Add transcription for: week04 12 connect ik spine to reverse fk spine.wav

transcriptions/week04 12 connect ik spine to reverse fk spine_transcription.json

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+{
+  "text": " Okay, so now that we built the IK spine and the FK spine and the reverse FK spine, I want to show you how we can connect that all together. So that we can have both. And you know, you can have one spine drive the other spine. So you can, for example, have the, you can either have just one in your rig, you can either have just the IK spine, or you can have just the FK spine, or you can have the the FK spine and the reverse FK spine on top. So completely up to you what you wanna have. You can also combine the IK and the FK spine together. So for example, that you have the FK and the reverse FK spine first, and then that is driving the IK spine so that then you can animate the IK spine on top of the FK spine. You can also set it up the other way around where you have the IK spine first and that is driving the FK spine And then you can then offset from wherever the IK spine is, with the FK spine applying curls and stuff like that, or bends. However, that is more untypical. So most of the time, you would probably have the FK spine first and then the IK spine on top to kind of do adjustments or offsetting in terms of translation, the chest area or the hips area or the midsection. And the last option to have both of these binds drive each other, that's very, very hard to accomplish. And probably, I think there are possibly ways that you can do it, that you can set it up. I'm not saying it's impossible, but I'm saying that it's probably not worth the effort and probably also the speed loss that you will gain from that because the more stuff you add on top, the slower it will get. And in general in computer graphics or you know, node-based applications like Maya, you know, there is a dependency of nodes and like a certain order of evaluation. Now if you have drive A, drive B and B drives A, that's usually creating a cycle and that's really hard to avoid. So I'm not going to even attempt that here and usually I don't, usually I try to keep to make it as simple as possible. For example, for Desperado, that's kind of the spine that we had. So we had IK, an IK, sorry, an FK spine, then we had a reverse FK spine, like what I showed you, and then we had that drive, the IK, and animators could offset the IK spine over the FK spine, or they could just use one or the other. That's always possible, just ignoring the other one. So let's try to do that here. First, before we do that, So I noticed that there is a little issue here. It somehow came. Somehow my eyes are a little bit sunken in or rather the geometry here. The skin is kind of like not in the right position anymore. You can also see that here on my fingers the skin is too high now. So that probably happened somewhere along the way. So if I go here and I turn the skin cluster off then we can see it's going to the old position. the joints must have moved the skin up at one point. So if we have the skin cluster on, the skin is kind of wrong now. We can easily fix that by just setting the skin cluster to zero and then going to skin detach skin. That is basically removed the skin cluster. So now the rig is not doing anything anymore to the skin. And now we can redo the skinning. If we have to make sure that all of our controls are kind of at zero. Because that's exactly the problem. If your control is like this and now you apply the skinning, then obviously it's going to be wrong. It's going to always have to offset. So probably that's what happens somewhere along the lines. But now if everything is kind of set back to zero, I hope I have that everywhere. I'm not going to check it, but you probably should. If you do it, make sure that you don't have any small, small values anywhere applied to your rig. Perhaps at the end of this course, we might look into a way how we can write a script to reset all the controls just to make sure, but I'm not going to do that now. So for now, I'll just rely on or hope that I have set everything to zero in terms of the controls. Then I'll pick all my joins again with the script, selecting all the J and T's, deselecting all the N joins, actually I have to twice in here, selecting all the N joins, selecting all the fk, all the ik joins and all the i joins. If I run that, obviously I have more joins now than I had before. So what we want to select here, or what we want to bind to is we don't want to bind to the ik, as we don't want to bind to the fk spine, we don't want to bind to the ref reverse fk spine. The only thing that we want to bind to that spine is really to these individual joins that are following the NURBS surface. And the NURBS surface is driven by the IK. And the IK, we're going to connect to the FK. So really, I have to remove all the reverse FK joints here as well. So I have to find a way how we can do that with naming. So probably if I just type in refk, that's what all these names have in common, or all these refk reverse FK joints have in common. So then I'll just add that to the list here as well, that it should deselect those as well if there is refk in the name. Now if I run that, now it will really only select the joints that don't have FK, refk, IK anything in it, just the ones that we really want the skin to. And I select my geo again, to the skin, smooth bind, make sure I have the same option, select the joints, interactive, which would be good. and we should be okay here, and everything should be back to working again. And we fixed this offset here and also on the eyes. It's all good. Okay, so now let's look at how we can connect the IK into this, because at the moment I think if I'm doing band, We can see that really only the FK spine is animated and the reverse FK spine, but not the IK controls don't follow that at the moment. The K spine and so the skin does also not follow. So first let's go in here. I think I did that last time where I offsetted it a little bit here to decide my RefK so can really see it's two separate chains, kind of one going up and one going down. We can now remove that offset, so just go on to the first refk joint here, the top one, just the end. We should probably rename that, but I'll leave that here. And let's set this to zero, so that they're really on top of each other. Then what I'm going to do is I'm going to go to my chest, mids, my spine, mid, and hips controls, So those are for the IK and I want to now parent them under the reverse spine. And I shouldn't take these controls and just parent them. What I should do instead is first create offset groups for all of those. Okay, so I'm going to group all those controls here to itself. So creating three groups. And then I will call them, you know, most of the time I call them Orient Group or Offset Group or something like that. So the same name, Spine Mid, let's call it Offset or Orient maybe. That's what I'm going with usually. M-Hips, Orient Group. And that's going to be so that it can catch any type of rotation that we might get once Once we parent it to something else, a different space. Chest, Orient, Group. Okay, now we have those. Then let's also make sure that these guys have the same pivots. So what I'll try to do here is I will try to isolate, select it on these offset groups and let's try if we can move the pivots kind of the same locations. So it's kind of like this joint, the big joint here, with just the spine IK up joint, the IK joint, that's where I want to have also the control, controls pivot and also the Orion groups pivot. Same thing for the chest, at the moment it's down there, so I'll just snap it to this IK joint here. thing for the mid. I'll also snap it to the mid. So now we have the mid Orion group's pivot here. We have the control's pivot error and obviously we have to join's pivot error as well. So all in the same spot. Now that I have these groups here created, these Orion groups, now I can parent those two other things out of the IK spine and under the FK spine. So let's start with the top one here, the chest orange group, so that should go, if we show remove Isolate selected. Let's maybe delete or hide those guys here as well. For now let's put them on a layer in case we need to have them later on again. Create empty layer, just put them here for now and hide them. And let's also put the spine on there here as well, the surface perhaps, or actually the surface we can probably hide for now, set the visibility to zero on this one. So now what we want to do is if we look at this and we do our bend, the ref case spine is following that. And then the ref case is kind of going away from there. Okay, so we want apparent all of our IK-oriented groups here under this refK spine because then it will follow both. And if we're looking at this again, so we want the chest to go under the first or end refK up here. We want to go the mid should go under the middle one so that would be probably five refK5 joint and the last one the hips are in group for the IK. We want that to go under the refK root which is kind of the last one here because remember we reverted the we duplicated the fk spine and then we reverted or reroute it reverse the order. Okay so let's do that let's set everything back to zero now that we know what we want to do and now let's do it and so the chest goes under the first refk joint here in the chain so that would be this one here refk end so let's parent is under a refk end. That's parent in mid spine under the middle one so that we said was five and now you kind of can see why we want to have you know nine joints in here because then we always have a middle joint or also if we add kind of like eight in between and we'll be 17 that would also work we again we have one at exactly 50% or five is also good number and we have one two three four five, again we have one in the middle. So here we have nine, so that means five is going to be in the middle. So let's take the mid-orient group and parent it under the refk5 joint. And then the hips goes under the last joint here in the chain, so that would be refk root. Okay, now that we have that, let's test it and see what we get. So we can bend this and we can see well the IK spine kind of works especially if we turn on the geometry. So bend works kind of anyways. Mid also kind of works and the low well almost looks like the mid as well. Let's test the bends here the reverse So we have bent upper, so that rotates from the upper part. We have bent mid. So it also looks very, very similar at the moment. And also we can see the chest here growing and some weird things happening here. And then the lower part also kind of looks very, very similar. So the reason why we have that at the moment is because if you remember, we kind of painted everything away from the mid spine section here, so we don't have any control over that. So at the moment for the for the IK spine, we really only have the lower section and the upper section. And because we only have those two and in the middle is going to be interpolated due to the due to the skinning that we did on the surface. That's exactly the reason why we're seeing these results not being kind of maybe perhaps how we would expect And also, we can see that here the spine in the middle, the surface, and therefore these joints under surface are moving away a little bit from the FK spine that we can see here going through. So the more we bend, we can see this offset being created between those two spines. Also, if we go to another one here, we can also see the same thing where the surface is now moving away from that. And that's exactly the reason, because we haven't skinned anything to the middle part. If we do that, if we skin it to the middle part as well, then it will probably be a little bit better. So let's try that. Now we have to go back to our spine, show the surface here, spine surface. Turn it on. And then I'm going to go to a different perspective here, a different panel. And then I'm going to say, show isolate, be selected, that I can really only see the surface. And then I can paint it a little bit differently. So I go to Skin, Paint Skin Weights tool. And here, as we can see, nothing is painted to the mid, only to the top and the bottom parts. So now I'm going to paint to the mid section here as well. So I'm going to go to Replace and with a value of 1, I want all these ones here to follow the midsection. And then here I kind of want to have a follow. So this one should probably go 50% between the mid and the top here. So let's try to paint that. Actually, let's paint this first 100% white. And then we're going to go to the spine and paint it 50% now. Then we know exactly, OK, we're just removing it. Now it's fully weighted to the midsection, now we're just removing essentially 50% by adding it to the top part here. So this should be 50. And then same thing for the lower, we say, OK, this one should be 50%. To be honest, I'm not sure what's going on with my colors here. For some reason, it looks a little bit dark. Oh, because I'm in viewport 2.0, let's go back to legacy viewport. Here we go. It's maybe a little better. Also, when we're going to the lower, we can see that there's still a little bit of influence from the lower part up here. That is because originally we had to follow up, go from here all the way up there, and from here all the way down to here. Now we want this a little bit different, obviously. We want this to be weighted between the mid and this one, and have no influence over the bottom one. Okay, so we'll go to this line up and paint it 100%, replace 100% those two and same thing for the bottom. I'll paint both those 100%. And then we go to the midsection and now we say okay this should be maybe you know if this is 100% this is 50% and maybe this should be 0.1 or 0.15 or so. I'll try 0.1 0.1 to the middle here 0.1 to the middle there. And we can see where we get and we can always change it later on if we want to. So now the midsection should have influence over that again and it does. But more importantly now if we try our bends again, it should work a lot better now. So we have the upper part here. We can see that midsection here kind of stays where it is. And it stays a lot closer to the high case bind, stays a lot closer to the F-case bind now. So we can bend the upper part. part, which might not make too much sense we talked about just before because of the rib cage. Also we can see the chest here collapsing a little bit, which we know we can probably fix later on and skinning, we can probably add some extra joints for that. And then the bend mid is working also a little bit better from the mid here. And then the lower bend, so we can really see a difference here between the bend low, between the bend mid, and between the bend up. And then when we test the low, or the reverse bends here, then we can also see a difference here. Again, ignore the chest collapsing here for a moment, but just paying attention to kind of what the spine in general does. We have a rotation point for the upper area. We have a rotation point for the mid area. It looks clearly different now, and then we have one for the lower area. And it all works. Okay. We can kind of bend whatever we want here. So the IK spine is following a lot closer to whatever the FK spine is doing or reverse spine is doing and then you can take this and offset it from there and animate your IQ on top of that.",
+  "segments": [
+    {
+      "text": " Okay, so now that we built the IK spine and the FK spine and the reverse FK spine, I want to show you how we can connect that all together. So that we can have both. And you know, you can have one spine drive the other spine. So you can, for example, have the, you can either have just one in your rig, you can either have just the IK spine, or you can have just the FK spine, or you can have the the FK spine and the reverse FK spine on top. So completely up to you what you wanna have. You can also combine the IK and the FK spine together. So for example, that you have the FK and the reverse FK spine first, and then that is driving the IK spine so that then you can animate the IK spine on top of the FK spine. You can also set it up the other way around where you have the IK spine first and that is driving the FK spine And then you can then offset from wherever the IK spine is, with the FK spine applying curls and stuff like that, or bends. However, that is more untypical. So most of the time, you would probably have the FK spine first and then the IK spine on top to kind of do adjustments or offsetting in terms of translation, the chest area or the hips area or the midsection. And the last option to have both of these binds drive each other, that's very, very hard to accomplish. And probably, I think there are possibly ways that you can do it, that you can set it up. I'm not saying it's impossible, but I'm saying that it's probably not worth the effort and probably also the speed loss that you will gain from that because the more stuff you add on top, the slower it will get. And in general in computer graphics or you know, node-based applications like Maya, you know, there is a dependency of nodes and like a certain order of evaluation. Now if you have drive A, drive B and B drives A, that's usually creating a cycle and that's really hard to avoid. So I'm not going to even attempt that here and usually I don't, usually I try to keep to make it as simple as possible. For example, for Desperado, that's kind of the spine that we had. So we had IK, an IK, sorry, an FK spine, then we had a reverse FK spine, like what I showed you, and then we had that drive, the IK, and animators could offset the IK spine over the FK spine, or they could just use one or the other. That's always possible, just ignoring the other one. So let's try to do that here. First, before we do that, So I noticed that there is a little issue here. It somehow came. Somehow my eyes are a little bit sunken in or rather the geometry here. The skin is kind of like not in the right position anymore. You can also see that here on my fingers the skin is too high now. So that probably happened somewhere along the way. So if I go here and I turn the skin cluster off then we can see it's going to the old position. the joints must have moved the skin up at one point. So if we have the skin cluster on, the skin is kind of wrong now. We can easily fix that by just setting the skin cluster to zero and then going to skin detach skin. That is basically removed the skin cluster. So now the rig is not doing anything anymore to the skin. And now we can redo the skinning. If we have to make sure that all of our controls are kind of at zero. Because that's exactly the problem. If your control is like this and now you apply the skinning, then obviously it's going to be wrong. It's going to always have to offset. So probably that's what happens somewhere along the lines. But now if everything is kind of set back to zero, I hope I have that everywhere. I'm not going to check it, but you probably should. If you do it, make sure that you don't have any small, small values anywhere applied to your rig. Perhaps at the end of this course, we might look into a way how we can write a script to reset all the controls just to make sure, but I'm not going to do that now. So for now, I'll just rely on or hope that I have set everything to zero in terms of the controls. Then I'll pick all my joins again with the script, selecting all the J and T's, deselecting all the N joins, actually I have to twice in here, selecting all the N joins, selecting all the fk, all the ik joins and all the i joins. If I run that, obviously I have more joins now than I had before. So what we want to select here, or what we want to bind to is we don't want to bind to the ik, as we don't want to bind to the fk spine, we don't want to bind to the ref reverse fk spine. The only thing that we want to bind to that spine is really to these individual joins that are following the NURBS surface. And the NURBS surface is driven by the IK. And the IK, we're going to connect to the FK. So really, I have to remove all the reverse FK joints here as well. So I have to find a way how we can do that with naming. So probably if I just type in refk, that's what all these names have in common, or all these refk reverse FK joints have in common. So then I'll just add that to the list here as well, that it should deselect those as well if there is refk in the name. Now if I run that, now it will really only select the joints that don't have FK, refk, IK anything in it, just the ones that we really want the skin to. And I select my geo again, to the skin, smooth bind, make sure I have the same option, select the joints, interactive, which would be good. and we should be okay here, and everything should be back to working again. And we fixed this offset here and also on the eyes. It's all good. Okay, so now let's look at how we can connect the IK into this, because at the moment I think if I'm doing band, We can see that really only the FK spine is animated and the reverse FK spine, but not the IK controls don't follow that at the moment. The K spine and so the skin does also not follow. So first let's go in here. I think I did that last time where I offsetted it a little bit here to decide my RefK so can really see it's two separate chains, kind of one going up and one going down. We can now remove that offset, so just go on to the first refk joint here, the top one, just the end. We should probably rename that, but I'll leave that here. And let's set this to zero, so that they're really on top of each other. Then what I'm going to do is I'm going to go to my chest, mids, my spine, mid, and hips controls, So those are for the IK and I want to now parent them under the reverse spine. And I shouldn't take these controls and just parent them. What I should do instead is first create offset groups for all of those. Okay, so I'm going to group all those controls here to itself. So creating three groups. And then I will call them, you know, most of the time I call them Orient Group or Offset Group or something like that. So the same name, Spine Mid, let's call it Offset or Orient maybe. That's what I'm going with usually. M-Hips, Orient Group. And that's going to be so that it can catch any type of rotation that we might get once Once we parent it to something else, a different space. Chest, Orient, Group. Okay, now we have those. Then let's also make sure that these guys have the same pivots. So what I'll try to do here is I will try to isolate, select it on these offset groups and let's try if we can move the pivots kind of the same locations. So it's kind of like this joint, the big joint here, with just the spine IK up joint, the IK joint, that's where I want to have also the control, controls pivot and also the Orion groups pivot. Same thing for the chest, at the moment it's down there, so I'll just snap it to this IK joint here. thing for the mid. I'll also snap it to the mid. So now we have the mid Orion group's pivot here. We have the control's pivot error and obviously we have to join's pivot error as well. So all in the same spot. Now that I have these groups here created, these Orion groups, now I can parent those two other things out of the IK spine and under the FK spine. So let's start with the top one here, the chest orange group, so that should go, if we show remove Isolate selected. Let's maybe delete or hide those guys here as well. For now let's put them on a layer in case we need to have them later on again. Create empty layer, just put them here for now and hide them. And let's also put the spine on there here as well, the surface perhaps, or actually the surface we can probably hide for now, set the visibility to zero on this one. So now what we want to do is if we look at this and we do our bend, the ref case spine is following that. And then the ref case is kind of going away from there. Okay, so we want apparent all of our IK-oriented groups here under this refK spine because then it will follow both. And if we're looking at this again, so we want the chest to go under the first or end refK up here. We want to go the mid should go under the middle one so that would be probably five refK5 joint and the last one the hips are in group for the IK. We want that to go under the refK root which is kind of the last one here because remember we reverted the we duplicated the fk spine and then we reverted or reroute it reverse the order. Okay so let's do that let's set everything back to zero now that we know what we want to do and now let's do it and so the chest goes under the first refk joint here in the chain so that would be this one here refk end so let's parent is under a refk end. That's parent in mid spine under the middle one so that we said was five and now you kind of can see why we want to have you know nine joints in here because then we always have a middle joint or also if we add kind of like eight in between and we'll be 17 that would also work we again we have one at exactly 50% or five is also good number and we have one two three four five, again we have one in the middle. So here we have nine, so that means five is going to be in the middle. So let's take the mid-orient group and parent it under the refk5 joint. And then the hips goes under the last joint here in the chain, so that would be refk root. Okay, now that we have that, let's test it and see what we get. So we can bend this and we can see well the IK spine kind of works especially if we turn on the geometry. So bend works kind of anyways. Mid also kind of works and the low well almost looks like the mid as well. Let's test the bends here the reverse So we have bent upper, so that rotates from the upper part. We have bent mid. So it also looks very, very similar at the moment. And also we can see the chest here growing and some weird things happening here. And then the lower part also kind of looks very, very similar. So the reason why we have that at the moment is because if you remember, we kind of painted everything away from the mid spine section here, so we don't have any control over that. So at the moment for the for the IK spine, we really only have the lower section and the upper section. And because we only have those two and in the middle is going to be interpolated due to the due to the skinning that we did on the surface. That's exactly the reason why we're seeing these results not being kind of maybe perhaps how we would expect And also, we can see that here the spine in the middle, the surface, and therefore these joints under surface are moving away a little bit from the FK spine that we can see here going through. So the more we bend, we can see this offset being created between those two spines. Also, if we go to another one here, we can also see the same thing where the surface is now moving away from that. And that's exactly the reason, because we haven't skinned anything to the middle part. If we do that, if we skin it to the middle part as well, then it will probably be a little bit better. So let's try that. Now we have to go back to our spine, show the surface here, spine surface. Turn it on. And then I'm going to go to a different perspective here, a different panel. And then I'm going to say, show isolate, be selected, that I can really only see the surface. And then I can paint it a little bit differently. So I go to Skin, Paint Skin Weights tool. And here, as we can see, nothing is painted to the mid, only to the top and the bottom parts. So now I'm going to paint to the mid section here as well. So I'm going to go to Replace and with a value of 1, I want all these ones here to follow the midsection. And then here I kind of want to have a follow. So this one should probably go 50% between the mid and the top here. So let's try to paint that. Actually, let's paint this first 100% white. And then we're going to go to the spine and paint it 50% now. Then we know exactly, OK, we're just removing it. Now it's fully weighted to the midsection, now we're just removing essentially 50% by adding it to the top part here. So this should be 50. And then same thing for the lower, we say, OK, this one should be 50%. To be honest, I'm not sure what's going on with my colors here. For some reason, it looks a little bit dark. Oh, because I'm in viewport 2.0, let's go back to legacy viewport. Here we go. It's maybe a little better. Also, when we're going to the lower, we can see that there's still a little bit of influence from the lower part up here. That is because originally we had to follow up, go from here all the way up there, and from here all the way down to here. Now we want this a little bit different, obviously. We want this to be weighted between the mid and this one, and have no influence over the bottom one. Okay, so we'll go to this line up and paint it 100%, replace 100% those two and same thing for the bottom. I'll paint both those 100%. And then we go to the midsection and now we say okay this should be maybe you know if this is 100% this is 50% and maybe this should be 0.1 or 0.15 or so. I'll try 0.1 0.1 to the middle here 0.1 to the middle there. And we can see where we get and we can always change it later on if we want to. So now the midsection should have influence over that again and it does. But more importantly now if we try our bends again, it should work a lot better now. So we have the upper part here. We can see that midsection here kind of stays where it is. And it stays a lot closer to the high case bind, stays a lot closer to the F-case bind now. So we can bend the upper part. part, which might not make too much sense we talked about just before because of the rib cage. Also we can see the chest here collapsing a little bit, which we know we can probably fix later on and skinning, we can probably add some extra joints for that. And then the bend mid is working also a little bit better from the mid here. And then the lower bend, so we can really see a difference here between the bend low, between the bend mid, and between the bend up. And then when we test the low, or the reverse bends here, then we can also see a difference here. Again, ignore the chest collapsing here for a moment, but just paying attention to kind of what the spine in general does. We have a rotation point for the upper area. We have a rotation point for the mid area. It looks clearly different now, and then we have one for the lower area. And it all works. Okay. We can kind of bend whatever we want here. So the IK spine is following a lot closer to whatever the FK spine is doing or reverse spine is doing and then you can take this and offset it from there and animate your IQ on top of that."
+    }
+  ]
+}