Add transcription for: week03 03 connecting feet and legs.wav

transcriptions/week03 03 connecting feet and legs_transcription.json

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+  "text": " Okay, for connecting the feet to the legs, we can do something quite similar to what we just did for the arms, but the feet are a little bit special. Feet and legs are a little bit special in that we have a more complex setup on the foot at a moment, because we first, if we're moving the leg around, we want the foot to follow the leg. But at at the same time, if we move to foot, like ball roll or a toe roll or anything like that, we also want the leg to follow, right? Now the leg should follow the foot. So we have A is driving B and B is driving A. So it's a little bit of chicken and the egg problem. And we have to be a little bit careful here that we're not getting into double transformations. So let's start by setting it up kind of the same way. And I will talk about some of the challenges and how we can solve them and then we'll look at how we can, you know, drive A with B and B with A. So let's create these locators again that we were working with before. We need two of them. One here, we'll scale it up a little to five with the local scale and then we'll create another one to duplicate that and and in the Outliner we'll go in and rename those now. So we'll call the one here RLeg IK locator. The other one is TFK locator. And we want to group those two guys. And we wanna call this offset or I think we called it orient before. OK, Orient Group. And this one is going to be the R-Leg FK Orient Group. So we have those two. Then we want to go under the foot group and prepare it for the constraints. So we want to make sure that we have to pivot in the same location as these locators. So we will go into Pivot Mode. I will snap it to kind of the end of the leg here or the same position as these locators anyway. Now if we do our constraint, the thing that will not work here, what we did with the arms is I moved this away a little bit, now activate my blend. What will not work is that we will constrain the position of the foot to the end of the blended joint. kind of the specialty with the setup and that is because of these extra attributes where we also want the foot or the end of the leg to be driven with the foot. So what we have to do here instead, we have to point and orient constrain it to these locators. So if you remember on the arm, we point constrain the hand group only to one thing. once said, okay, I should always follow the blended arm, no matter what, or the end of the blended arm. But here, we wanted to be a little bit special. So we cannot use that technique here anymore. Okay, so instead, we will point and orient constrain it. We could potentially also use a parent constrain. I typically use orient and point constrain for those. But we will constrain it between those two locators instead, both of them, and then blend both of these constraints. So I'll do that real quick. So let's take the foot and D, which always bring back the rig here, back to the default just in case. So I'll select my IK, I'll select my FK, and then I will select my foot group, and I will do a point constrain. And now we have two weightings for the point constrain. And I'll also create an orient constrain, so we'll also get two weightings for the orient constraint as well. And now we can parent these orient groups to where they belong or we could also do it in a second step but let's do it now. So we'll take the FK orient group and parent it to the lower leg FK. Control or joint and I will take the IK orient group and parent under the the IK controller here. So now those should work properly and we can already see that the foot is kind of 50-50 following between those two because if we go under the foot open this up, we have our two constraints here and the constraints are weighted one and one, like they have the same weight so that will be kind of in between. But if we're now setting this to zero, we're setting this one also to zero, now we'll fully follow the FK, or it should anyway. If we set these two constraints the other way around, so 1 and 0, and 1 and 0. Now it will fully follow the IK locator. And now we can rotate this, and we can see that the foot stays aligned and in the correct position here and does not follow anything anymore. So now we can connect the constraints up. So we'll select both of these constraints and we have to do the same what we did with the arm constraints or hand constraints. So we will also select the control here, the constraints and the control, which has the the FK, IK attribute on it, then we'll go into the hyper shade, bring that in here. And then we'll connect, we'll have to see which one we need, so we can move this a little bit. So if it's an IK, we want this one to be on. So here we have that one zero. So that means we have to connect it to the second one here, right? It should be zero in that mode. So we can connect it directly from here into the second weight. And also for the other one, we can also connect it directly into the second weight. And then we'll use a reverse to go into the first one. So let's set this up. So let's connect the first directly into the second one, second weight here. and also for the other one. From fkik into the second one. So then we have the same that we had before, 1 0, 1 0 in that mode, and now if we're blending this over to 1, or rather 0, then it should be, I think now I made a mistake, made it exactly the wrong way around. Yep, I did. My bad. Should be the other way around. So instead of going into the first weight here, it needs to go into the first weight. And instead of going into the second weight, it needs to go into the first weight. So my bad. So let's take the FK, connect it into the first weight, and also for the other constraint, we can reload that here. It should also go into the first weight. I thought it should be like that. I just got confused here for a second. And now let's try to blend it to one. And we can see if it's one, then it follows that. And if it's zero, then it follows the other one. But we still have to, it kind of jumps as you saw. So we still have to set it up the other constraint here, the second one. So that has to go through a reverse node, exactly the same actually as we did for the arm and hand. So let's create another reverse node, a new one, and reverse that FKI attribute by connecting it into the input X. And then the output of that will now connect to the second weight. Wait one. And also into this one here. Wait one. Okay. Now if we try to blend, now it does follow the right thing. Okay. And if we're in FK, we can test it, making sure it's working. It's not doing the right thing. We can take these two FK controllers and rotate it and the leg will orient itself properly. whatever we're doing and so that's working and if we're blending it set this back to zero here for blending it now I'll follow that IK locator and when we're rotating I will also stay properly aligned here and not move or not rotate. So that's working and I'm going to reset everything back and take these two locators and hide them. Set the visibility to zero. Okay, so we have that part working. Now we have to work on when we move the ball roll, then we want the foot, or the leg to to follow that. So what we cannot do, we cannot just take this controller and move it up because you can see it lifts the whole foot so we're getting this double deformation, what we don't want because we already connected the other way around, right? Kind of the chicken and the egg problem that I mentioned earlier. So instead, we have to find something else. If we take this IKey controller itself, we could potentially constrain that, but then if we're constraining that to the end of the, or to the root of the foot that it goes with it, then we have to problem if we're constraining it, it will win over the hierarchies now, then if we're moving that, it will no longer move with the control, because it will just stick to that, to this foot here. So that also doesn't work. But one thing that does work, and I could show you now why that doesn't work, but you have to trust me that it doesn't work, because I don't want to confuse you. Okay, so instead what we want to do is we want to think about a completely different way, how we can make sure that that follows without using constraints here again. Another kind of idea of avoiding constraints. And the way that I found works quite well is if you're thinking about this, Let's set this back here to already moved it. Let's undo this. If we are rotating this up, ball roll, we essentially are rotating the joints around a newly created group that has its pivot here. If you remember, we created these three groups here above the joints, here roll, ball roll, and ball roll. They all have different pivots. And with the total, for example, we're rotating around this pivot. So now what about if we take this IK handle and we kind of do the same thing. Instead of point constraining it or making sure that the position kind of follows that correctly, instead of doing that, we can replicate the same way. So we just take this IK handle, we group it once, and then now this group will move the pivot here to the front, and then instead of, we just use the rotation, so we kind of rotate it exactly the same way. So then we get exactly kind of that position here ending up where we needed to end up without using any constraint that might overwrite hierarchies or anything that we've done already. So let's set that up. So basically what we will do is we will just recreate the same structure here, the same hierarchy structure, but for the IK that we did earlier for, the foot here. And then we'll connect this up and see if that will work for us. So let's set this back to zero and let's create two more groups here above that group and group. Now we'll change the names to kind of the same thing, but we have to keep in mind that we want to have unique names. So what I'll do is I'll just copy these names, but then append it with IK. Okay, heal role IK. Oops, made a mistake here with the underscore IK. And then tool role IK. IK. Oh, come on. IK. And then bar role IK. Here we go. And we'll set the pivots properly. So here role pivots, we'll go to the heal. Tool role pivots, we'll go to the toe. and ball roll per vitro go to the ball here, ball roll joint. And now what we will do is we will next set up or connect those rotations up. So from the heel roll, well, heel roll group will connect it to the heel roll IK group from the toe roll to the toe roll IK group and from the ball roll to the ball roll IK group. So that they're basically doing exactly the same thing as we're moving them around. So let's select those groups here, all three and those three, and let's bring them in to hyper shade, graph, add selected, and then we lay them out how we want to connect them. So here roll, power roll, and total roll, and total roll goes to the back, or to the bottom power roll, here roll IK. So here we have our IKs. that's what's going to be driven and those are the drivers. So let's connect the rotations up and what I'll do here is I'll connect all rotations. In theory at the moment we only need rotate X but I'll just connect all of them up while we're at it so that these groups are going to do exactly the same thing. And then I'll connect those two nodes together, the ball roll to ball roll IK, Okay, all the two rotations here. And this one as well. Rotate into rotate. Okay, here we go. And now if we test that, we now use our total attribute. For example, we can see that those two seemingly stay together. And it's only staying together because we are rotating the joints around this pivot group here, and at the same time, we're also taking these values here now that we get and pumping them directly into the total IK group as well. So that has the same pivot. So it's just rotating the IK around the same spot with a different group because they're are kind of separated from each other. And now, if we test this, we can also still use our IK because IK control because that's just moving everything. And so we can still move the leg around, which will take the foot with it. And we can animate the foot, which will take the leg with it. And I should also work with ball roll now, the does, and I should also work with heel roll, and the does. Okay. So now we kind of have everything working. by thinking about it a little bit differently, instead of thinking, okay, how can we make this end of the leg be attached or connected in terms of position? We are thinking about, okay, how can we make this kind of do the same thing as the foot is doing? Okay, so that should work. There are two little things, there are two little issues that we still have to solve. One issue is it works quite well if you are using ball roll or you're using a heel roll or anything like that. You will see that it also separates a little bit because we don't have stretch on the legs yet, but also this might not be necessarily a bad thing because once you're doing your skinning, it will actually appear as if it's stretching a little bit and that's really only if the leg is not or the foot rather is getting too too long here. So once we add stretch into the leg then that's not going to be a problem at all anymore. But that's not it what I wanted to show you guys. What I wanted to show you guys is if we are using our roles that by itself works. If we are using rotations that also works. But one thing that does not work is if we're using rotation and the rolls together. So now if we're using ball roll for example, you can see that those two joints here separate from each other. And the reason why this is happening is because it's actually quite simple. We have recreated those three groups down here, right? So we have heel roll, toe roll, ball roll, heel roll, toe roll, ball roll. So what we're doing now with rotating the foot, we have kind of an extra transform above it that we're rotating here. And we didn't think about that. So when we're rotating the total, for example, we're rotating total group, and when we're rotating the control itself, we're rotating this away, everything underneath there. And we're missing this extra foot control rotation from here. So we need another extra group to make up for that foot control rotation. So let's set this back to zero and create an extra group. So we'll come here to the hero role IK, grouped at one more time. So we have a fourth transform above it with an extra pivot and we can call this our foot IK group maybe. we want to stay in line. Probably isn't maybe not a good name here, but I might be better to call this, I don't know, leg IK foot or something like that. I'm not sure. Let's stick with this name here. I can't think of a better one right now from top of my head. But what's important here is that we will move the pivot to the same position that the foot control has. So that's up here where the foot starts and the leg ends. So we'll move that foot IK groups pivot to the same, using snapping. Here we go. And then we'll also connect the rotations from the foot control into the foot IK group here. So let's connect that up. Window, I appreciate. We'll add those two things in here. And now we connect the rotation from the foot control, those rotations into the foot IK group rotation. Okay, and let's see if that worked. Now if we use our total and then we rotate from there on, now we can see that now we fixed it. Now those two are staying together because whatever I put here in terms of rotations, also if I move up and down, you can see those two values are now going on to the R foot IK group here as well. So they're rotating the IK handle around the same position here again. So that's how we can fix this issue. There is one other small issue that I also want to point out in a full disclosure here. Because we used a point constraint between two different things, what you will notice is that if we move our IK in an extreme position and we move our FK leg into another extreme position, and now when we're blending between IK and FK, so when we're slowly animating this FK-IK attribute, what you will notice is that although the end position is correct and the beginning position is correct in between the foot is actually separating from the leg. The reason why it's doing that is obviously because the rotations of the leg are blending. So we will get an arc here with the leg as we blend, which is good, which is what we want. We want to get an arc as we're blending. But the position of the foot group is just a point constraint between a locator that sits here and a locator that sits here. So we'll just linearly blend the position and therefore it's separating. Now I think this is a caveat that's not too bad because first of all if these two are closer together the distance is not so big. Okay if we have for example something like this here, they're fairly close. And then we're blending. It's less noticeable, a lot less noticeable actually. It will still separate a little bit, but with the skinning and everything on you will probably not notice it or most people won't notice it. But what's also more important is that in big companies or also you can probably do it yourself if you know scripting, then you would most of the time write a snapping script anyway, so that when you are switching between IK and FK, then you would kind of animate the other leg exactly on top of the other one, okay? So that they match 100%. Can simulate it here a little bit, so that they match 100% up. Then you do the switching, right? You switch it over, and then you're in a different mode. And then from there onwards, now you can animate in the other mode. And then, so now we could animate in IK. And in IK, now we would match, when we want to switch back, we would match the FK to the IK. Then we can do the switching. And then we can continue animating in FK. So this is kind of like how it works in a lot of professional environments and companies you just, or the animators, they just have a script that they can run, which does that all for them so they don't have to do it manually. And then the distance here is basically zero as you're blending or as you're switching, so then it's also not a big problem. It's really only becomes apparent if you have a huge distance that you want to blend between. closer this distance is the better it will work. I'm probably going to show you in a separate video at one point how we can get around this issue too. I just want to keep this rig as clean and as simple as possible for starters, but there is a way how we can get around this by just creating yet another leg, kind of a fourth leg that helps us dealing with that issue. Let's look at that at a later point in a separate video.",
+  "segments": [
+    {
+      "text": " Okay, for connecting the feet to the legs, we can do something quite similar to what we just did for the arms, but the feet are a little bit special. Feet and legs are a little bit special in that we have a more complex setup on the foot at a moment, because we first, if we're moving the leg around, we want the foot to follow the leg. But at at the same time, if we move to foot, like ball roll or a toe roll or anything like that, we also want the leg to follow, right? Now the leg should follow the foot. So we have A is driving B and B is driving A. So it's a little bit of chicken and the egg problem. And we have to be a little bit careful here that we're not getting into double transformations. So let's start by setting it up kind of the same way. And I will talk about some of the challenges and how we can solve them and then we'll look at how we can, you know, drive A with B and B with A. So let's create these locators again that we were working with before. We need two of them. One here, we'll scale it up a little to five with the local scale and then we'll create another one to duplicate that and and in the Outliner we'll go in and rename those now. So we'll call the one here RLeg IK locator. The other one is TFK locator. And we want to group those two guys. And we wanna call this offset or I think we called it orient before. OK, Orient Group. And this one is going to be the R-Leg FK Orient Group. So we have those two. Then we want to go under the foot group and prepare it for the constraints. So we want to make sure that we have to pivot in the same location as these locators. So we will go into Pivot Mode. I will snap it to kind of the end of the leg here or the same position as these locators anyway. Now if we do our constraint, the thing that will not work here, what we did with the arms is I moved this away a little bit, now activate my blend. What will not work is that we will constrain the position of the foot to the end of the blended joint. kind of the specialty with the setup and that is because of these extra attributes where we also want the foot or the end of the leg to be driven with the foot. So what we have to do here instead, we have to point and orient constrain it to these locators. So if you remember on the arm, we point constrain the hand group only to one thing. once said, okay, I should always follow the blended arm, no matter what, or the end of the blended arm. But here, we wanted to be a little bit special. So we cannot use that technique here anymore. Okay, so instead, we will point and orient constrain it. We could potentially also use a parent constrain. I typically use orient and point constrain for those. But we will constrain it between those two locators instead, both of them, and then blend both of these constraints. So I'll do that real quick. So let's take the foot and D, which always bring back the rig here, back to the default just in case. So I'll select my IK, I'll select my FK, and then I will select my foot group, and I will do a point constrain. And now we have two weightings for the point constrain. And I'll also create an orient constrain, so we'll also get two weightings for the orient constraint as well. And now we can parent these orient groups to where they belong or we could also do it in a second step but let's do it now. So we'll take the FK orient group and parent it to the lower leg FK. Control or joint and I will take the IK orient group and parent under the the IK controller here. So now those should work properly and we can already see that the foot is kind of 50-50 following between those two because if we go under the foot open this up, we have our two constraints here and the constraints are weighted one and one, like they have the same weight so that will be kind of in between. But if we're now setting this to zero, we're setting this one also to zero, now we'll fully follow the FK, or it should anyway. If we set these two constraints the other way around, so 1 and 0, and 1 and 0. Now it will fully follow the IK locator. And now we can rotate this, and we can see that the foot stays aligned and in the correct position here and does not follow anything anymore. So now we can connect the constraints up. So we'll select both of these constraints and we have to do the same what we did with the arm constraints or hand constraints. So we will also select the control here, the constraints and the control, which has the the FK, IK attribute on it, then we'll go into the hyper shade, bring that in here. And then we'll connect, we'll have to see which one we need, so we can move this a little bit. So if it's an IK, we want this one to be on. So here we have that one zero. So that means we have to connect it to the second one here, right? It should be zero in that mode. So we can connect it directly from here into the second weight. And also for the other one, we can also connect it directly into the second weight. And then we'll use a reverse to go into the first one. So let's set this up. So let's connect the first directly into the second one, second weight here. and also for the other one. From fkik into the second one. So then we have the same that we had before, 1 0, 1 0 in that mode, and now if we're blending this over to 1, or rather 0, then it should be, I think now I made a mistake, made it exactly the wrong way around. Yep, I did. My bad. Should be the other way around. So instead of going into the first weight here, it needs to go into the first weight. And instead of going into the second weight, it needs to go into the first weight. So my bad. So let's take the FK, connect it into the first weight, and also for the other constraint, we can reload that here. It should also go into the first weight. I thought it should be like that. I just got confused here for a second. And now let's try to blend it to one. And we can see if it's one, then it follows that. And if it's zero, then it follows the other one. But we still have to, it kind of jumps as you saw. So we still have to set it up the other constraint here, the second one. So that has to go through a reverse node, exactly the same actually as we did for the arm and hand. So let's create another reverse node, a new one, and reverse that FKI attribute by connecting it into the input X. And then the output of that will now connect to the second weight. Wait one. And also into this one here. Wait one. Okay. Now if we try to blend, now it does follow the right thing. Okay. And if we're in FK, we can test it, making sure it's working. It's not doing the right thing. We can take these two FK controllers and rotate it and the leg will orient itself properly. whatever we're doing and so that's working and if we're blending it set this back to zero here for blending it now I'll follow that IK locator and when we're rotating I will also stay properly aligned here and not move or not rotate. So that's working and I'm going to reset everything back and take these two locators and hide them. Set the visibility to zero. Okay, so we have that part working. Now we have to work on when we move the ball roll, then we want the foot, or the leg to to follow that. So what we cannot do, we cannot just take this controller and move it up because you can see it lifts the whole foot so we're getting this double deformation, what we don't want because we already connected the other way around, right? Kind of the chicken and the egg problem that I mentioned earlier. So instead, we have to find something else. If we take this IKey controller itself, we could potentially constrain that, but then if we're constraining that to the end of the, or to the root of the foot that it goes with it, then we have to problem if we're constraining it, it will win over the hierarchies now, then if we're moving that, it will no longer move with the control, because it will just stick to that, to this foot here. So that also doesn't work. But one thing that does work, and I could show you now why that doesn't work, but you have to trust me that it doesn't work, because I don't want to confuse you. Okay, so instead what we want to do is we want to think about a completely different way, how we can make sure that that follows without using constraints here again. Another kind of idea of avoiding constraints. And the way that I found works quite well is if you're thinking about this, Let's set this back here to already moved it. Let's undo this. If we are rotating this up, ball roll, we essentially are rotating the joints around a newly created group that has its pivot here. If you remember, we created these three groups here above the joints, here roll, ball roll, and ball roll. They all have different pivots. And with the total, for example, we're rotating around this pivot. So now what about if we take this IK handle and we kind of do the same thing. Instead of point constraining it or making sure that the position kind of follows that correctly, instead of doing that, we can replicate the same way. So we just take this IK handle, we group it once, and then now this group will move the pivot here to the front, and then instead of, we just use the rotation, so we kind of rotate it exactly the same way. So then we get exactly kind of that position here ending up where we needed to end up without using any constraint that might overwrite hierarchies or anything that we've done already. So let's set that up. So basically what we will do is we will just recreate the same structure here, the same hierarchy structure, but for the IK that we did earlier for, the foot here. And then we'll connect this up and see if that will work for us. So let's set this back to zero and let's create two more groups here above that group and group. Now we'll change the names to kind of the same thing, but we have to keep in mind that we want to have unique names. So what I'll do is I'll just copy these names, but then append it with IK. Okay, heal role IK. Oops, made a mistake here with the underscore IK. And then tool role IK. IK. Oh, come on. IK. And then bar role IK. Here we go. And we'll set the pivots properly. So here role pivots, we'll go to the heal. Tool role pivots, we'll go to the toe. and ball roll per vitro go to the ball here, ball roll joint. And now what we will do is we will next set up or connect those rotations up. So from the heel roll, well, heel roll group will connect it to the heel roll IK group from the toe roll to the toe roll IK group and from the ball roll to the ball roll IK group. So that they're basically doing exactly the same thing as we're moving them around. So let's select those groups here, all three and those three, and let's bring them in to hyper shade, graph, add selected, and then we lay them out how we want to connect them. So here roll, power roll, and total roll, and total roll goes to the back, or to the bottom power roll, here roll IK. So here we have our IKs. that's what's going to be driven and those are the drivers. So let's connect the rotations up and what I'll do here is I'll connect all rotations. In theory at the moment we only need rotate X but I'll just connect all of them up while we're at it so that these groups are going to do exactly the same thing. And then I'll connect those two nodes together, the ball roll to ball roll IK, Okay, all the two rotations here. And this one as well. Rotate into rotate. Okay, here we go. And now if we test that, we now use our total attribute. For example, we can see that those two seemingly stay together. And it's only staying together because we are rotating the joints around this pivot group here, and at the same time, we're also taking these values here now that we get and pumping them directly into the total IK group as well. So that has the same pivot. So it's just rotating the IK around the same spot with a different group because they're are kind of separated from each other. And now, if we test this, we can also still use our IK because IK control because that's just moving everything. And so we can still move the leg around, which will take the foot with it. And we can animate the foot, which will take the leg with it. And I should also work with ball roll now, the does, and I should also work with heel roll, and the does. Okay. So now we kind of have everything working. by thinking about it a little bit differently, instead of thinking, okay, how can we make this end of the leg be attached or connected in terms of position? We are thinking about, okay, how can we make this kind of do the same thing as the foot is doing? Okay, so that should work. There are two little things, there are two little issues that we still have to solve. One issue is it works quite well if you are using ball roll or you're using a heel roll or anything like that. You will see that it also separates a little bit because we don't have stretch on the legs yet, but also this might not be necessarily a bad thing because once you're doing your skinning, it will actually appear as if it's stretching a little bit and that's really only if the leg is not or the foot rather is getting too too long here. So once we add stretch into the leg then that's not going to be a problem at all anymore. But that's not it what I wanted to show you guys. What I wanted to show you guys is if we are using our roles that by itself works. If we are using rotations that also works. But one thing that does not work is if we're using rotation and the rolls together. So now if we're using ball roll for example, you can see that those two joints here separate from each other. And the reason why this is happening is because it's actually quite simple. We have recreated those three groups down here, right? So we have heel roll, toe roll, ball roll, heel roll, toe roll, ball roll. So what we're doing now with rotating the foot, we have kind of an extra transform above it that we're rotating here. And we didn't think about that. So when we're rotating the total, for example, we're rotating total group, and when we're rotating the control itself, we're rotating this away, everything underneath there. And we're missing this extra foot control rotation from here. So we need another extra group to make up for that foot control rotation. So let's set this back to zero and create an extra group. So we'll come here to the hero role IK, grouped at one more time. So we have a fourth transform above it with an extra pivot and we can call this our foot IK group maybe. we want to stay in line. Probably isn't maybe not a good name here, but I might be better to call this, I don't know, leg IK foot or something like that. I'm not sure. Let's stick with this name here. I can't think of a better one right now from top of my head. But what's important here is that we will move the pivot to the same position that the foot control has. So that's up here where the foot starts and the leg ends. So we'll move that foot IK groups pivot to the same, using snapping. Here we go. And then we'll also connect the rotations from the foot control into the foot IK group here. So let's connect that up. Window, I appreciate. We'll add those two things in here. And now we connect the rotation from the foot control, those rotations into the foot IK group rotation. Okay, and let's see if that worked. Now if we use our total and then we rotate from there on, now we can see that now we fixed it. Now those two are staying together because whatever I put here in terms of rotations, also if I move up and down, you can see those two values are now going on to the R foot IK group here as well. So they're rotating the IK handle around the same position here again. So that's how we can fix this issue. There is one other small issue that I also want to point out in a full disclosure here. Because we used a point constraint between two different things, what you will notice is that if we move our IK in an extreme position and we move our FK leg into another extreme position, and now when we're blending between IK and FK, so when we're slowly animating this FK-IK attribute, what you will notice is that although the end position is correct and the beginning position is correct in between the foot is actually separating from the leg. The reason why it's doing that is obviously because the rotations of the leg are blending. So we will get an arc here with the leg as we blend, which is good, which is what we want. We want to get an arc as we're blending. But the position of the foot group is just a point constraint between a locator that sits here and a locator that sits here. So we'll just linearly blend the position and therefore it's separating. Now I think this is a caveat that's not too bad because first of all if these two are closer together the distance is not so big. Okay if we have for example something like this here, they're fairly close. And then we're blending. It's less noticeable, a lot less noticeable actually. It will still separate a little bit, but with the skinning and everything on you will probably not notice it or most people won't notice it. But what's also more important is that in big companies or also you can probably do it yourself if you know scripting, then you would most of the time write a snapping script anyway, so that when you are switching between IK and FK, then you would kind of animate the other leg exactly on top of the other one, okay? So that they match 100%. Can simulate it here a little bit, so that they match 100% up. Then you do the switching, right? You switch it over, and then you're in a different mode. And then from there onwards, now you can animate in the other mode. And then, so now we could animate in IK. And in IK, now we would match, when we want to switch back, we would match the FK to the IK. Then we can do the switching. And then we can continue animating in FK. So this is kind of like how it works in a lot of professional environments and companies you just, or the animators, they just have a script that they can run, which does that all for them so they don't have to do it manually. And then the distance here is basically zero as you're blending or as you're switching, so then it's also not a big problem. It's really only becomes apparent if you have a huge distance that you want to blend between. closer this distance is the better it will work. I'm probably going to show you in a separate video at one point how we can get around this issue too. I just want to keep this rig as clean and as simple as possible for starters, but there is a way how we can get around this by just creating yet another leg, kind of a fourth leg that helps us dealing with that issue. Let's look at that at a later point in a separate video."
+    }
+  ]
+}