Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 06 skin weights painting pt3_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 06 skin weights painting pt3_frames_transcription.json

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+{
+  "text": " One thing that I wanted to show you here with the replace or smoothing is shortcuts that you can use. I mean we already talked about the B shortcut for resizing this interactively. The other thing that I wanted to show you if we brush over this here, obviously now we have an animation on, but if we brush over this without animation. Here we are painting with our soft falloff. Let's paint the other one here with the harsh falloff, or no falloff for the matter. If we are painting, replace a value of 1 and we brush over it. If we hit the shift, or sorry, the control key, it's going to give us the reverse. So now we are replacing with a value of 0. I told you guys before that replacing with a value of 0 is probably not a good idea because it's just going to put the weight somewhere else and we don't have exact control over where these weights are going. It doesn't mean that they're going back to the spine where we want them to, unless we actually explicitly paint them to the spine by adding them to the spine. Just removing weights or painting with zero will put them somewhere. So we don't have exact control over that. So that is a problem. So I wouldn't probably recommend too much unless you really only have two joints in your skin cluster, you know, like for example, for head and jaw. Then I think it might work, but in all other cases, I wouldn't replace with a value of zero. But I just wanted to show you that shortcut control on the Mac and I think probably on Windows 2 that we can basically whatever value we have here if we paint and then we hit control then it will paint with the opposite so 0.81 the opposite would be 0.19 I guess and so on and so forth the 75 percent 25 percent that kind of thing the other thing that I wanted to show you here is the smoothing there is also shortcut which just shift, if you press shift then it will smooth. So you can even see at a moment I have this R standing there which means for replace, if I hold down shift it will go into smooth mode. So you don't always have to like you know change these settings here, you can just be on replace or even add and then hold down shift and smooth. So the great thing about that is let me undo here a couple of times because I don't want to change my weight in here too much or break it. So for example what you can do is you can paint with a value of Or you can add a value of 0.1 and with a smaller brush perhaps. And then we can smooth. So what I mean by that is we can paint. Let's go back to a non-pose. We can paint and paint again and paint again and paint again. So paint a couple of times and then we can hold down shift to smooth it out. Then we can paint or add again. Then we can smooth it out. We can add again. We can smooth it out just by holding down shift. Okay. We can see I'm adding more weights here. And then this is probably not very smooth. So then I just hold down Shift key for smoothing. And then we can smooth that area out here. Maybe also, let's show this again with color ramp off. So I'm coming in here, I'm painting a couple of weights. And then I hold down Shift to smooth out the weighting, this rounding area. And then I come in here and I paint again. And I'm adding weights, 0.1 weights. and then I come in Shift and smooth out the area. OK, or the fall off. And you can also see that was the kind of the issue that I was talking about before with smoothing. Where you use the Smooth button here, or you hold down Shift with smoothing, it will smooth out everything. So it will also smooth out the area that you might want to keep at one here. But by brushing over it, it will also smooth out that area. Not only the area that you want added, it will kind of just average everything out. So that's what I meant with you don't have exact control over where the smoothing will occur. So now I think I messed up my waiting here probably. I'm not sure if I have enough undoes with all the stuff that I just did. But the other hand, we have it saved, so we can always come back. And I don't have enough undoes. Let's open that last scene here. Quickly wanted to check if there is anything else outstanding with weights painting. But I think we covered quite a bit. Here, if we rotate this down, maybe this area could be improved a little bit for the arm. So let's see if we can do that. And then we should probably also test our forward and back. It's very important that you test really everything, okay, how it behaves. So like the shoulder blade, are we happy with how it behaves when we're moving back and forth? Probably not so much. I think there is an issue with that area down here that we can probably improve a little bit on, but let's first look at the arm. So let's keyframe that here. Let's actually go down at frame 24. Extreme pose again as extreme as possible, and then another extreme pose for up. So we probably don't go up 90 degrees, but just to be safe. So I'm having an issue here with this area under the armpit, especially when it comes out so we can probably improve that a little. We want to do something similar what we tried to do for the legs, so let's come in and choose our right arm star. And all this area here should probably be 100% weighted to the arm. So I'm going to go to this here. Again, sometimes I like the color, sometimes I don't, so I'll switch that around probably a bit. I can paint all this too. Let's replace it with a value of 1, then we don't have to paint so much. That here as well. I can actually probably paint the elbow here as well, because we know that we have to remove 0.5 from it anyway later on, and then we have one for our mid. Okay, on this area here. Alright. Okay, I'm going to select and select our loop in the middle here. Again, it makes it very easy. I'm going to go back to paint. And that should be weighted 50% to the lower arm now. So we'll replace it with a value of 0.5 and use flood. And then that should be 50% between those two joints. Okay, and let's check out the upper arm here. here. So this area should probably be weighted 50% or maybe even that one should be 50% between the arm and the shoulder so that anyone next in could be 100% to the arm. So let's replace it with a value of 1. And let's replace the next one in also with a value of 1 and And then we can paint this more towards the shoulder than the second step. And then let's go to our shoulder joint. So shoulder root, not the blade, but the regular one. So that one should be 100% to the shoulder. I really only interested at this point in the transition, so we don't want to change that anymore, because we already weighted the shoulder, but that transition between shoulder and arm. And now we know that the next one in is already weighted to the arm. So that one is arm, that one should be shoulder. And it is shoulder, so that one should be 50% to the shoulder. So let's go replace 0.5 value shoulder. Let's paint this 50%. And again, by adding 50% to the shoulder, we're essentially removing 50% now from the arm. So if we switch back to the arm, that should be yellow too. And it is. All this area here is also influenced by the arm, which probably shouldn't. So that should probably be more shoulder or spine. Let's try to paint this to the shoulder here too. Shoulder root undo. Let's see what we want to paint all this area up there. Let's replace it with one. Something like that, perhaps. And then there was also an issue with the area down here, I believe. Arm. So this could maybe be weighted to the spine instead. Let's find a closer spine joint. would probably be, let's turn the geo off for a sec here, or go into wireframe, ghosting mode actually we can't. So here we have the last spine join, so that would be spine 9, that would be spine 8, and that would be spine 7, so 8 or 7 I think, probably 7 if it's here, it's the closest spine joint, spine seven. Let's paint this towards spine seven then. And spine seven. Okay, perhaps something like that. That one here is partially spine eight maybe. And partially 8 maybe. And partially I guess the shoulder collar bone. And partially the chest probably 9, 8, 7. So this one would be 7, this one would probably be 8. Let's see what we get now. Okay, a little bit better. I don't like that this one here is so stiff. So let's paint this a little bit more towards the arm root. So select the whole loop here and I now add to the arm, right arm. A value of 0.1 perhaps, and add, and flood. Now we can see now it's moving a little bit or rotating a little bit with the arm, but not too much. Most of it is still coming from the shoulder, but we can do kind of the same thing for that next arm joint that it goes a little bit more towards the shoulder. Actually, maybe let's try one more and see what we get here. That is still okay. It's moving a little bit too much now, so I'm going to use undo command set, control set here. Instead, I'm going to try to go for the next one down here and move it a little bit more towards the shoulder. Let's go into select. Actually, let's select the shoulder here first. Shoulder root. area here. So let's go to Select, connect the whole loop if we can. Here it's a little bit tricky because I have these five-sided polygons and all that stuff. So we might have to select it manually. If it selects the joints, we can turn joint selection off temporarily from up here. Then we can select all the points and then we can come back to the last used tool, the Waste Painting tool, going back to Paint, and then setting those to follow the shoulder root a little bit. So adding a value of 0.1 again maybe. So that might be okay. And keep in mind that we're probably not going to rotate the arm down 100% or 90 degrees rather without animating the shoulder too. So probably the arm goes down so much and the rest of it will actually be shoulder movement. Something like this perhaps. And here with the shoulder we can also see that there are now some issues that have occurred. So probably we have to fix that up a little bit. probably a good idea to use to create an animation for that again. I'll try to fix it as it is, so just painting these a little bit more towards the shoulder now that they kind of go up with the shoulder. Actually, this should be quite a bit with the shoulder. And then that one here also. That one here probably also. Before it was, I think that area was weighted to the arm, which was wrong, but the shoulder can follow, or the shoulder blade if it's back here on the back, and maybe a little bit more on the bottom. And having that animation always will help us. Then we can just grab here, we have to kind of like leave the tool, animate it, see how it looks, maybe fix up some more. So for example here we can see probably if we go in a really extreme pose I think this The skin here should pull a little bit more. Maybe also that skin down here, what's going on there. We have some movement from the shoulder where it shouldn't. So that area should probably be more weighted towards the closest spine joint. Might be waited to arm at the moment. I see this one here should probably be weighted more towards the shoulder or shoulder blade even. It's a shoulder. That one here, shoulder also. That one here maybe also a little bit. blade, we have that already. Maybe that could go more to the shoulder blade. That one here a bit too. I think that's probably not too bad, especially if we put on smooth preview. It's getting there anyway. So you can also see here with weights painting, you know, you can spend a lot of time because it's quite artistic. It's not really, you know, like anything else in rigging where you just, you know, say, okay, I'm going to connect it and either it works connected and either it works or it doesn't work. With weight-spending it's a lot going back and forth and finding the areas that work and that needs improvement. And definitely testing a lot. Testing back and forth. So I think this looks a little bit better now here. Still not too happy with this area down here. I could probably follow a little bit more with the shoulder blade. So let's paint those, let's add some values here or some weights that it goes again trying to get these smooth lines here to maintain a little bit better. That one could maybe go more towards the spine. Let's see what we get now. I could probably still be improved a little bit, but we can see getting something halfway decent. Turn the joints off for our shoulder blade here. Up. Looks kind of okay. Down also somewhat works. Could probably go down a little bit more here perhaps. And then forward and backwards. Also not too bad. Let's see what we get if we mirror the weights here over. Skin mirror skin weights. And then let's try this again. And let's see what we get if we use both the shoulders and bring them backwards now. It's not too bad. We have to have one still in IK. Switch this over. Again, I can't stress enough how important it is to test, you know, test all different poses, either with an animation or just, you know, wiggling the controls, wiggling both sides, seeing, you know, what works, what doesn't work. So this area here probably doesn't work too well yet. If the shoulders are coming down a lot, it depends, like, how far do we want to be able to pull the shoulders down. So perhaps this area should be weighted a little bit more towards the shoulders as opposed to the shoulder blades. Let's go back, shoulder, on the right side, right underscore, shoulder. So that brings them in a bit more. But also we have to be aware that when we're going up, it brings them out. We shouldn't be overdoing it. something like that. The down looks a little bit better now. Send those out to shoulders and in our arms. Shoulders could come up a little bit more. Okay.",
+  "segments": [
+    {
+      "text": " One thing that I wanted to show you here with the replace or smoothing is shortcuts that you can use. I mean we already talked about the B shortcut for resizing this interactively. The other thing that I wanted to show you if we brush over this here, obviously now we have an animation on, but if we brush over this without animation. Here we are painting with our soft falloff. Let's paint the other one here with the harsh falloff, or no falloff for the matter. If we are painting, replace a value of 1 and we brush over it. If we hit the shift, or sorry, the control key, it's going to give us the reverse. So now we are replacing with a value of 0. I told you guys before that replacing with a value of 0 is probably not a good idea because it's just going to put the weight somewhere else and we don't have exact control over where these weights are going. It doesn't mean that they're going back to the spine where we want them to, unless we actually explicitly paint them to the spine by adding them to the spine. Just removing weights or painting with zero will put them somewhere. So we don't have exact control over that. So that is a problem. So I wouldn't probably recommend too much unless you really only have two joints in your skin cluster, you know, like for example, for head and jaw. Then I think it might work, but in all other cases, I wouldn't replace with a value of zero. But I just wanted to show you that shortcut control on the Mac and I think probably on Windows 2 that we can basically whatever value we have here if we paint and then we hit control then it will paint with the opposite so 0.81 the opposite would be 0.19 I guess and so on and so forth the 75 percent 25 percent that kind of thing the other thing that I wanted to show you here is the smoothing there is also shortcut which just shift, if you press shift then it will smooth. So you can even see at a moment I have this R standing there which means for replace, if I hold down shift it will go into smooth mode. So you don't always have to like you know change these settings here, you can just be on replace or even add and then hold down shift and smooth. So the great thing about that is let me undo here a couple of times because I don't want to change my weight in here too much or break it. So for example what you can do is you can paint with a value of Or you can add a value of 0.1 and with a smaller brush perhaps. And then we can smooth. So what I mean by that is we can paint. Let's go back to a non-pose. We can paint and paint again and paint again and paint again. So paint a couple of times and then we can hold down shift to smooth it out. Then we can paint or add again. Then we can smooth it out. We can add again. We can smooth it out just by holding down shift. Okay. We can see I'm adding more weights here. And then this is probably not very smooth. So then I just hold down Shift key for smoothing. And then we can smooth that area out here. Maybe also, let's show this again with color ramp off. So I'm coming in here, I'm painting a couple of weights. And then I hold down Shift to smooth out the weighting, this rounding area. And then I come in here and I paint again. And I'm adding weights, 0.1 weights. and then I come in Shift and smooth out the area. OK, or the fall off. And you can also see that was the kind of the issue that I was talking about before with smoothing. Where you use the Smooth button here, or you hold down Shift with smoothing, it will smooth out everything. So it will also smooth out the area that you might want to keep at one here. But by brushing over it, it will also smooth out that area. Not only the area that you want added, it will kind of just average everything out. So that's what I meant with you don't have exact control over where the smoothing will occur. So now I think I messed up my waiting here probably. I'm not sure if I have enough undoes with all the stuff that I just did. But the other hand, we have it saved, so we can always come back. And I don't have enough undoes. Let's open that last scene here. Quickly wanted to check if there is anything else outstanding with weights painting. But I think we covered quite a bit. Here, if we rotate this down, maybe this area could be improved a little bit for the arm. So let's see if we can do that. And then we should probably also test our forward and back. It's very important that you test really everything, okay, how it behaves. So like the shoulder blade, are we happy with how it behaves when we're moving back and forth? Probably not so much. I think there is an issue with that area down here that we can probably improve a little bit on, but let's first look at the arm. So let's keyframe that here. Let's actually go down at frame 24. Extreme pose again as extreme as possible, and then another extreme pose for up. So we probably don't go up 90 degrees, but just to be safe. So I'm having an issue here with this area under the armpit, especially when it comes out so we can probably improve that a little. We want to do something similar what we tried to do for the legs, so let's come in and choose our right arm star. And all this area here should probably be 100% weighted to the arm. So I'm going to go to this here. Again, sometimes I like the color, sometimes I don't, so I'll switch that around probably a bit. I can paint all this too. Let's replace it with a value of 1, then we don't have to paint so much. That here as well. I can actually probably paint the elbow here as well, because we know that we have to remove 0.5 from it anyway later on, and then we have one for our mid. Okay, on this area here. Alright. Okay, I'm going to select and select our loop in the middle here. Again, it makes it very easy. I'm going to go back to paint. And that should be weighted 50% to the lower arm now. So we'll replace it with a value of 0.5 and use flood. And then that should be 50% between those two joints. Okay, and let's check out the upper arm here. here. So this area should probably be weighted 50% or maybe even that one should be 50% between the arm and the shoulder so that anyone next in could be 100% to the arm. So let's replace it with a value of 1. And let's replace the next one in also with a value of 1 and And then we can paint this more towards the shoulder than the second step. And then let's go to our shoulder joint. So shoulder root, not the blade, but the regular one. So that one should be 100% to the shoulder. I really only interested at this point in the transition, so we don't want to change that anymore, because we already weighted the shoulder, but that transition between shoulder and arm. And now we know that the next one in is already weighted to the arm. So that one is arm, that one should be shoulder. And it is shoulder, so that one should be 50% to the shoulder. So let's go replace 0.5 value shoulder. Let's paint this 50%. And again, by adding 50% to the shoulder, we're essentially removing 50% now from the arm. So if we switch back to the arm, that should be yellow too. And it is. All this area here is also influenced by the arm, which probably shouldn't. So that should probably be more shoulder or spine. Let's try to paint this to the shoulder here too. Shoulder root undo. Let's see what we want to paint all this area up there. Let's replace it with one. Something like that, perhaps. And then there was also an issue with the area down here, I believe. Arm. So this could maybe be weighted to the spine instead. Let's find a closer spine joint. would probably be, let's turn the geo off for a sec here, or go into wireframe, ghosting mode actually we can't. So here we have the last spine join, so that would be spine 9, that would be spine 8, and that would be spine 7, so 8 or 7 I think, probably 7 if it's here, it's the closest spine joint, spine seven. Let's paint this towards spine seven then. And spine seven. Okay, perhaps something like that. That one here is partially spine eight maybe. And partially 8 maybe. And partially I guess the shoulder collar bone. And partially the chest probably 9, 8, 7. So this one would be 7, this one would probably be 8. Let's see what we get now. Okay, a little bit better. I don't like that this one here is so stiff. So let's paint this a little bit more towards the arm root. So select the whole loop here and I now add to the arm, right arm. A value of 0.1 perhaps, and add, and flood. Now we can see now it's moving a little bit or rotating a little bit with the arm, but not too much. Most of it is still coming from the shoulder, but we can do kind of the same thing for that next arm joint that it goes a little bit more towards the shoulder. Actually, maybe let's try one more and see what we get here. That is still okay. It's moving a little bit too much now, so I'm going to use undo command set, control set here. Instead, I'm going to try to go for the next one down here and move it a little bit more towards the shoulder. Let's go into select. Actually, let's select the shoulder here first. Shoulder root. area here. So let's go to Select, connect the whole loop if we can. Here it's a little bit tricky because I have these five-sided polygons and all that stuff. So we might have to select it manually. If it selects the joints, we can turn joint selection off temporarily from up here. Then we can select all the points and then we can come back to the last used tool, the Waste Painting tool, going back to Paint, and then setting those to follow the shoulder root a little bit. So adding a value of 0.1 again maybe. So that might be okay. And keep in mind that we're probably not going to rotate the arm down 100% or 90 degrees rather without animating the shoulder too. So probably the arm goes down so much and the rest of it will actually be shoulder movement. Something like this perhaps. And here with the shoulder we can also see that there are now some issues that have occurred. So probably we have to fix that up a little bit. probably a good idea to use to create an animation for that again. I'll try to fix it as it is, so just painting these a little bit more towards the shoulder now that they kind of go up with the shoulder. Actually, this should be quite a bit with the shoulder. And then that one here also. That one here probably also. Before it was, I think that area was weighted to the arm, which was wrong, but the shoulder can follow, or the shoulder blade if it's back here on the back, and maybe a little bit more on the bottom. And having that animation always will help us. Then we can just grab here, we have to kind of like leave the tool, animate it, see how it looks, maybe fix up some more. So for example here we can see probably if we go in a really extreme pose I think this The skin here should pull a little bit more. Maybe also that skin down here, what's going on there. We have some movement from the shoulder where it shouldn't. So that area should probably be more weighted towards the closest spine joint. Might be waited to arm at the moment. I see this one here should probably be weighted more towards the shoulder or shoulder blade even. It's a shoulder. That one here, shoulder also. That one here maybe also a little bit. blade, we have that already. Maybe that could go more to the shoulder blade. That one here a bit too. I think that's probably not too bad, especially if we put on smooth preview. It's getting there anyway. So you can also see here with weights painting, you know, you can spend a lot of time because it's quite artistic. It's not really, you know, like anything else in rigging where you just, you know, say, okay, I'm going to connect it and either it works connected and either it works or it doesn't work. With weight-spending it's a lot going back and forth and finding the areas that work and that needs improvement. And definitely testing a lot. Testing back and forth. So I think this looks a little bit better now here. Still not too happy with this area down here. I could probably follow a little bit more with the shoulder blade. So let's paint those, let's add some values here or some weights that it goes again trying to get these smooth lines here to maintain a little bit better. That one could maybe go more towards the spine. Let's see what we get now. I could probably still be improved a little bit, but we can see getting something halfway decent. Turn the joints off for our shoulder blade here. Up. Looks kind of okay. Down also somewhat works. Could probably go down a little bit more here perhaps. And then forward and backwards. Also not too bad. Let's see what we get if we mirror the weights here over. Skin mirror skin weights. And then let's try this again. And let's see what we get if we use both the shoulders and bring them backwards now. It's not too bad. We have to have one still in IK. Switch this over. Again, I can't stress enough how important it is to test, you know, test all different poses, either with an animation or just, you know, wiggling the controls, wiggling both sides, seeing, you know, what works, what doesn't work. So this area here probably doesn't work too well yet. If the shoulders are coming down a lot, it depends, like, how far do we want to be able to pull the shoulders down. So perhaps this area should be weighted a little bit more towards the shoulders as opposed to the shoulder blades. Let's go back, shoulder, on the right side, right underscore, shoulder. So that brings them in a bit more. But also we have to be aware that when we're going up, it brings them out. We shouldn't be overdoing it. something like that. The down looks a little bit better now. Send those out to shoulders and in our arms. Shoulders could come up a little bit more. Okay."
+    }
+  ]
+}