let's start by snapping these points to those thin drawings that we have. So let's start with this one here, maybe. I hope that all these drawings have the same number of joints. I'm just going to assume that that's the case. So now we can take these. Even if not, it doesn't matter. Then it just means that we have to do a little bit of trickery. We can all use quads here. Let's see here. OK, so that would go into the middle. Let's see here one. That one would probably go somewhere around here. And then let's turn the join selection off for a sec. That would go to that one. And then we want to create these in-betweens here. So there used to be the split polytool. I don't know if it's still available here somewhere. We could probably also use cut or I think they renamed it now to interactive split or something like that. Don't remember where it is. I'm going to just, we could probably also smooth it once, then we get more subdivisions. but I'm going to use my own modeling tools here that I've created, kind of like a tool set I use all the time, and then I don't have to search for stuff here in the menu. And since this is not about modeling, I think I hope you guys are OK with me just using that, just because it will speed up the workflow quite a bit. So I'll split that. I'll create a split here. And snap those guys. And then snap those guys. Okay, something like that. And then we want to create more subdivisions in this way. Let's split those and those Okay And then one more. Here, split. And there. Now we can snap those also. 1, 2, 3, 4 and 5 and then these ones here also. Okay, and then we can, let's see here, the geo, maybe we could extend that even more, we could extend that surface to also include those two guys. We could for example do something like this, or just take these two edges and go to edge extrude. I'm not crashing Maya now. Let's try to extrude those edges here again. Okay, now it's working this time. And also the ones down here, G for last action repeating. And then let's show everything again and see what we actually need. So we want to, on this one here, we want to snap that. This, that, and that, and here we actually have one face too many so we can delete that face, we don't need that. And then let's do the same thing up here. So here that can go there, this can go there, this can go there. And here we have an extra face lying around, so maybe we can delete that too. Don't think we need that. OK, so here we have our low res mesh. Delete history. Can rename this to be backfn, for example, mbackfn low res giu. and then we delete the history on that and freeze it. Modify, freeze. And now we can create the other fins here with the same technique. So probably in the front we want them and probably on the fingers here maybe, probably also on the feet. And either we keep them separated or we can combine all these low-res, measures or low risk ages for our fins. I'm going to just work on this just as an example but I can do the other ones as well. And now let's skin this to those joints. So we have to select all of those joints. Adjust it like I'm manually here real quick. It seems to be 2 in here. the geo and we can skin it. So animation skin smoothbind, select the joints, interactive, okay all good. Now we have that low res representation which should do the right thing here and now we can smooth that. So let's create a duplicate of that and call this mid res. And connect the two shapes together. Lower as mid-res, bring that into our hyper shape for example. Bring them in here and now connect the low res into the mid-res shape from out mesh again into in mesh just like we did with the belt. And then we can take the mid-res and smooth it. So polygon mesh smooth. We have that smooth representation which we can then use as a raptor form. So let's hide the middle at the low res. When we try that, we get a nice and smooth distribution here, right? Can also subdivide it again just like before with the belt. we can set this division to 2 if we want to, and we'll get even smoother results here. And now we can use that as a raptor form for this GU. Now here we have a little bit of a problem because we want to have parts of this model to be influenced by the skinning and parts of it being influenced by the rap. So what I would recommend doing here in this case is if we take the fish creature, Gio, and we take the body and we duplicate that. So the original one, that's the one that's going to have the skin cluster on it. And the new one, that's the one that's going to have to wrap. So this is the wrap one for wrap. Oh, wrapped. Okay, now we will wrap this duplicate. So we have to select first the high res mesh, select one, and we have to select low res mesh, and we'll create a wrap, animation, create a form wrap. And if we just look at this one, let's go to new here, show isolate, view selected, And then I'll use that one here. Spreader, we can see it's doing something really weird, right? Because the whole mesh here is obviously being deformed now with the wrap. But the fin itself looks good. And we get nice and smooth distribution here without having to do any weights painting, or not too much weights painting anyway. So how can we now use that in combination with the skinned version? What I would probably do is I would probably try to use the wrapped one and apply it as a blend shape to the final one, to the skinned one. So let's take the wrapped one, let's take the final one and create a blend shape. And the blend shape that we want to create is we want to create it on top of everything else that was going on. Okay, so not in front, like what we did with the corrective blend shapes, but rather afterwards. So let's come in here, animation, create blend shape, and we will create that not front of chain, but after. Or default that will create it on top of everything else. Here we go. And here we have our blend shapes. It is going to be our two-wrapped blend shape. Yes. OK. And we'll turn it on. And now if we have that turned on and we apply our fin spread, we can see now everything is being influenced by this blend shape. And we can also see that our joins don't have any say anymore. We are basically overriding any joint information, any skin cluster with that new blend shape that is blending to the wrap version. But what we can now do is we can now come on to our final mesh here and we can paint the envelope for our blend shape, for our to wrap blend shape, saying that hey we only want this part to come from the wrap, everything else should be not influenced by the blend shape. So let's try and see if we can make that work. So We'll go into Edit the Former, Paint Blanchet Weights tool. Let me save here for a crash. One more time, B. And here we have two wrapped. That's one where we want to paint. I can actually paint everything to black first. It'll probably be easier. Replace everything with the value of 0. And now the wrap will not have any effect. So if we try that, fin spread, actually it does. Why is that? Oh, because we have to wrap one here, still showing that cylinder we're seeing. So let's hide that one. But if we're showing this one, you can see that this is still the one coming from the skin cluster here, I believe. But we have our joint deformation here happening. And now we can say, OK, now I want to overwrite just the back part here with our wrap blend shape. So to wrap, now we can paint all this here white that we want to be influenced from our wrap. Let's say we want all that. Maybe these ones could actually be coming from the joints, So maybe let's paint these ones black. Again, don't want that to be influenced by the, that's coming from the joints, but want only the membrane to be coming from the wrap. That will get nice and smooth distribution. Let's paint all this white. Okay, maybe something like that. So now we can basically paint the area that we want to be influenced by the wrap, and everything that's black is going to be influenced by the skin cluster. Okay, something like that perhaps. And we have to paint the other side, or we have to mirror that. Although I didn't have too much success in the past trying to mirror the former weights. Here is this edit to form or mirror to form a weights, but for some reason I never really got that to work. I don't know why. I'll just paint it manually here real quick. It's not that bad. So all this white area is now basically getting overwritten by the blend shape that has the mesh blending to the wrapped deformed mesh. Something like that. And what we could not even do once we are finished here, more or less, with our painting. Painting the influence. Should probably be black. Once we're happy with all of that, then we can smooth it. smooth the map here. So we can come to smooth and we can say, flood, flood, flood. And that will basically, maybe that's too much here now. But what I was after is that it smooths this here, this border a little bit. We can maybe also just paint over smoothing. Then we have a little bit of smooth falloff here. Okay, that is not Skin Deformer and Rep Deformer, but rather we have a soft transition between the two, maybe. Let's first see how it looks without that. Let's hide our mid-res. Alright, so let's leave it on for a sec and try the fin spread. And now we can see now we're getting nice and smooth deformation. I mean, probably here it's not that different, but still now the membrane is being influenced by the wrap and everything else is being influenced by the joints. Okay, everything was black before. And then we can hide this one and we can paint these fins here a little bit better to those joints. Unless we want to say, hey, we want these to be stretching as well, then they could be part of coming from the Raptor Forma 2. But I think we want to keep them a little bit more solid. And what we could have done here, we could have modified the low-res version here before we were doing the wrap. We could have actually modeled this a little bit better, so kind of like these little things here, could have modeled gaps in there. And then we could have said, okay, all this should be weighted to this joint, all that should be weighted to this joint, all that should be weighted to that joint. point, that would have probably avoided any type of stretching that we would see coming from the Raptor former. But here, this stretching that we're getting when we're doing our spread test is actually something that we can, I think, because this is coming from the skin cluster. So we should be able to just come in here and paint those a little bit better. So if we select that influence, here we can see that we have the smooth fall off, so that should probably all be weighted to this joint. I think right now it's probably weighted to that one here a little bit. If we select that influence, you can see that we have bleeding over from this one, so therefore it's pulling that down. We can try to replace it with a value of 0. I would be very, very careful with doing that. I've mentioned this before, because if we're painting this with 0, it essentially goes somewhere else, and we don't have 100% control over where it goes. So instead, I would rather add than removing it. But here in this case, it might work. Let's see if that fixed it. Yeah, I think now it's staying a little bit closer together. It still seems to lose a little bit of volume with the spreading. So let's try painting it actually to the joint where we wanted to go, which is this one. Let's paint the valley of one here. Okay, something like that perhaps. And then here for the second one we want to paint this one. And then once you have that, what I would do is select the mid-res geo. Once you have that, I would, actually this one we can probably also paint here. 100% of that joint. And then we can now paint the in-between here 50% between that joint and the next joint. Since we have it 100% on that joint, now if we come to the previous joint, we can paint this 50% and that will essentially remove it from the next joint. So let's paint this 50, 0.5 and replace. Make our brush size smaller. And I only want the transition to be really weighted 50% between one and the other. And same thing for the next one here. This is 50% right now, so it should be weighted 50% to that one. Maybe. Okay, let's see here. If that looks good or works. And now we can see that it's no longer gaining or are losing volume. And we can see that again the membrane part here that's all wrapped and formed to the mid-res and these fins here are skin flusters so we can paint those weights. We cannot paint weights here and influence this anymore because all that again is overwritten by the blend shape here, the to wrap blend shape. If we remove it, so this is, you can actually see the difference now, remove the blend shape, you can see this is what we would get from skin thruster, the formation. Okay, so we can see that for example here it's bunching up, or stretching a little bit strangely. We could probably fix that with weights painting, but would probably be pretty tedious while if we now turn on our wrap blend shape, we can see this is what we're getting from the wraps, a much smoother results here. Okay, this is without wrap, this is with wrap. And this is basically the same way how we can do it on all the other areas as well, but as I was saying before, I would probably use the low-res mesh that we have here and combine all the different low-res meshes. So if you have a low-res mesh for this back fin, a low-res mesh for the front, a low-res mesh for the arm or fingers, low-res mesh for the feet, and I would combine all these low-res meshes into one low-res mesh, then smooth that and then use only one raptor former as opposed to creating individual raptor formers, one for this, one for that, one for that, create one raptorformer with all these different low-res cages and then and smoothing that and using the mid-res version as the rector form.",
+  "segments": [
+    {
+      "text": " I wanted to do one more video kind of following up from the belt rig because Felix had this question specifically for his character how we could rig these kind of like membrane or how it would go about rigging those kind of like thin webbing like things that we have here and we can probably just skin it you know we can probably just go and I think Felix did a pretty good job here of you know starting point anyways for the skinning. If we have a model like this where it's nice and clean it would probably not be too hard to skin those to those joints to do the right thing but we can also use the same technique that I just showed and I want to kind of lecture an example of that here on this back those back fins for example I have to see and play too much with it we have spreading here on this one. And again, I feel that we can probably get away with just doing weights painting, regular weights painting on this on this mesh here. But sometimes it might be, let's see here, even this one doesn't look too bad. Probably here I would skin it a little bit differently. This should probably go all to the spine and not really follow these fins here. But let's say we want use that technique that I showed of creating a lures plane in this case probably and see how we could potentially do that. So let's hide the G and let's create a lures plane here. What we want to do is we want to probably create one point, one vertex per joint. Quite a lot of joints in here but Let's see. Let's start with a plane, pulley plane. Let's start with a little lower subdivisions here. And then let's start by snapping these points to those thin drawings that we have. So let's start with this one here, maybe. I hope that all these drawings have the same number of joints. I'm just going to assume that that's the case. So now we can take these. Even if not, it doesn't matter. Then it just means that we have to do a little bit of trickery. We can all use quads here. Let's see here. OK, so that would go into the middle. Let's see here one. That one would probably go somewhere around here. And then let's turn the join selection off for a sec. That would go to that one. And then we want to create these in-betweens here. So there used to be the split polytool. I don't know if it's still available here somewhere. We could probably also use cut or I think they renamed it now to interactive split or something like that. Don't remember where it is. I'm going to just, we could probably also smooth it once, then we get more subdivisions. but I'm going to use my own modeling tools here that I've created, kind of like a tool set I use all the time, and then I don't have to search for stuff here in the menu. And since this is not about modeling, I think I hope you guys are OK with me just using that, just because it will speed up the workflow quite a bit. So I'll split that. I'll create a split here. And snap those guys. And then snap those guys. Okay, something like that. And then we want to create more subdivisions in this way. Let's split those and those Okay And then one more. Here, split. And there. Now we can snap those also. 1, 2, 3, 4 and 5 and then these ones here also. Okay, and then we can, let's see here, the geo, maybe we could extend that even more, we could extend that surface to also include those two guys. We could for example do something like this, or just take these two edges and go to edge extrude. I'm not crashing Maya now. Let's try to extrude those edges here again. Okay, now it's working this time. And also the ones down here, G for last action repeating. And then let's show everything again and see what we actually need. So we want to, on this one here, we want to snap that. This, that, and that, and here we actually have one face too many so we can delete that face, we don't need that. And then let's do the same thing up here. So here that can go there, this can go there, this can go there. And here we have an extra face lying around, so maybe we can delete that too. Don't think we need that. OK, so here we have our low res mesh. Delete history. Can rename this to be backfn, for example, mbackfn low res giu. and then we delete the history on that and freeze it. Modify, freeze. And now we can create the other fins here with the same technique. So probably in the front we want them and probably on the fingers here maybe, probably also on the feet. And either we keep them separated or we can combine all these low-res, measures or low risk ages for our fins. I'm going to just work on this just as an example but I can do the other ones as well. And now let's skin this to those joints. So we have to select all of those joints. Adjust it like I'm manually here real quick. It seems to be 2 in here. the geo and we can skin it. So animation skin smoothbind, select the joints, interactive, okay all good. Now we have that low res representation which should do the right thing here and now we can smooth that. So let's create a duplicate of that and call this mid res. And connect the two shapes together. Lower as mid-res, bring that into our hyper shape for example. Bring them in here and now connect the low res into the mid-res shape from out mesh again into in mesh just like we did with the belt. And then we can take the mid-res and smooth it. So polygon mesh smooth. We have that smooth representation which we can then use as a raptor form. So let's hide the middle at the low res. When we try that, we get a nice and smooth distribution here, right? Can also subdivide it again just like before with the belt. we can set this division to 2 if we want to, and we'll get even smoother results here. And now we can use that as a raptor form for this GU. Now here we have a little bit of a problem because we want to have parts of this model to be influenced by the skinning and parts of it being influenced by the rap. So what I would recommend doing here in this case is if we take the fish creature, Gio, and we take the body and we duplicate that. So the original one, that's the one that's going to have the skin cluster on it. And the new one, that's the one that's going to have to wrap. So this is the wrap one for wrap. Oh, wrapped. Okay, now we will wrap this duplicate. So we have to select first the high res mesh, select one, and we have to select low res mesh, and we'll create a wrap, animation, create a form wrap. And if we just look at this one, let's go to new here, show isolate, view selected, And then I'll use that one here. Spreader, we can see it's doing something really weird, right? Because the whole mesh here is obviously being deformed now with the wrap. But the fin itself looks good. And we get nice and smooth distribution here without having to do any weights painting, or not too much weights painting anyway. So how can we now use that in combination with the skinned version? What I would probably do is I would probably try to use the wrapped one and apply it as a blend shape to the final one, to the skinned one. So let's take the wrapped one, let's take the final one and create a blend shape. And the blend shape that we want to create is we want to create it on top of everything else that was going on. Okay, so not in front, like what we did with the corrective blend shapes, but rather afterwards. So let's come in here, animation, create blend shape, and we will create that not front of chain, but after. Or default that will create it on top of everything else. Here we go. And here we have our blend shapes. It is going to be our two-wrapped blend shape. Yes. OK. And we'll turn it on. And now if we have that turned on and we apply our fin spread, we can see now everything is being influenced by this blend shape. And we can also see that our joins don't have any say anymore. We are basically overriding any joint information, any skin cluster with that new blend shape that is blending to the wrap version. But what we can now do is we can now come on to our final mesh here and we can paint the envelope for our blend shape, for our to wrap blend shape, saying that hey we only want this part to come from the wrap, everything else should be not influenced by the blend shape. So let's try and see if we can make that work. So We'll go into Edit the Former, Paint Blanchet Weights tool. Let me save here for a crash. One more time, B. And here we have two wrapped. That's one where we want to paint. I can actually paint everything to black first. It'll probably be easier. Replace everything with the value of 0. And now the wrap will not have any effect. So if we try that, fin spread, actually it does. Why is that? Oh, because we have to wrap one here, still showing that cylinder we're seeing. So let's hide that one. But if we're showing this one, you can see that this is still the one coming from the skin cluster here, I believe. But we have our joint deformation here happening. And now we can say, OK, now I want to overwrite just the back part here with our wrap blend shape. So to wrap, now we can paint all this here white that we want to be influenced from our wrap. Let's say we want all that. Maybe these ones could actually be coming from the joints, So maybe let's paint these ones black. Again, don't want that to be influenced by the, that's coming from the joints, but want only the membrane to be coming from the wrap. That will get nice and smooth distribution. Let's paint all this white. Okay, maybe something like that. So now we can basically paint the area that we want to be influenced by the wrap, and everything that's black is going to be influenced by the skin cluster. Okay, something like that perhaps. And we have to paint the other side, or we have to mirror that. Although I didn't have too much success in the past trying to mirror the former weights. Here is this edit to form or mirror to form a weights, but for some reason I never really got that to work. I don't know why. I'll just paint it manually here real quick. It's not that bad. So all this white area is now basically getting overwritten by the blend shape that has the mesh blending to the wrapped deformed mesh. Something like that. And what we could not even do once we are finished here, more or less, with our painting. Painting the influence. Should probably be black. Once we're happy with all of that, then we can smooth it. smooth the map here. So we can come to smooth and we can say, flood, flood, flood. And that will basically, maybe that's too much here now. But what I was after is that it smooths this here, this border a little bit. We can maybe also just paint over smoothing. Then we have a little bit of smooth falloff here. Okay, that is not Skin Deformer and Rep Deformer, but rather we have a soft transition between the two, maybe. Let's first see how it looks without that. Let's hide our mid-res. Alright, so let's leave it on for a sec and try the fin spread. And now we can see now we're getting nice and smooth deformation. I mean, probably here it's not that different, but still now the membrane is being influenced by the wrap and everything else is being influenced by the joints. Okay, everything was black before. And then we can hide this one and we can paint these fins here a little bit better to those joints. Unless we want to say, hey, we want these to be stretching as well, then they could be part of coming from the Raptor Forma 2. But I think we want to keep them a little bit more solid. And what we could have done here, we could have modified the low-res version here before we were doing the wrap. We could have actually modeled this a little bit better, so kind of like these little things here, could have modeled gaps in there. And then we could have said, okay, all this should be weighted to this joint, all that should be weighted to this joint, all that should be weighted to that joint. point, that would have probably avoided any type of stretching that we would see coming from the Raptor former. But here, this stretching that we're getting when we're doing our spread test is actually something that we can, I think, because this is coming from the skin cluster. So we should be able to just come in here and paint those a little bit better. So if we select that influence, here we can see that we have the smooth fall off, so that should probably all be weighted to this joint. I think right now it's probably weighted to that one here a little bit. If we select that influence, you can see that we have bleeding over from this one, so therefore it's pulling that down. We can try to replace it with a value of 0. I would be very, very careful with doing that. I've mentioned this before, because if we're painting this with 0, it essentially goes somewhere else, and we don't have 100% control over where it goes. So instead, I would rather add than removing it. But here in this case, it might work. Let's see if that fixed it. Yeah, I think now it's staying a little bit closer together. It still seems to lose a little bit of volume with the spreading. So let's try painting it actually to the joint where we wanted to go, which is this one. Let's paint the valley of one here. Okay, something like that perhaps. And then here for the second one we want to paint this one. And then once you have that, what I would do is select the mid-res geo. Once you have that, I would, actually this one we can probably also paint here. 100% of that joint. And then we can now paint the in-between here 50% between that joint and the next joint. Since we have it 100% on that joint, now if we come to the previous joint, we can paint this 50% and that will essentially remove it from the next joint. So let's paint this 50, 0.5 and replace. Make our brush size smaller. And I only want the transition to be really weighted 50% between one and the other. And same thing for the next one here. This is 50% right now, so it should be weighted 50% to that one. Maybe. Okay, let's see here. If that looks good or works. And now we can see that it's no longer gaining or are losing volume. And we can see that again the membrane part here that's all wrapped and formed to the mid-res and these fins here are skin flusters so we can paint those weights. We cannot paint weights here and influence this anymore because all that again is overwritten by the blend shape here, the to wrap blend shape. If we remove it, so this is, you can actually see the difference now, remove the blend shape, you can see this is what we would get from skin thruster, the formation. Okay, so we can see that for example here it's bunching up, or stretching a little bit strangely. We could probably fix that with weights painting, but would probably be pretty tedious while if we now turn on our wrap blend shape, we can see this is what we're getting from the wraps, a much smoother results here. Okay, this is without wrap, this is with wrap. And this is basically the same way how we can do it on all the other areas as well, but as I was saying before, I would probably use the low-res mesh that we have here and combine all the different low-res meshes. So if you have a low-res mesh for this back fin, a low-res mesh for the front, a low-res mesh for the arm or fingers, low-res mesh for the feet, and I would combine all these low-res meshes into one low-res mesh, then smooth that and then use only one raptor former as opposed to creating individual raptor formers, one for this, one for that, one for that, create one raptorformer with all these different low-res cages and then and smoothing that and using the mid-res version as the rector form."
+    }
+  ]
+}