Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 07 skin weights painting pt4 jaw weighting_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 07 skin weights painting pt4 jaw weighting_frames_transcription.json

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+{
+  "text": " I want to talk about a few more concepts here related to skinning and weights painting. Let's look at the head here or the jaw. Actually there is a few things missing here besides the weights painting. Let's try to skin the head here and then I want to show you some more things. So let's select that. Again, we should probably create some sort of animation here for our jaw. Opening this up. Let's remove the arm. NM. Here we go. Go to the head. Head, star. You can probably paint the whole head white, 100%. Till this point, beyond that is probably going to be neck. Okay, something like that here. Just here I don't, here should probably be neck, so let's paint this to the neck. Okay, and then this should probably be draw. So let's paint it to the draw. Oops, paint. Okay, so So for the lips here or a jaw, if we want to separate those lips, most of the times we'll probably get characters that have the lips pretty closely modeled together. But it's not a problem separating them really, because all you can do is on the jaw you can just brush from the bottom upwards trying to hit those points and then opening it up a little and then seeing where I have to paint back to the head. head. Now I do the same thing from the top. So we just brush from the top until we hit those points and then brush again, brush again until we hit those points, making sure that we're not selecting anything on the lower lip here. Brush those points, go from, you know, follow that line here until we hit that point. Now we'll go back to the, actually these ones here we can paint as well. And then the same thing for the jaw again, going back there. Here we go. Those points. What we can also do is we can also just isolate the skin here, so we're not getting distracted with the teeth and all that other stuff. So let's paint those corners here. Okay, and then the head. Okay. Sometimes we have to orbit a little bit around before we can actually select the points properly. Or get to the points rather. Okay, something like that. Oops, too much sundew. Trying to follow that line here again. Draw a point down here that we need to skin down there. Okay. Maybe the next row here also. Then inside of the mouth. Come around here. With the Isolate view it makes it quite easy painting all these points here. And then going back to the head, making sure we paint the upper lip here properly. Okay. And here I think what we should probably do is we should probably have the mouth corner be 50% between the head and the jaw joint. So let's paint those 50%. I think we are missing a few points here, one point in particular. So let me make my brush pretty small. We can get this point, maybe those points here as well. All those points up there. Here we go. So as I said before, let's paint these points 50%. So let's go back to the head or jaw rather, jaw and let's paint those 50. So let's replace with a value of 0.5. I could be a value of 1 here at that point. You can see what we get. Let's paint those with 0.5. Okay. And what I actually wanted to show you here is sometimes we have a little bit of trouble getting all the points painted. So here in this case, because we don't have a whole lot of resolution, it's fairly low res, it will I think work a little bit easier. But sometimes we do have trouble painting the points probably. So for example, in an area like this, let's say we have our head. Let's say we paint this one one. And let's say for some reason we cannot get to this one point here. I mean here I easily could, but let's say we can't paint this point. Sometimes we have to struggle and we have to like really rotate around and we're getting kind of like these spikes here are staying behind or moving too much with it. You might have seen that before. So for cases like this, the weights hammer is actually a really handy tool. The way how this works is you select a point that is creating the spike. For example, in this case, that point up here. And then you're going to skeleton, I'm actually skinning here, it is hammer skin weights. And then And what you can see is now it's jumped up, and now it is fixed. Okay, at one point, if I undo it, and I have this point selected, and I go Hammer Skin Weights, it fixes that point. And now it's no longer moving with the rest. Same thing here. I also have some spiky areas. So if I try to select all of those. I wonder if I can select them all at once, I think I can. So those are all broken here at the moment and those ones also, they shouldn't be moving really down with the nose, or the nose shouldn't be pulling this down with the lip. So I can go hammer skin weights and you can see now these areas are fixed, or at least a little bit better. And the way how this works is the weight hammer what it does is it basically just averages the surrounding weights. It takes a look at all the surrounding weights around these points. And then it finds the average and designs them to the points that are selected. So pretty handy especially for cleaning up those spiky areas. For example, this one here, if I again use the weight hammer. And we also have that under the weights painting tool. That's this one here, weight hammer. So if we press it, then it again looks around all this rounding points. And you can use one word or select one word. You can select multiple words. It just takes a look around the words, find the average, and assigns it to whatever is selected. So here in this case, I didn't really need it, but just you might have come across that. So I want to make sure I have no animation on, and then I want to mirror my skin weights here one more time. Mirror skin weights. I should have fixed the left side. Seems like I mirrored it to the wrong way around. So let's go to mirror skin weights. And we want to mirror from negative to positive, so I have to turn it off. And now it should be working a little bit better. And then we probably want to paint that a little bit more. So this should follow the jaw more. So then we go to the draw, maybe not 100%, but draw. And then we add a value of 0.1. And really gradually build up now here. Again, trying to find these round or smooth lines here again, if we turn this off, might make it a little bit easier. Trying to find those round lines here, also round lines here, round lines. So by doing that, they are essentially making sure that everything kind of looks good or will automatically look good. These ones here may be a bit, these ones here may be a bit. Trying to make these lines behave nicely. Draw a line. Here we go. And you can see it doesn't look too bad. Now we have to maybe paint the throat here a little bit. And let's go to the neck and wait that area a little bit more to the next so that it does not follow so much. Those points here. Those points. I think that's probably, let's see if we can improve it a little bit more. Okay, I think that's probably as good as it gets right now. this one could go back a little bit so follow the jaw a little bit more. Next line down here. Maybe another one here too a little bit. Let's make those weights smaller, so 0, 0, 2, 5. Just any tiny, tiny weights. There we have some movement going on there. Maybe this one here too. Some movement going on here that it feels organic and fleshy. Keeping those smooth lines here in mind. Straight lines, straight and smooth. Okay, this doesn't look too bad. Getting there. I can add that a little bit more, trying to make this a little bit nicer. Here maybe too, we get kind of like a kink in here as you can see. So let's see if we can improve that a little bit. Maybe up here. Something like this. Now, same thing here. Probably those points should move a little, at least. We can just add more weights. Here a little bit more. Those a little bit more. Again, trying to find these, restore those lines that we were seeing, you know, like in the neutral model. I want to get the same if this is opening. Okay. Let's mirror this one more time. Now for the jaw here, what we can also do is paint the next... So we have weighted those corners 50% between the jaw open and between the jaw and the head. So the next one should probably be 25%. Let's turn these colors back on. And let's wait just a little bit more. So maybe, as I said, 0.25 and wait them to the jaw here. Choose once. Should have me undo here. And instead, go to replace. I was on add. So therefore, I think it did something a little bit weird. So let's add those and just replace them with 25. And we can come in one more, and that one can maybe move 10%. So let's set this to 0.1 in Painters 0.1. Coming all the way around. By doing that, we can see now we're slowly starting to get nice round jaw open here. Maybe the next one could be 5% so 0.05. Come down on a tat. And then that one should probably be weighted back, not follow 100% of the jaw, because otherwise we're getting this kind of like straight or you know sharp corner. Since that dose point should probably be a little bit more back to the head now. Let's select the head. Paint dose 25% to the head. 0.25. Okay, and then the next one could be 10%, so 0.1, or maybe 0.15. Okay, and then the next one, 5, so that would be 0.05. And we're getting somewhere here with this. this. Could also now separate those a little bit out at the moment. They're exactly the same weight. So what we could try to do is paint one a little bit more towards the jaw and the other one a little bit more towards the head. So let's set those to, we're under Let's paint the draw here, draw, root. Let's paint those. Instead of 50%, let's paint those 0.55, 55%. And then we can see if we're kind of zooming in here, making our brush pretty small, painting over these points. We could also select the points and just use flood assign them. Okay, but this I think works. And then the other one should be 0.55 to the head, the one above. So we go here and we paint to 0.55, 55% to the head instead. So then we're getting kind of the separation here off the mouth corner in. And again, you know, if I set this to smooth here, creating a nice round as opposed to squareness that we were seeing before. Let's mirror this one more time. Here we could, this could probably still come down a bit more. It still feels a little bit squarish. So let's paint those a bit more. Let's try to add a value of 0.1, which might be too much. Actually, we need to add it to the draw now. Maybe that's OK. And then maybe here, this should go a little bit more towards the head. Then we go to the head and add a weight or a value of 0.1, just brushing over this kind of once. It's probably too much. We can also try using smoothing. So if you hold down shift, we can smooth this out a little bit. And let's try to set this to not the color ramp. We can smooth everything a little bit. So holding down shift. We can now smooth all these lines out a bit. And by smoothing this all out, we automatically are basically pulling this down a bit with it. So let's see what this gives us. This doesn't look too bad. I could also maybe include a little bit of the nose here, but I think I'll leave it for now. This, you know, being just jaw waiting without any corrective shapes or anything, I think this is pretty decent. We could perhaps pull this down a bit more. We just have to be careful to not pull the jaw bone, which is up here. So instead, just a bit more here, maybe even with smoothing, just adding smooth in there, we'll already pull this a little bit down. Just needs to be really subtle. Better than on this side where it is 100% stiff. So let's try to mirror this over. More time, mirror skin waits. OK. And keep in mind that for draw open, the draw for humans, if it opens, it's not a pure rotation, which we have here on our skinning at the moment. The draw open is actually a translation and a rotation. So it would probably be more realistic if we did something like that and translate it down a bit. And instead, not rotate so much. So perhaps something like this, bit of rotation, bit of translation. OK, this looks much, much better now. It could probably even pull down more of the upper lip here. can see it's still a little bit squarish. So I wonder if this should come down a bit more. We can try that with smoothing here too. So I'm just holding down Shift for the smooth. Perhaps something like that. Perhaps now we're translating too much, but I think that's probably okay. You're getting a little bit of trouble that you'll probably also move down a little bit more with the draw. the jaw. So let's add a little bit of weight here. 0.1 weight. We just have to be careful that we don't add too much because otherwise if we rotate, then it won't work so well. But when we translate, we want that. Okay, perhaps this might be a good compromise. And we can always add a corrective shape later on, if we feel we need it. Let's mirror those one last time.",
+  "segments": [
+    {
+      "text": " I want to talk about a few more concepts here related to skinning and weights painting. Let's look at the head here or the jaw. Actually there is a few things missing here besides the weights painting. Let's try to skin the head here and then I want to show you some more things. So let's select that. Again, we should probably create some sort of animation here for our jaw. Opening this up. Let's remove the arm. NM. Here we go. Go to the head. Head, star. You can probably paint the whole head white, 100%. Till this point, beyond that is probably going to be neck. Okay, something like that here. Just here I don't, here should probably be neck, so let's paint this to the neck. Okay, and then this should probably be draw. So let's paint it to the draw. Oops, paint. Okay, so So for the lips here or a jaw, if we want to separate those lips, most of the times we'll probably get characters that have the lips pretty closely modeled together. But it's not a problem separating them really, because all you can do is on the jaw you can just brush from the bottom upwards trying to hit those points and then opening it up a little and then seeing where I have to paint back to the head. head. Now I do the same thing from the top. So we just brush from the top until we hit those points and then brush again, brush again until we hit those points, making sure that we're not selecting anything on the lower lip here. Brush those points, go from, you know, follow that line here until we hit that point. Now we'll go back to the, actually these ones here we can paint as well. And then the same thing for the jaw again, going back there. Here we go. Those points. What we can also do is we can also just isolate the skin here, so we're not getting distracted with the teeth and all that other stuff. So let's paint those corners here. Okay, and then the head. Okay. Sometimes we have to orbit a little bit around before we can actually select the points properly. Or get to the points rather. Okay, something like that. Oops, too much sundew. Trying to follow that line here again. Draw a point down here that we need to skin down there. Okay. Maybe the next row here also. Then inside of the mouth. Come around here. With the Isolate view it makes it quite easy painting all these points here. And then going back to the head, making sure we paint the upper lip here properly. Okay. And here I think what we should probably do is we should probably have the mouth corner be 50% between the head and the jaw joint. So let's paint those 50%. I think we are missing a few points here, one point in particular. So let me make my brush pretty small. We can get this point, maybe those points here as well. All those points up there. Here we go. So as I said before, let's paint these points 50%. So let's go back to the head or jaw rather, jaw and let's paint those 50. So let's replace with a value of 0.5. I could be a value of 1 here at that point. You can see what we get. Let's paint those with 0.5. Okay. And what I actually wanted to show you here is sometimes we have a little bit of trouble getting all the points painted. So here in this case, because we don't have a whole lot of resolution, it's fairly low res, it will I think work a little bit easier. But sometimes we do have trouble painting the points probably. So for example, in an area like this, let's say we have our head. Let's say we paint this one one. And let's say for some reason we cannot get to this one point here. I mean here I easily could, but let's say we can't paint this point. Sometimes we have to struggle and we have to like really rotate around and we're getting kind of like these spikes here are staying behind or moving too much with it. You might have seen that before. So for cases like this, the weights hammer is actually a really handy tool. The way how this works is you select a point that is creating the spike. For example, in this case, that point up here. And then you're going to skeleton, I'm actually skinning here, it is hammer skin weights. And then And what you can see is now it's jumped up, and now it is fixed. Okay, at one point, if I undo it, and I have this point selected, and I go Hammer Skin Weights, it fixes that point. And now it's no longer moving with the rest. Same thing here. I also have some spiky areas. So if I try to select all of those. I wonder if I can select them all at once, I think I can. So those are all broken here at the moment and those ones also, they shouldn't be moving really down with the nose, or the nose shouldn't be pulling this down with the lip. So I can go hammer skin weights and you can see now these areas are fixed, or at least a little bit better. And the way how this works is the weight hammer what it does is it basically just averages the surrounding weights. It takes a look at all the surrounding weights around these points. And then it finds the average and designs them to the points that are selected. So pretty handy especially for cleaning up those spiky areas. For example, this one here, if I again use the weight hammer. And we also have that under the weights painting tool. That's this one here, weight hammer. So if we press it, then it again looks around all this rounding points. And you can use one word or select one word. You can select multiple words. It just takes a look around the words, find the average, and assigns it to whatever is selected. So here in this case, I didn't really need it, but just you might have come across that. So I want to make sure I have no animation on, and then I want to mirror my skin weights here one more time. Mirror skin weights. I should have fixed the left side. Seems like I mirrored it to the wrong way around. So let's go to mirror skin weights. And we want to mirror from negative to positive, so I have to turn it off. And now it should be working a little bit better. And then we probably want to paint that a little bit more. So this should follow the jaw more. So then we go to the draw, maybe not 100%, but draw. And then we add a value of 0.1. And really gradually build up now here. Again, trying to find these round or smooth lines here again, if we turn this off, might make it a little bit easier. Trying to find those round lines here, also round lines here, round lines. So by doing that, they are essentially making sure that everything kind of looks good or will automatically look good. These ones here may be a bit, these ones here may be a bit. Trying to make these lines behave nicely. Draw a line. Here we go. And you can see it doesn't look too bad. Now we have to maybe paint the throat here a little bit. And let's go to the neck and wait that area a little bit more to the next so that it does not follow so much. Those points here. Those points. I think that's probably, let's see if we can improve it a little bit more. Okay, I think that's probably as good as it gets right now. this one could go back a little bit so follow the jaw a little bit more. Next line down here. Maybe another one here too a little bit. Let's make those weights smaller, so 0, 0, 2, 5. Just any tiny, tiny weights. There we have some movement going on there. Maybe this one here too. Some movement going on here that it feels organic and fleshy. Keeping those smooth lines here in mind. Straight lines, straight and smooth. Okay, this doesn't look too bad. Getting there. I can add that a little bit more, trying to make this a little bit nicer. Here maybe too, we get kind of like a kink in here as you can see. So let's see if we can improve that a little bit. Maybe up here. Something like this. Now, same thing here. Probably those points should move a little, at least. We can just add more weights. Here a little bit more. Those a little bit more. Again, trying to find these, restore those lines that we were seeing, you know, like in the neutral model. I want to get the same if this is opening. Okay. Let's mirror this one more time. Now for the jaw here, what we can also do is paint the next... So we have weighted those corners 50% between the jaw open and between the jaw and the head. So the next one should probably be 25%. Let's turn these colors back on. And let's wait just a little bit more. So maybe, as I said, 0.25 and wait them to the jaw here. Choose once. Should have me undo here. And instead, go to replace. I was on add. So therefore, I think it did something a little bit weird. So let's add those and just replace them with 25. And we can come in one more, and that one can maybe move 10%. So let's set this to 0.1 in Painters 0.1. Coming all the way around. By doing that, we can see now we're slowly starting to get nice round jaw open here. Maybe the next one could be 5% so 0.05. Come down on a tat. And then that one should probably be weighted back, not follow 100% of the jaw, because otherwise we're getting this kind of like straight or you know sharp corner. Since that dose point should probably be a little bit more back to the head now. Let's select the head. Paint dose 25% to the head. 0.25. Okay, and then the next one could be 10%, so 0.1, or maybe 0.15. Okay, and then the next one, 5, so that would be 0.05. And we're getting somewhere here with this. this. Could also now separate those a little bit out at the moment. They're exactly the same weight. So what we could try to do is paint one a little bit more towards the jaw and the other one a little bit more towards the head. So let's set those to, we're under Let's paint the draw here, draw, root. Let's paint those. Instead of 50%, let's paint those 0.55, 55%. And then we can see if we're kind of zooming in here, making our brush pretty small, painting over these points. We could also select the points and just use flood assign them. Okay, but this I think works. And then the other one should be 0.55 to the head, the one above. So we go here and we paint to 0.55, 55% to the head instead. So then we're getting kind of the separation here off the mouth corner in. And again, you know, if I set this to smooth here, creating a nice round as opposed to squareness that we were seeing before. Let's mirror this one more time. Here we could, this could probably still come down a bit more. It still feels a little bit squarish. So let's paint those a bit more. Let's try to add a value of 0.1, which might be too much. Actually, we need to add it to the draw now. Maybe that's OK. And then maybe here, this should go a little bit more towards the head. Then we go to the head and add a weight or a value of 0.1, just brushing over this kind of once. It's probably too much. We can also try using smoothing. So if you hold down shift, we can smooth this out a little bit. And let's try to set this to not the color ramp. We can smooth everything a little bit. So holding down shift. We can now smooth all these lines out a bit. And by smoothing this all out, we automatically are basically pulling this down a bit with it. So let's see what this gives us. This doesn't look too bad. I could also maybe include a little bit of the nose here, but I think I'll leave it for now. This, you know, being just jaw waiting without any corrective shapes or anything, I think this is pretty decent. We could perhaps pull this down a bit more. We just have to be careful to not pull the jaw bone, which is up here. So instead, just a bit more here, maybe even with smoothing, just adding smooth in there, we'll already pull this a little bit down. Just needs to be really subtle. Better than on this side where it is 100% stiff. So let's try to mirror this over. More time, mirror skin waits. OK. And keep in mind that for draw open, the draw for humans, if it opens, it's not a pure rotation, which we have here on our skinning at the moment. The draw open is actually a translation and a rotation. So it would probably be more realistic if we did something like that and translate it down a bit. And instead, not rotate so much. So perhaps something like this, bit of rotation, bit of translation. OK, this looks much, much better now. It could probably even pull down more of the upper lip here. can see it's still a little bit squarish. So I wonder if this should come down a bit more. We can try that with smoothing here too. So I'm just holding down Shift for the smooth. Perhaps something like that. Perhaps now we're translating too much, but I think that's probably okay. You're getting a little bit of trouble that you'll probably also move down a little bit more with the draw. the jaw. So let's add a little bit of weight here. 0.1 weight. We just have to be careful that we don't add too much because otherwise if we rotate, then it won't work so well. But when we translate, we want that. Okay, perhaps this might be a good compromise. And we can always add a corrective shape later on, if we feel we need it. Let's mirror those one last time."
+    }
+  ]
+}