Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part5_week07 08 dynamic joint jiggle_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part5_week07 08 dynamic joint jiggle_frames_transcription.json

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+{
+  "text": " I want to talk about another type of dynamics here that we can use on this character, which is for kind of a breast or chest jiggle, just another technique that we can use here. So instead of creating new muscles here for that, pack muscles, what we can also do is we can just use the existing joints that we already have. At the moment we haven't weighted anything to it, but we can do it in a moment, but let's set up the jiggle here first and you can see you don't always have to create the whole muscle and geometry and everything. You can also just let regular joints jiggle and let's come in here and create a curve first. It's a CV curve. Let's hide the mesh here for a moment. Let's create a linear curve here, so straight, just two points, one point on that one and another point on the other one. Then let's duplicate it and make it soft. So soft body, 100 dynamics. Create a soft body. out of the selected curve and let's say can make the duplicate and make the original soft make the non-soft to go great so if we come into the Outliner we have the one that has the dynamics under it so that's our dynamic curve it's called this M Dynamic Curve. And then this is the target that the dynamics are trying to hit. Let's call this Chest Target Curve. And on the Dynamic Curve, which is going to be bouncing, we want to add two locators. Let's create two locators. And so we want to attach them, so probably the best idea would be a motion path again. So let's select the dynamic curve and the first locator and create a motion path. Anem motion path, attach to motion path, and then we'll do the same thing, select curve again, the other locator, and let's create another motion path, anem motion path, attach to motion path. Here we can give it names. Actually, first let's, on the motion path, let's break the incoming connections on the u-value. And locator seven, we can set to one the motion path. So that is on one side of the curve, and the other one, also coming up break the connection. And then we'll set this to zero, as it is on the other side. And we can give those names. So that would be the right chest or breast locator. And then the other one would be the left chest locator. Okay. And now if we try creating an animation here, add some bouncing, jumping. Again, best way to see Jiggle is with abrupt movement. So let's just make two frames here maybe. And what we have to do is we have to take the target and parent it under the chest series that would probably be under the M spine 7. So let's bring this back. Let's take the target curve and parent it under m spine 7 here in this case. I said I will follow that. And now you can see this curve is dynamic, right? And the two locators are attached to their following. And what we can now do is we can now kind of link the the chest joints here to those locators, but we don't want to do that directly because otherwise they will kind of stretch and get longer. So we want to keep that length. So what we can do instead is we can create IK handles from the root to the end and then another one on the other side. And instead of connecting the joints now, we can parent the locators under the... parent the ICANNs under the locators. Let's bring this back to zero. Let's take this locator under this... this ICANN under that locator and this ICANN under that locator. I can also give it names. So, I don't know what would be left. I can handle. That would be right chest. Now if we play that, we should see those joints wiggle. Here we go. Now this is obviously very specific for a female character maybe if you want to add that, but this is just an example. So you could add that to all kinds of things again. if you have ears or you know maybe hanging pouches or a necklace or I don't know what. So if we create another animation here if we rotate it over like a few frames, maybe three frames, two frames. This is maybe too strong. If it is too strong, then we can always dial it down. But before we do that, let's skin those joints that a moment we can really see it on our skin actually we can it's already um... way that it seems like still probably too strong first of all let me delete those two keyframes and let me instead do the rotation on this one here He is elected. Probably waiting doesn't work too well here. So let's try to improve that a little. We can. Low res. That's what we are doing the waiting. So maybe all of that should be waited to this joint instead of the chest here. paint skin weights like this joint. Type in spine here. Find the right one. It should be this one. For some reason, paint select. You know, I want to paint on this one. Here we go. No, it's working. Let's paint all these. I assume it's this joint here. So let's maybe make this even 100%. If we play it, and this one is also too strong-weighted, that one's a natural B spine 5 I believe. This one here maybe spine 5 or spine 6 a little bit. This should not be weighted to the chest that's for sure. Let's play and see what we get now. Also here this one should probably be weighted to, I would say, spine seven. This one. Probably two. And then this one up here. down probably two. And then this one up here. Now we can come in here and tweak this a little bit. It is not so strong anymore. So we come to the Outliner and we come to the Particle. We can set the Gold Smoothness to 1. Let's try that and see what we get. Here we go. That's not so bouncy anymore. And then we can take down the Gold Weight down to 0.8. make it even more rigid or 1.5. Again, play with these two values that are influencing each other and see which settings we want. Just to add a little bit of life again, a little bit of jiggle and keep in mind that this is just an example very specific for this. But here we're not even using any muscles. We're just using it directly on the joints. We could have probably accomplished the same result or a similar result with adding that different muscle here to dead one as well. In terms of muscles, one other thing that I wanted to try here real quick is taking this muscle that has a very specific shape. Let's try to duplicate it. There was still a muscle from before. Let's duplicate special. That one. I know we can rename this prefixes with something else, but what I wanted to try here is remove this into position. I wanted to see if we can try to reshape that. Move it up there. Let's say this was a male character, or even if it's a female. With females, the chest or breast area is mainly fat, so it's not really the muscle. the muscle is more tucked in here underneath, like with a male and this is all kind of fat, a tissue I guess. And with the muscle what I wanted to try here with this new one I wanted to try to see if we can take the profiles and reshape them a little bit because if If we look at a pack muscle here real quick, pack, maybe, take a quick look how they're formed. So they're attached here and pretty getting thinner, small, and here they're quite large. Here they're also large. Let's try to reshape that. So profile C. I'll go into component mode. And I'll try to scale it up to make it up here bigger and then also the middle one, the profile for the mid. Also try to make that bigger here. You can see I'm only scaling it in one direction here at the moment. Let's hide that. Maybe I'll also try to scale it this way here as well. Let's say that was our muscle. And if we're coming into the clusters here, now if we stretch it, we can still see that same result with the squash and stretch that we were getting with the other muscle here before. And we can rotate this and do all kinds of things with that. What we can also try to do is, and I was reluctant to try it yesterday, but we can try to do it here, see what happens if we actually take that and translate the control where this is forward, to kind of like bend the muscle here by default already, should theoretically still work. Also, we can probably even take that one and go into component mode and make this a little bit thicker and try to rotate this. You know, maybe something like that. And let's see what happens if we now try to squash and stretch it. It still seems to be working well. Obviously it's scaling more in one direction here as opposed to in both, but perhaps this is actually something that we want. And we could then connect this one here. I could probably add a locator and parented locator to the shoulder. You know, maybe when this goes in, then this should compress here, right? And then bulge out. Let's see if we can do that. Create a new locator. We put it where this muscle starts. Maybe here. That's parent under the shoulder. There we go. That's rotating in and out, right? And now we can try to maybe constrain this locator. point constrain or parent constrain if we also want to get the rotation here from this one as well maybe. Let's see the difference let's do a point constrain first. Constrain point it's now when we're taking it it's getting thinner, because it's stretching and then when we're bulging in or rotating the shoulder inwards, also probably when we're taking the outer shoulder. So if we plant this back and we translate this, then you can see that muscle here moving, right? Getting compressed. Maybe this compression now is too much. Then obviously we want to dial it down. I guess this was the same issue that we had before where this was not connected for some reason anymore to turn this volume preservation off, but then we would dial it down. But it seems to be working okay, right? If this is going up, then we're getting a stretching and we can probably dial it down that it doesn't stretch so much. What I also wanted to try to do, even here, just with a point constraint, it probably already works quite well. Only that we only get stretching here, not really rotation. So Let's see what happens when we do a parent constrain instead. So I'll go in here and delete that point constrain, and now I'll do a parent constrain instead. Parent, then we should also see some rotation here happening as well. It's almost, pretty much, almost the same result. So not really anything different. And then obviously you could add that as a influence object again. Not really for chests, but more for like male characters, I guess. If you can see the packs, you could probably also do the same thing what we did here and just have less jiggle in there and just do it with a joint instead of with a muscle. And even without, you don't have to think about these things as muscle. You can just think of these as like volumes. So you could probably also add one of these volumes here on the butt, for example, to get a little bit of, even though there might not be necessarily a muscle, maybe there is, but I think this is also mainly fat area here, or tissue as opposed to muscle that would jiggle or bounce. So different techniques that we can use, either a joint that jiggles or some sort of surface that jiggles, like we did with this example here for these muscles. A lot of different possibilities here. And what we did with these surfaces here, we did use the curve to add the jiggle. So we made the curve dynamic. You remember and turned those into dynamics. What we could have also done is turned the object into dynamics as well. I mean, here we're using NURB surfaces, but for creating the loft between the three profiles, We could also do polys when we're creating the loft. You can also loft poly surface out of this, or a result can be a poly surface. It really doesn't matter. I personally like nerbs in these cases because they are smoother by default. So you're not getting the faceted outline, and you don't have to subdivide it like crazy. You're just getting smooth results. And the other thing that I wanted to mention here, so far we've only used three profiles on this surface, or is like muscle, muscle like control or influence object, one on the start one in the middle at 50% and one at the end. But you can also have as many profiles as you want. So you can really customize the shape of how these should look like. So for example, you can have a thin one and then a larger one, a thicker one and a thinner one again, then a larger one, a thinner one. Not that this necessarily makes sense here for like muscles or what we're calling muscles here, but for other types of controls or, you know, areas where you might wanna use that, if you, for example, want to do some sort of like a snake with this or a snail or I don't know what. just to give you some ideas what this could potentially be used for.",
+  "segments": [
+    {
+      "text": " I want to talk about another type of dynamics here that we can use on this character, which is for kind of a breast or chest jiggle, just another technique that we can use here. So instead of creating new muscles here for that, pack muscles, what we can also do is we can just use the existing joints that we already have. At the moment we haven't weighted anything to it, but we can do it in a moment, but let's set up the jiggle here first and you can see you don't always have to create the whole muscle and geometry and everything. You can also just let regular joints jiggle and let's come in here and create a curve first. It's a CV curve. Let's hide the mesh here for a moment. Let's create a linear curve here, so straight, just two points, one point on that one and another point on the other one. Then let's duplicate it and make it soft. So soft body, 100 dynamics. Create a soft body. out of the selected curve and let's say can make the duplicate and make the original soft make the non-soft to go great so if we come into the Outliner we have the one that has the dynamics under it so that's our dynamic curve it's called this M Dynamic Curve. And then this is the target that the dynamics are trying to hit. Let's call this Chest Target Curve. And on the Dynamic Curve, which is going to be bouncing, we want to add two locators. Let's create two locators. And so we want to attach them, so probably the best idea would be a motion path again. So let's select the dynamic curve and the first locator and create a motion path. Anem motion path, attach to motion path, and then we'll do the same thing, select curve again, the other locator, and let's create another motion path, anem motion path, attach to motion path. Here we can give it names. Actually, first let's, on the motion path, let's break the incoming connections on the u-value. And locator seven, we can set to one the motion path. So that is on one side of the curve, and the other one, also coming up break the connection. And then we'll set this to zero, as it is on the other side. And we can give those names. So that would be the right chest or breast locator. And then the other one would be the left chest locator. Okay. And now if we try creating an animation here, add some bouncing, jumping. Again, best way to see Jiggle is with abrupt movement. So let's just make two frames here maybe. And what we have to do is we have to take the target and parent it under the chest series that would probably be under the M spine 7. So let's bring this back. Let's take the target curve and parent it under m spine 7 here in this case. I said I will follow that. And now you can see this curve is dynamic, right? And the two locators are attached to their following. And what we can now do is we can now kind of link the the chest joints here to those locators, but we don't want to do that directly because otherwise they will kind of stretch and get longer. So we want to keep that length. So what we can do instead is we can create IK handles from the root to the end and then another one on the other side. And instead of connecting the joints now, we can parent the locators under the... parent the ICANNs under the locators. Let's bring this back to zero. Let's take this locator under this... this ICANN under that locator and this ICANN under that locator. I can also give it names. So, I don't know what would be left. I can handle. That would be right chest. Now if we play that, we should see those joints wiggle. Here we go. Now this is obviously very specific for a female character maybe if you want to add that, but this is just an example. So you could add that to all kinds of things again. if you have ears or you know maybe hanging pouches or a necklace or I don't know what. So if we create another animation here if we rotate it over like a few frames, maybe three frames, two frames. This is maybe too strong. If it is too strong, then we can always dial it down. But before we do that, let's skin those joints that a moment we can really see it on our skin actually we can it's already um... way that it seems like still probably too strong first of all let me delete those two keyframes and let me instead do the rotation on this one here He is elected. Probably waiting doesn't work too well here. So let's try to improve that a little. We can. Low res. That's what we are doing the waiting. So maybe all of that should be waited to this joint instead of the chest here. paint skin weights like this joint. Type in spine here. Find the right one. It should be this one. For some reason, paint select. You know, I want to paint on this one. Here we go. No, it's working. Let's paint all these. I assume it's this joint here. So let's maybe make this even 100%. If we play it, and this one is also too strong-weighted, that one's a natural B spine 5 I believe. This one here maybe spine 5 or spine 6 a little bit. This should not be weighted to the chest that's for sure. Let's play and see what we get now. Also here this one should probably be weighted to, I would say, spine seven. This one. Probably two. And then this one up here. down probably two. And then this one up here. Now we can come in here and tweak this a little bit. It is not so strong anymore. So we come to the Outliner and we come to the Particle. We can set the Gold Smoothness to 1. Let's try that and see what we get. Here we go. That's not so bouncy anymore. And then we can take down the Gold Weight down to 0.8. make it even more rigid or 1.5. Again, play with these two values that are influencing each other and see which settings we want. Just to add a little bit of life again, a little bit of jiggle and keep in mind that this is just an example very specific for this. But here we're not even using any muscles. We're just using it directly on the joints. We could have probably accomplished the same result or a similar result with adding that different muscle here to dead one as well. In terms of muscles, one other thing that I wanted to try here real quick is taking this muscle that has a very specific shape. Let's try to duplicate it. There was still a muscle from before. Let's duplicate special. That one. I know we can rename this prefixes with something else, but what I wanted to try here is remove this into position. I wanted to see if we can try to reshape that. Move it up there. Let's say this was a male character, or even if it's a female. With females, the chest or breast area is mainly fat, so it's not really the muscle. the muscle is more tucked in here underneath, like with a male and this is all kind of fat, a tissue I guess. And with the muscle what I wanted to try here with this new one I wanted to try to see if we can take the profiles and reshape them a little bit because if If we look at a pack muscle here real quick, pack, maybe, take a quick look how they're formed. So they're attached here and pretty getting thinner, small, and here they're quite large. Here they're also large. Let's try to reshape that. So profile C. I'll go into component mode. And I'll try to scale it up to make it up here bigger and then also the middle one, the profile for the mid. Also try to make that bigger here. You can see I'm only scaling it in one direction here at the moment. Let's hide that. Maybe I'll also try to scale it this way here as well. Let's say that was our muscle. And if we're coming into the clusters here, now if we stretch it, we can still see that same result with the squash and stretch that we were getting with the other muscle here before. And we can rotate this and do all kinds of things with that. What we can also try to do is, and I was reluctant to try it yesterday, but we can try to do it here, see what happens if we actually take that and translate the control where this is forward, to kind of like bend the muscle here by default already, should theoretically still work. Also, we can probably even take that one and go into component mode and make this a little bit thicker and try to rotate this. You know, maybe something like that. And let's see what happens if we now try to squash and stretch it. It still seems to be working well. Obviously it's scaling more in one direction here as opposed to in both, but perhaps this is actually something that we want. And we could then connect this one here. I could probably add a locator and parented locator to the shoulder. You know, maybe when this goes in, then this should compress here, right? And then bulge out. Let's see if we can do that. Create a new locator. We put it where this muscle starts. Maybe here. That's parent under the shoulder. There we go. That's rotating in and out, right? And now we can try to maybe constrain this locator. point constrain or parent constrain if we also want to get the rotation here from this one as well maybe. Let's see the difference let's do a point constrain first. Constrain point it's now when we're taking it it's getting thinner, because it's stretching and then when we're bulging in or rotating the shoulder inwards, also probably when we're taking the outer shoulder. So if we plant this back and we translate this, then you can see that muscle here moving, right? Getting compressed. Maybe this compression now is too much. Then obviously we want to dial it down. I guess this was the same issue that we had before where this was not connected for some reason anymore to turn this volume preservation off, but then we would dial it down. But it seems to be working okay, right? If this is going up, then we're getting a stretching and we can probably dial it down that it doesn't stretch so much. What I also wanted to try to do, even here, just with a point constraint, it probably already works quite well. Only that we only get stretching here, not really rotation. So Let's see what happens when we do a parent constrain instead. So I'll go in here and delete that point constrain, and now I'll do a parent constrain instead. Parent, then we should also see some rotation here happening as well. It's almost, pretty much, almost the same result. So not really anything different. And then obviously you could add that as a influence object again. Not really for chests, but more for like male characters, I guess. If you can see the packs, you could probably also do the same thing what we did here and just have less jiggle in there and just do it with a joint instead of with a muscle. And even without, you don't have to think about these things as muscle. You can just think of these as like volumes. So you could probably also add one of these volumes here on the butt, for example, to get a little bit of, even though there might not be necessarily a muscle, maybe there is, but I think this is also mainly fat area here, or tissue as opposed to muscle that would jiggle or bounce. So different techniques that we can use, either a joint that jiggles or some sort of surface that jiggles, like we did with this example here for these muscles. A lot of different possibilities here. And what we did with these surfaces here, we did use the curve to add the jiggle. So we made the curve dynamic. You remember and turned those into dynamics. What we could have also done is turned the object into dynamics as well. I mean, here we're using NURB surfaces, but for creating the loft between the three profiles, We could also do polys when we're creating the loft. You can also loft poly surface out of this, or a result can be a poly surface. It really doesn't matter. I personally like nerbs in these cases because they are smoother by default. So you're not getting the faceted outline, and you don't have to subdivide it like crazy. You're just getting smooth results. And the other thing that I wanted to mention here, so far we've only used three profiles on this surface, or is like muscle, muscle like control or influence object, one on the start one in the middle at 50% and one at the end. But you can also have as many profiles as you want. So you can really customize the shape of how these should look like. So for example, you can have a thin one and then a larger one, a thicker one and a thinner one again, then a larger one, a thinner one. Not that this necessarily makes sense here for like muscles or what we're calling muscles here, but for other types of controls or, you know, areas where you might wanna use that, if you, for example, want to do some sort of like a snake with this or a snail or I don't know what. just to give you some ideas what this could potentially be used for."
+    }
+  ]
+}