Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part5_week07 03 one way of building a muscle pt1_frames.zip

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+  "text": " Okay, so now that we looked at some reference, we're back in Maya and now I want to show you how we can, or an example of how we can build a muscle or how I built the muscle that I showed you earlier in the first video. And you can probably also use, you know, muscle here in Maya, the muscle tool. I haven't used it myself much, but I've tried it, you know, a long time ago actually for pig when I was working in Germany and that's more company. But back then it was still C-Muscle, wasn't even built into Maya, it was its own plugin. But I don't want to show you that because I think that there are already tutorials and videos and everything out there online, you know, like how to use it and how to build that. So you can just go on YouTube and search for these videos. But instead what I want to do is I want to show you kind of like a different approach, building a muscle from scratch that we can then also use for other things. You know, like these techniques, they apply to other things as well, and you can mix and match just as an example of something that maybe you have used before, maybe you haven't thought about using, you know, the tools in such a way. So it will hopefully be interesting and maybe also useful for you guys. So I'm starting here from this scene where we left off last time. I didn't went in and did everything on the other side. So this character is kind of like halfway here. So the skin weighting is probably not working too well yet and so on and so forth. But I really want to focus on showing you that technique here with the muscle. So let's use that and hide everything. And I want to try to start again from a simple case. That's usually the best way or how I like to do things. Prototyping things on a standalone case as opposed to putting them right into the rig and we can see how we can add them to the rig or how we can add it to the rig later on. So the first thing that I'll do is I will create a curve here, so our base and it might take me a while so bear with me. So let's come here and use the CV curve tool. I'll choose a cubic here for creating soft curves. I'll create two points next to each other and another point in the middle and then again maybe three apart and then two points here. So we have two here, one in the middle and then two there. And then the next thing that I want to do is I want to deform this curve with, this going to be the base for my muscle or my object here. And the next thing that I want to do is I want to create two clusters to move these different areas. So we could also use joins for that. I usually prefer joins, but I want to try something else and use clusters in this case. So I'll create a cluster for these three points here. So I have to go to Create a Former Cluster, and I'll create also one for these three points. I want the middle one to have influence from both clusters. So Create Cluster. Now if we move those two clusters, we should see the curvy being moved up, but we can also see that the middle point here is being moved twice because again it is moved by both clusters. Now what we can do is we can come in here, select that middle point and go to general editors, component attribute editor, and go to weighted deformers. Here we can see what the influence is on both of these deformers, the weighting. So at the moment both have a weighting of one. If we change it to be 0.5, then we can see now it's staying. So that means that half of it is being weighted or is going to follow this deformer, this cluster, and half of it is following the other cluster. So that's probably better normalized. Let's set these clusters back to zero. The next thing that I want to do is I want to move those clusters or their pivots to the outside, because right now if we rotate this, we can see it's rotating kind of from where the cluster is, where the pivot is, but I want to rotate it from the outside. So I'll go into pivot mode and I will move the pivot grid snapping to the outside not for this cluster here as well. So now if we grab this cluster, we can see that it's actually rotating from the outside. Translation is still the same, obviously. Then let's take these three things that we have in a moment and group them together. And we can call this muscle group. And now if we move that muscle group, what we will see, that we're getting double deformations. So what we probably have to do here for the time being is we have to, because it's being moved by the group first, the curve, and then it's all being moved by the deformation of those clusters. So if we come under the curve and we turn on or turn off the inherent transform on the curve, inherits transform, then we can see now it is still moving in the middle, although we set the normalization on here to be 50-50. But the reason for that is because those clusters need to be set to relative. So if we come under the cluster 1, set this to relative, and we come under the cluster 2, and I think I made already mistake. So if we set those to relative, now we can see that it's not moving anymore. So now we turn the inherit transforms on a curve back on. Sorry, that's my bad. So now we have a way to move the whole muscle group and rotate it and scale it and all that stuff without getting any double deformations. So what we did is here the curve is as we had it before, but on the clusters we turned relative on, on both of them. So let's reset that group here back to the origin. Now the next thing that we want to do is we want to make a muscle out of that. So what we can do is we can create some circles here. So let's go to NURB Circle and rotate this 90 degrees. And I'll freeze that. Freeze transformations. I'll delete the history on it, too. And now I will take that circle and move it, duplicate it, and move it to the first cluster, or where the starting point is here. So that would be here. And then I'll duplicate it again and move it to the other side. And that would be probably here. There we go. Now we can scale those two outsides down a little bit. And let's give them names. So the first one would be let's call this profile A curve. then profile v, curve and profile c, c curve, a, b, c. And now the next thing that we want to do is we want to attach those profiles to that curve. So when we're moving the curves via the clusters for example, that these circles here follow. So the way how we can do that is for example via motion path. So let's try that here. So I'll select the curve, the profile and then I'll select my path here. Actually we can probably call this path, curve. So profile A, then the path, and then we'll go to animation menu, and then motion path, attach to motion path. So now we have our motion path, and then we'll do the same thing for the other one. So profile B, path, motion path, attach to motion path, and then C, same thing, and then motion path, attach to motion path. So now they're going to be all at the origin or well at the start point of that curve, but what we can do now is we can come in here into the motion path and delete the keyframe here. So just break that. This is similar to what we were doing before with the spine if you remember. And then we'll take this one and break it as well. And now we have to distribute them again. So we come into the profile B and we set the motion path to 0.5, the u value, 0.5 that is in the middle, and the C we will set to 1, that is at the end. We will get from time to time here, it seems that we get some cycle check errors here, cycle check warnings. For now let's ignore them and not worry about them too much. I think it should still work and be fine. So now that we have those attached, now we can move those clusters and we can see that the curves here are following that in the profiles. Now that we have that, we can take these profiles three of them in the order and we can create a loft out of them. So we go to surface, create loft, all the surface loft and here what we want to do is we have a couple of different options. These are my settings so I've set it to nerbs. I think it might even be the default here. So we'll try resetting it. Yep, so this is the default settings that we have and nerbs. We can also build it as polygons, it probably doesn't really matter too much. Let's make a NURB surface out of this for now. And let's rename these clusters. So let's call this maybe start or root cluster. And the other one, end cluster cluster. Cluster. So now if we move those, we should see our muscle or whatever it might be. In this case, we're building a muscle move, and we can also rotate it. And so at the moment, we're still missing the volume preservation, but we can do it in a very similar way how we did it for the spine. So since we have our curve in there, we can now create a curve measurement and say if the curve is getting longer, then we can scale that profile here up and down. Or actually, if it's getting shorter, we can scale it up. And if it's getting longer, then we can scale it down. So let's try that. I will bring in my path curve into the hypershape, for example, a node editor, whatever you're using. The path curve, actually, I need the shape of the path. So I'll bring that in here instead to the path, or is that the shape of the path. And then we could again use the arc length. I think that's what we did last time in Mell. We could type in arc length, then CH, with the curve selected. And that will basically create our curve info node and connect it to the curve. But instead, I want to do it manually just to show you guys what we can also do is we can create node curve info like that. And now we have our curve info node. At the moment, it's not hooked up, but we can just hook it up from the shape. We go into the curve info node, other, and then we can see our connection editor. And the things that you have to connect is the local. That is local. That's the output of the curve. And it goes into input curve of the curve info. Now that we have those two connected, now we can see here in our arc length, the length of this curve here is eight. And then we're building our ratio again so that we can say by default it will be 1, right? So ratio, actually we have to create a multiply and call it ratio. So let's call this ratio MDI. And let's connect the curve info into the ratio multiply divide node. And we go from arc length, that's the length of the curve, into our input 2Dx. And input 1x, we're going to set to the same value, 8. and we're going to set it to divide. So that means eight divided by eight is one. But if this is getting longer, so if the length is getting 16, for example, then eight divided by 16 is going to be 0.5, right? So half, is that correct? Yeah, I think so. That should work. So now we can connect this up into the scale of our middle profile. So we bring in the middle profile here, profile B. And at the moment the scaling here is 1, 1, 1, as you can see. So now we can connect that up from the ratio into our scale. And it would be scale Y and Z. So output X into scale Y and Z. Let's try grabbing one of those clusters here again. Now you can see it's getting thinner or thicker as we stretch it. So now let's add all these things into our muscle group, the profiles and the lofted surface. so that would be our muscle, muscle, GEO in this case. And now, if we're moving our muscle group, we will probably see double deformations again here happening quite a bit. So what we should do is we should set our profiles shouldn't move and our muscle GEO shouldn't move, because those are being, the profile curves are being moved by, because they're attached by a motion path to the path curve, so they're already getting moved. And then muscle is being moved because it's made from a loft. And we are keeping all this information, by the way. So the loft is still in there. So we're not deleting the history on that, because otherwise, obviously, it wouldn't move anymore. So we don't want to move all these guys. So what we can do is we can just group them. And we can call this group a built group, for example. And everything that's in that built group, the profiles, and the muscle geo itself, we don't want that to be moving. So we turn the inherit transforms off, and now if we're moving the muscle group, then we should be able to see that we can take the whole thing and rotate it and translate it and put it wherever we want. And then we can still take our clusters here and move them and get the result that we want here with squash and stretching. One thing to note, which I think I originally forgot in the video for this spine was that if we're trying to scale that, it probably won't really work. So you can see that the middle one here is not really scaling with it. So you'd have to probably do the same thing where you are, probably have to factor in the overall scale here and multiply that with the length of the curve. Okay, I think it's multiply or divide. I can't quite remember, but I guess you know what I mean. So if you want to, or if you're planning on scaling your whole character, for example, then you probably have to add the global scale in there. Multiply the length with that. So one more multiplier in here. For now, I'm not going to do that. So maybe later on I'll add that. But for now, let's keep it as it is now. But now that we have that, let's try to move it into position and set it up or connect to our biceps, for example, as one way. And then we also want to look at some additional controls, for example, that maybe we can turn the volume preservation on and off, similar to what we did with the spine. That would be pretty simple. But it may be also that we can amplify it. Actually, we can probably already do that here, set it up as we have it at the moment. So let's add a to our muscle to an attribute called volume press, volume preservation. And that's not set any limits for now, but let's make it a float. And the other thing that I want to do is here, I want to remap that. So at moment we have it kind of hard coded how much how much volume preservation we're getting but if we want to exaggerate that then we probably want to use it with the... let's see here... we want to factor that in so there are a couple of different ways how we can do that we can probably do that with a remap node We can maybe do it with a multiplier plus minus average node. I want to try to do it with a remap node. So what I'll do here is remap. I'll use a remap color this time, a remap value, because I want to probably control more than just one axis. Here we have two, so we can control them independently. I'll use a remap node and I'll remap the value from the remap coming out from the multiply divide node, so that would be one. So that output goes into, output x goes into our colors. So I'll just add them for g and b for the time being because we set for the scaling, we don't want to scale. I'm x here, so it doesn't make sense. I'll just use the other two, not the first one, but the other two, and then this would go into y and set for our scaling. So the output here goes into out color, g goes into scale. Oops, not x. Let's undo this into y and then b goes into set. Now that we've rerouted it through the remap value node, we can change these remap value settings. So let's set the minimum zero maximum to two. So this is going to be exactly the same as it was before, because now if we're exactly in the middle, the scale will be one. And if we are taking the root cluster here, let's bring that in here as well. So now as you can see it's behaving exactly the same way, but now what we can do is we can change on the remap, especially if we're adding the middle point here. Let's add a middle point at 0.5 and 0.5 and 1 for the green here as well. 0.5 and 0.5. So now if we're changing this value here, you can see that we can influence how much we want the scaling to occur in Y with the green one and how much we want to occur in set, I think it was with the blue one here, right? Can influence it independently. So for example, if we don't want any scaling, let's say in Y, when it's getting longer, then we can do it like this. So now if we're moving our cluster, you can see it's not getting any higher. When it's getting shorter, it's only getting thicker. And then the same thing is true, or actually when it's getting shorter, it's getting thinner, because for shorter, we still have where it's getting shorter, right? So here you can see now we can also change the influence of it when it's getting shorter. So that would be this area when it's getting longer than it would be. Sorry, the opposite way, when it's getting longer, it's this area here, whether we wanted to get thinner or not. And when it's getting shorter, here we can define how thick it should get. So let's move this in here again and play with that a little bit. What we can also do is we cannot only say, hey, we don't want it to get thicker. We can also say we wanted to get a lot wider than what we currently have. So we can also move it higher than just one. We can actually set this to two or to three or how big we wanted to be set. So you can see that there is no limit. It's the limit in terms of like the display because now it will be somewhere up here, but technically it will still work. So now we can see it's going to compress or you know, bulge out quite a lot when we're moving it in, but not in Y, only in X. And when it's stretching out it's still the same what we had before because of these middle points that we have. So the part where it's getting longer it's going to be exactly the same. We only change the part where it's getting compressed. So maybe this is a little bit extreme, but let's keep it for the time being, we might need it at extreme. But what I also want to add is I also want to add, you know what, maybe I want to have a little bit of compre- or bulging out here up there too. So let's add a little bit of that in here. But again, you can see how we can now independently influence the height and the width of that. And the other thing that I want to add here is a way to turn it off. So that's what we added our volume preservation attribute here for. So we can do this in a similar way how we did the spine, I believe. So we can just add a blend color node. That's probably easiest blend color. And we will add that between the ratio, which can change. And by default, it will be one if this is staying one. So eight divided by eight, it will say exactly the same that will be one, right? So if it if the length is being one, there won't be any volume preservation. So that means that we can connect the output into our blend color, for example, color one, output X into color one, R. And then for the color two, we will set it to one. So that means if the blender is on one side, if the blender is zero, then we will get one. And if the blender is one, then we will just get the hard coded value here in a way. I think it's actually the other way around, but it doesn't really matter. So from the blend color now we go into our two inputs for the color on the remap. So output R, we are only using that one that goes into the color G and B. So now we've rerouted everything through that blend color node. And if we now turn this Blender to zero, then you can see now we're not getting any volume preservation anymore. So as I move that, it stays exactly the same as before. If we turn the Blender to one, then we'll get a lot of volume preservation here, because we made it so strong with on the remap node. So looking at this now, it might be a little bit overkill what we did here, so we come and dial this down a little bit. little bit. So if we select this here and put it maybe instead of five, maybe let's put it to three or maybe to two. That might be plenty. That might actually look better here. And then for thinner we can maybe make it a little bit more extreme so we can actually see what's going on because we can always now dial it down. We can use the wall and preservation at 0.5 for example and control it that way. So let's exaggerate this here a little bit more and put this to not one but maybe minus one and here maybe for the green one also to minus one. And now we should be able to see, I think somewhere around here is zero, let's reset it. Okay here we can see now it's getting very very thin and then here it's getting thick. Probably we don't need the stretching part too much because remember what I said before with muscles, they can only kind of like compress, so they cannot really push. So I think the compressing part here will be a lot more important than the, you know, going in part. And plus the other thing is, if you're, you know, bulging your muscle, for example, your biceps, if this is getting shorter, you probably want muscle bulging. You want to see that, right, on your skin, but you don't want to see the skin getting sucked in when you're making your arms straight. So maybe this is probably too much, but we can always come in and tweak that later on if we have to. And again, think of this as not explicitly for muscles, you can use this for all kinds of things. I can't think of any other case here from the top of my head, but these techniques, and you don't have to use everything, you can maybe just use the motion path or connecting objects to occur or you can just use the loft for keeping that history in there just to give you some ideas in terms of setting up, you know, rigging things.",
+  "segments": [
+    {
+      "text": " Okay, so now that we looked at some reference, we're back in Maya and now I want to show you how we can, or an example of how we can build a muscle or how I built the muscle that I showed you earlier in the first video. And you can probably also use, you know, muscle here in Maya, the muscle tool. I haven't used it myself much, but I've tried it, you know, a long time ago actually for pig when I was working in Germany and that's more company. But back then it was still C-Muscle, wasn't even built into Maya, it was its own plugin. But I don't want to show you that because I think that there are already tutorials and videos and everything out there online, you know, like how to use it and how to build that. So you can just go on YouTube and search for these videos. But instead what I want to do is I want to show you kind of like a different approach, building a muscle from scratch that we can then also use for other things. You know, like these techniques, they apply to other things as well, and you can mix and match just as an example of something that maybe you have used before, maybe you haven't thought about using, you know, the tools in such a way. So it will hopefully be interesting and maybe also useful for you guys. So I'm starting here from this scene where we left off last time. I didn't went in and did everything on the other side. So this character is kind of like halfway here. So the skin weighting is probably not working too well yet and so on and so forth. But I really want to focus on showing you that technique here with the muscle. So let's use that and hide everything. And I want to try to start again from a simple case. That's usually the best way or how I like to do things. Prototyping things on a standalone case as opposed to putting them right into the rig and we can see how we can add them to the rig or how we can add it to the rig later on. So the first thing that I'll do is I will create a curve here, so our base and it might take me a while so bear with me. So let's come here and use the CV curve tool. I'll choose a cubic here for creating soft curves. I'll create two points next to each other and another point in the middle and then again maybe three apart and then two points here. So we have two here, one in the middle and then two there. And then the next thing that I want to do is I want to deform this curve with, this going to be the base for my muscle or my object here. And the next thing that I want to do is I want to create two clusters to move these different areas. So we could also use joins for that. I usually prefer joins, but I want to try something else and use clusters in this case. So I'll create a cluster for these three points here. So I have to go to Create a Former Cluster, and I'll create also one for these three points. I want the middle one to have influence from both clusters. So Create Cluster. Now if we move those two clusters, we should see the curvy being moved up, but we can also see that the middle point here is being moved twice because again it is moved by both clusters. Now what we can do is we can come in here, select that middle point and go to general editors, component attribute editor, and go to weighted deformers. Here we can see what the influence is on both of these deformers, the weighting. So at the moment both have a weighting of one. If we change it to be 0.5, then we can see now it's staying. So that means that half of it is being weighted or is going to follow this deformer, this cluster, and half of it is following the other cluster. So that's probably better normalized. Let's set these clusters back to zero. The next thing that I want to do is I want to move those clusters or their pivots to the outside, because right now if we rotate this, we can see it's rotating kind of from where the cluster is, where the pivot is, but I want to rotate it from the outside. So I'll go into pivot mode and I will move the pivot grid snapping to the outside not for this cluster here as well. So now if we grab this cluster, we can see that it's actually rotating from the outside. Translation is still the same, obviously. Then let's take these three things that we have in a moment and group them together. And we can call this muscle group. And now if we move that muscle group, what we will see, that we're getting double deformations. So what we probably have to do here for the time being is we have to, because it's being moved by the group first, the curve, and then it's all being moved by the deformation of those clusters. So if we come under the curve and we turn on or turn off the inherent transform on the curve, inherits transform, then we can see now it is still moving in the middle, although we set the normalization on here to be 50-50. But the reason for that is because those clusters need to be set to relative. So if we come under the cluster 1, set this to relative, and we come under the cluster 2, and I think I made already mistake. So if we set those to relative, now we can see that it's not moving anymore. So now we turn the inherit transforms on a curve back on. Sorry, that's my bad. So now we have a way to move the whole muscle group and rotate it and scale it and all that stuff without getting any double deformations. So what we did is here the curve is as we had it before, but on the clusters we turned relative on, on both of them. So let's reset that group here back to the origin. Now the next thing that we want to do is we want to make a muscle out of that. So what we can do is we can create some circles here. So let's go to NURB Circle and rotate this 90 degrees. And I'll freeze that. Freeze transformations. I'll delete the history on it, too. And now I will take that circle and move it, duplicate it, and move it to the first cluster, or where the starting point is here. So that would be here. And then I'll duplicate it again and move it to the other side. And that would be probably here. There we go. Now we can scale those two outsides down a little bit. And let's give them names. So the first one would be let's call this profile A curve. then profile v, curve and profile c, c curve, a, b, c. And now the next thing that we want to do is we want to attach those profiles to that curve. So when we're moving the curves via the clusters for example, that these circles here follow. So the way how we can do that is for example via motion path. So let's try that here. So I'll select the curve, the profile and then I'll select my path here. Actually we can probably call this path, curve. So profile A, then the path, and then we'll go to animation menu, and then motion path, attach to motion path. So now we have our motion path, and then we'll do the same thing for the other one. So profile B, path, motion path, attach to motion path, and then C, same thing, and then motion path, attach to motion path. So now they're going to be all at the origin or well at the start point of that curve, but what we can do now is we can come in here into the motion path and delete the keyframe here. So just break that. This is similar to what we were doing before with the spine if you remember. And then we'll take this one and break it as well. And now we have to distribute them again. So we come into the profile B and we set the motion path to 0.5, the u value, 0.5 that is in the middle, and the C we will set to 1, that is at the end. We will get from time to time here, it seems that we get some cycle check errors here, cycle check warnings. For now let's ignore them and not worry about them too much. I think it should still work and be fine. So now that we have those attached, now we can move those clusters and we can see that the curves here are following that in the profiles. Now that we have that, we can take these profiles three of them in the order and we can create a loft out of them. So we go to surface, create loft, all the surface loft and here what we want to do is we have a couple of different options. These are my settings so I've set it to nerbs. I think it might even be the default here. So we'll try resetting it. Yep, so this is the default settings that we have and nerbs. We can also build it as polygons, it probably doesn't really matter too much. Let's make a NURB surface out of this for now. And let's rename these clusters. So let's call this maybe start or root cluster. And the other one, end cluster cluster. Cluster. So now if we move those, we should see our muscle or whatever it might be. In this case, we're building a muscle move, and we can also rotate it. And so at the moment, we're still missing the volume preservation, but we can do it in a very similar way how we did it for the spine. So since we have our curve in there, we can now create a curve measurement and say if the curve is getting longer, then we can scale that profile here up and down. Or actually, if it's getting shorter, we can scale it up. And if it's getting longer, then we can scale it down. So let's try that. I will bring in my path curve into the hypershape, for example, a node editor, whatever you're using. The path curve, actually, I need the shape of the path. So I'll bring that in here instead to the path, or is that the shape of the path. And then we could again use the arc length. I think that's what we did last time in Mell. We could type in arc length, then CH, with the curve selected. And that will basically create our curve info node and connect it to the curve. But instead, I want to do it manually just to show you guys what we can also do is we can create node curve info like that. And now we have our curve info node. At the moment, it's not hooked up, but we can just hook it up from the shape. We go into the curve info node, other, and then we can see our connection editor. And the things that you have to connect is the local. That is local. That's the output of the curve. And it goes into input curve of the curve info. Now that we have those two connected, now we can see here in our arc length, the length of this curve here is eight. And then we're building our ratio again so that we can say by default it will be 1, right? So ratio, actually we have to create a multiply and call it ratio. So let's call this ratio MDI. And let's connect the curve info into the ratio multiply divide node. And we go from arc length, that's the length of the curve, into our input 2Dx. And input 1x, we're going to set to the same value, 8. and we're going to set it to divide. So that means eight divided by eight is one. But if this is getting longer, so if the length is getting 16, for example, then eight divided by 16 is going to be 0.5, right? So half, is that correct? Yeah, I think so. That should work. So now we can connect this up into the scale of our middle profile. So we bring in the middle profile here, profile B. And at the moment the scaling here is 1, 1, 1, as you can see. So now we can connect that up from the ratio into our scale. And it would be scale Y and Z. So output X into scale Y and Z. Let's try grabbing one of those clusters here again. Now you can see it's getting thinner or thicker as we stretch it. So now let's add all these things into our muscle group, the profiles and the lofted surface. so that would be our muscle, muscle, GEO in this case. And now, if we're moving our muscle group, we will probably see double deformations again here happening quite a bit. So what we should do is we should set our profiles shouldn't move and our muscle GEO shouldn't move, because those are being, the profile curves are being moved by, because they're attached by a motion path to the path curve, so they're already getting moved. And then muscle is being moved because it's made from a loft. And we are keeping all this information, by the way. So the loft is still in there. So we're not deleting the history on that, because otherwise, obviously, it wouldn't move anymore. So we don't want to move all these guys. So what we can do is we can just group them. And we can call this group a built group, for example. And everything that's in that built group, the profiles, and the muscle geo itself, we don't want that to be moving. So we turn the inherit transforms off, and now if we're moving the muscle group, then we should be able to see that we can take the whole thing and rotate it and translate it and put it wherever we want. And then we can still take our clusters here and move them and get the result that we want here with squash and stretching. One thing to note, which I think I originally forgot in the video for this spine was that if we're trying to scale that, it probably won't really work. So you can see that the middle one here is not really scaling with it. So you'd have to probably do the same thing where you are, probably have to factor in the overall scale here and multiply that with the length of the curve. Okay, I think it's multiply or divide. I can't quite remember, but I guess you know what I mean. So if you want to, or if you're planning on scaling your whole character, for example, then you probably have to add the global scale in there. Multiply the length with that. So one more multiplier in here. For now, I'm not going to do that. So maybe later on I'll add that. But for now, let's keep it as it is now. But now that we have that, let's try to move it into position and set it up or connect to our biceps, for example, as one way. And then we also want to look at some additional controls, for example, that maybe we can turn the volume preservation on and off, similar to what we did with the spine. That would be pretty simple. But it may be also that we can amplify it. Actually, we can probably already do that here, set it up as we have it at the moment. So let's add a to our muscle to an attribute called volume press, volume preservation. And that's not set any limits for now, but let's make it a float. And the other thing that I want to do is here, I want to remap that. So at moment we have it kind of hard coded how much how much volume preservation we're getting but if we want to exaggerate that then we probably want to use it with the... let's see here... we want to factor that in so there are a couple of different ways how we can do that we can probably do that with a remap node We can maybe do it with a multiplier plus minus average node. I want to try to do it with a remap node. So what I'll do here is remap. I'll use a remap color this time, a remap value, because I want to probably control more than just one axis. Here we have two, so we can control them independently. I'll use a remap node and I'll remap the value from the remap coming out from the multiply divide node, so that would be one. So that output goes into, output x goes into our colors. So I'll just add them for g and b for the time being because we set for the scaling, we don't want to scale. I'm x here, so it doesn't make sense. I'll just use the other two, not the first one, but the other two, and then this would go into y and set for our scaling. So the output here goes into out color, g goes into scale. Oops, not x. Let's undo this into y and then b goes into set. Now that we've rerouted it through the remap value node, we can change these remap value settings. So let's set the minimum zero maximum to two. So this is going to be exactly the same as it was before, because now if we're exactly in the middle, the scale will be one. And if we are taking the root cluster here, let's bring that in here as well. So now as you can see it's behaving exactly the same way, but now what we can do is we can change on the remap, especially if we're adding the middle point here. Let's add a middle point at 0.5 and 0.5 and 1 for the green here as well. 0.5 and 0.5. So now if we're changing this value here, you can see that we can influence how much we want the scaling to occur in Y with the green one and how much we want to occur in set, I think it was with the blue one here, right? Can influence it independently. So for example, if we don't want any scaling, let's say in Y, when it's getting longer, then we can do it like this. So now if we're moving our cluster, you can see it's not getting any higher. When it's getting shorter, it's only getting thicker. And then the same thing is true, or actually when it's getting shorter, it's getting thinner, because for shorter, we still have where it's getting shorter, right? So here you can see now we can also change the influence of it when it's getting shorter. So that would be this area when it's getting longer than it would be. Sorry, the opposite way, when it's getting longer, it's this area here, whether we wanted to get thinner or not. And when it's getting shorter, here we can define how thick it should get. So let's move this in here again and play with that a little bit. What we can also do is we cannot only say, hey, we don't want it to get thicker. We can also say we wanted to get a lot wider than what we currently have. So we can also move it higher than just one. We can actually set this to two or to three or how big we wanted to be set. So you can see that there is no limit. It's the limit in terms of like the display because now it will be somewhere up here, but technically it will still work. So now we can see it's going to compress or you know, bulge out quite a lot when we're moving it in, but not in Y, only in X. And when it's stretching out it's still the same what we had before because of these middle points that we have. So the part where it's getting longer it's going to be exactly the same. We only change the part where it's getting compressed. So maybe this is a little bit extreme, but let's keep it for the time being, we might need it at extreme. But what I also want to add is I also want to add, you know what, maybe I want to have a little bit of compre- or bulging out here up there too. So let's add a little bit of that in here. But again, you can see how we can now independently influence the height and the width of that. And the other thing that I want to add here is a way to turn it off. So that's what we added our volume preservation attribute here for. So we can do this in a similar way how we did the spine, I believe. So we can just add a blend color node. That's probably easiest blend color. And we will add that between the ratio, which can change. And by default, it will be one if this is staying one. So eight divided by eight, it will say exactly the same that will be one, right? So if it if the length is being one, there won't be any volume preservation. So that means that we can connect the output into our blend color, for example, color one, output X into color one, R. And then for the color two, we will set it to one. So that means if the blender is on one side, if the blender is zero, then we will get one. And if the blender is one, then we will just get the hard coded value here in a way. I think it's actually the other way around, but it doesn't really matter. So from the blend color now we go into our two inputs for the color on the remap. So output R, we are only using that one that goes into the color G and B. So now we've rerouted everything through that blend color node. And if we now turn this Blender to zero, then you can see now we're not getting any volume preservation anymore. So as I move that, it stays exactly the same as before. If we turn the Blender to one, then we'll get a lot of volume preservation here, because we made it so strong with on the remap node. So looking at this now, it might be a little bit overkill what we did here, so we come and dial this down a little bit. little bit. So if we select this here and put it maybe instead of five, maybe let's put it to three or maybe to two. That might be plenty. That might actually look better here. And then for thinner we can maybe make it a little bit more extreme so we can actually see what's going on because we can always now dial it down. We can use the wall and preservation at 0.5 for example and control it that way. So let's exaggerate this here a little bit more and put this to not one but maybe minus one and here maybe for the green one also to minus one. And now we should be able to see, I think somewhere around here is zero, let's reset it. Okay here we can see now it's getting very very thin and then here it's getting thick. Probably we don't need the stretching part too much because remember what I said before with muscles, they can only kind of like compress, so they cannot really push. So I think the compressing part here will be a lot more important than the, you know, going in part. And plus the other thing is, if you're, you know, bulging your muscle, for example, your biceps, if this is getting shorter, you probably want muscle bulging. You want to see that, right, on your skin, but you don't want to see the skin getting sucked in when you're making your arms straight. So maybe this is probably too much, but we can always come in and tweak that later on if we have to. And again, think of this as not explicitly for muscles, you can use this for all kinds of things. I can't think of any other case here from the top of my head, but these techniques, and you don't have to use everything, you can maybe just use the motion path or connecting objects to occur or you can just use the loft for keeping that history in there just to give you some ideas in terms of setting up, you know, rigging things."
+    }
+  ]
+}