Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part3_week06 04 skin weights painting pt1_frames.zip

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+  "text": " In this video I want to talk a little bit about weights painting, probably not too much, because I assume that you guys already know how to paint weights, but I want to at least mention a few things that are important to me. We already looked at selecting all of our joints with the script and using the smooth bind options here, I told you guys that for me the only two things that are really changing or I'm changing it bind to selected joins because I wanna specify which joins to bind to. And then I make sure that I'm on interactive. Everything else I usually don't change, but you can change them if you want to have different results. For me, those just work fine because I know that I wanna go in and clean up the deformations manually anyway. But I know that in Maya now they have these new bind methods here, which is heat map and geodesic voxels. I don't use them because I felt that I don't work too well, especially if you have broken out hierarchy like I do here. So for me, I just keep it at the default, which I think is closest distance here. But I want to kind of quickly talk about how I go about weights painting anyways to show you my workflow. flow. The first thing that I do is I look at usually everything here a little bit, but I want to determine which the biggest problem areas are and focus on those areas first. And then I want to also do a calisthenics test or some animation that I can just scrub through here while I'm painting. So let's put the leg here. Maybe let's start on the leg and see if we can figure out what we have to do here for the leg. So let's create a little animation here. I always go to the first frame and keyframe it at zero. So then I know this is going to be my default pose. And then I go to the last frame here, whether it's 24 or a different time frame, doesn't really matter. And then I go to an extreme pose, maybe 100 minus 120 here. And perhaps what we should also do is kind of have a back pose too. So let's go 48 and set it to back, however far back we want to go. OK. So we can see a few issues here. First of all, we can see that the most obvious thing is that it takes some points on the other side with it. So that's probably going to be true for this site here as well, that not all points are moving 100% with this. Then we'll start cleaning that up. So we'll go to Paint Skin Weights tool. And here we can use a filter if we want to, so we can say r underscore star. And that will only show us the right side, or we can say leg star, for example. So now you can see how these names are coming in handy because then you can really group things together and only see the joints that you really want to be working on. What I'm doing is I'm switching between using the color ramp and not using the color ramp. Sometimes the color ramp actually is quite useful, but sometimes it's also a little bit not so useful. So I'll switch between those two modes. And then here what I know is I know that all this area should follow 100%. I don't know why it's gray here at the moment, but it should follow 100% the partial, let's see here. Like blend root, like blend mid. And then we have the partial joint here, root, partial joint mid. The partial join mid is basically, let's see here, it's a little bit hard to see. Root is going to be our partial join, so that's the middle. And then mid would be the upper one, I believe. And then we have our lower leg down here, so this can all go to the lower leg. Let's paint that. And here with these settings, I only change value. I never change opacity. They should kind of do a similar thing or the same thing, but I found that if you change opacity to something else in one, it gives you a lot of trouble, or at least it gave me a lot of trouble when I'm trying to smooth weights later on. So I always leave opacity at one. I only change the value if I have to. And then I'll switch between replace and add most of the time. And so here I'm painting with a value of one and I'm adding to it because I have interactive skinning or normalize that to interactive. It will interactively normalize, so that means it will not go beyond one. If I paint here with one and I paint again, it never goes above one. Also important here, maybe to note, I think this is set by default, but our min max values so that we cannot go above one here, okay, to max or to be one. And then the other thing here that I sometimes switch is between the brush profile with the soft falloff. I typically never really use those, most of the time I switch between these two. And the good thing about the one without the falloff is that you get 100% weights the moment it is inside that red circle here. But with the other one, sometimes you have to brush over it a couple of times. Actually, here this may be a bad example, but I think you can see that maybe if we use the color ramp here instead and we brush over it, well actually, now this works. So here for example, you can see this was red as opposed to white. While if we had used that full brush, then it would all be white wherever I brush over. So for blocking out weights, I usually use this one and then the soft fall of one I use mostly for smoothing weights. So now we know that we can paint all this should follow 100% the leg here or the lower leg joint. So we call that I think leg lower root, which is this one right here. So we paint all that to this joint. We can go a little bit above here or beyond. This is probably our area that we want to weight 50% between, you know, to the partial joint or 50% between the leg and the foot. But up till there we want everything to be on the leg. And same thing here, we want probably all this area to be on the leg. And then the next one in that should probably be now weighted between those partial joints. But before we do that, let's go on to this bigger area here, the upper leg. Let's paint all this white here. Now, mainly doing that so that we can clean up the movement that we're seeing here on the other side. So, because once we have that, we can mirror it over and then the other will be fixed as well. Let's paint all this. So we're just blocking in weights at this point. I can use undo control Z. I'm also using it quite a bit. If I'm not happy with what I just painted, I can always go back. you're going into select mode here, then you cannot see the black and white anymore, so then you can just go back to paint. And probably this row should also follow the legs still. I can make our brush a little bit smaller. I'm using the B key here to change my brush size interactively as opposed to coming in here and changing it with the stroke here with the radius, because then it's just not interactive you always kind of like have to see that's too big or too small. So rather just hover over it, hold down B and use your left mouse button to change the brush size. Again, I'm not sure how much you already know about that or how much weight painting or how long you've been doing weight painting for, but then let's go to the next join. So here we want to now go to our root one that would be the one in the middle so we can paint that middle edge to that joint. And then we can come up and the mid one which would be the upper one here I believe. Partial med should be that one. So I'll paint this one here. And by doing that, by painting 100% here, right, a full value of 100% to this joint, you're essentially removing it from any other joint. So here, for example, we can see on the leg blend mid, we have a little bit of weighting here. So we have to remove that. And instead of removing it, I'm going to add it to some other place. Let's quickly check what joins we have here in which order. So we have our neck blend root, which is the one up here. And we have the mid. Probably should rotate this too actually. I'm thinking about it. Maybe create another animation so that we can really see kind of you know what's going on here. Let's actually do that. Let's add another animation back here to the end of it. We just have to remember to delete the animation later on, so maybe let's go to 72. It's 48. create a, set this back to zero, create a keyframe here, and create a keyframe there for the knee. So here we have our rotation for the knee. Now we can maybe clear a little bit more clearly see where we want to paint this to probably to this joint here, leg lower root. Actually, you know what? Let's paint all this area here to the mid, all those three edges to the partial joint root. Let's come in here, partial joint root. I'm going to paint all this area, all these three edges here in the middle to that partial joint. It's basically our knee cap here. Now by doing that, again, painting this all 100% so that it essentially removes it from any other joint. So now we really only have three segments. We have our route for the blend joint, which is this area. We have our partial route joint, which is rotating 50%. And then we have our this one here, the lower leg root, which is this part, the bone. And what we can now do is we can now drop in these partial joints for the partial joint so that we can have something rotating 45 degrees, or rather half of the rotation. At the moment, what we could do until we do that, we can kind of weight it halfway in between. So weighting those halfway to this joint, so we switch our value to 0.5 and replace instead of add. So that if we brush over it, it won't change it. it will just stay 50%. So let's try that. I'm painting that whole loop. Here we go. And then the same thing for the lower leg as well. We want this next loop to be 50% between that drawing and 50% between the partial route. What we can also do is we can come to Select here and just select our loop of points. And then we can use flood, the flood button. Let's go back to paint and use flood 50%, or 0.5 flooding. And now it will be weighted 50%. So now if we rotate this, we can see this is our partial joint 100%. This is partial 50% and lower leg 50%. And this one would be upper leg 50% and partial 50%. We're already getting somewhere here, so it's already starting to look a little bit better. But most importantly, now if we mirror this over to the other side, we shouldn't see that moving anymore. So let's try that. Let's go back to our default pose. So whenever you're mirroring, first of all, obviously you have to have a symmetrical model, but second of all, you should be in neutral. So if you're trying to mirror it while you're in a pose, probably not a good idea. So go into neutral and that's why I think it's also good to have this ability or this animation to be able to go back to frame where you know it's the default and nothing is really animated. And then we can go to mirror skin weights and we can go to reset all these settings here. So we want to pick our plane first. where we want to mirror across. So here in my case, it would be yz. Yz has already set. And then we want to mirror from negative to positive. As you can see, I'm always working on the right side and then flipping over to the left side of the character. I know a lot of people are working the other way around. Doesn't really matter here so much. I'm just used to it because that's kind of what we did at Dreamworks too. We always worked on the right side and then flipped everything over to the left. But then at MPC, it was kind of like the other way around. So I want to mirror from negative to positive. So not positive to negative, the other way around. So I just turned this off. And then here in terms of these settings here, I found that closest component actually gives usually better results than closest point on surface. So I'm going to choose closest component for my mirroring. And then here, these influence associations, usually I just leave them where they are. You can play with those, but for me, I found that they work fine the way they are most of the time anyway, then I hit apply. And now if we move our animation here, we can see that the lag now is no longer moving because we have it essentially mirrored to the other side now. We still see the foot moving a little bit, so we should probably look at that next. So then we kind of just come in here and do the same thing. So we can also create a little animation for that foot. Let's keyframe it. See how extreme we want to go. It might be better or easier here if we reset the animation of the other controls, now that we're done with that, or for now anyways. So let's break the animation of that one, and let's break it off that one, break connections, and let's set this to zero. And we can really only focus on the foot here. So what we probably want to do is go back to our painting. And now we want to pick our foot here too. I wonder if we can type in multiple things. Our foot star. It actually doesn't work. It might work with Comma or so, but let's just pick the foot here. Let's paint all this area to the foot. So I'll set this back to 1 and replace or add doesn't really matter here. And we kind of have to think about what we want to paint. So this should go to the lag. This should probably be our 50% line and then that should all be foot. So I paint all this to the foot. And by painting it like that, you have 100% control over where your weighting is going. And that's why I would also advise to always just add weights. So I would never go in and remove weights. So for example, if you have weighting here, let's say that you don't want, theoretically you can go to replace, you can set a value of zero and you can remove that weighting, right? You can just paint this black. The problem is if you're doing that, the weighting has to go somewhere, right? Because you have interactive weighting turned on here. So as you're removing that weighting from that area, it goes onto some other joints and you don't necessarily have control over which joint it goes to. It doesn't automatically go to the closest one it can find. It might go to your eye joint or to your finger joint or something like that, to any other joint it's a little bit random at times. So you don't really have a lot of control. So instead of set this back to a value of 1, so if you have weighting here, instead of removing that weighting with, by painting a value of 0, replace, I would rather say, OK, where do I want this joint to go? So I probably want it to be on the foot mid, which is our toe joint here. And then I add or replace it with a value of 1. So by adding this, painting this white, I essentially remove it from the other joints, and now it is gone. to always add as opposed to remove. Because by adding it, you have 100% control. You're saying, OK, now I want these points to be influenced by this joint as opposed to the other one. So it removes it automatically for you from the other joint. So then I would go in. Here we can actually paint a little bit broader, even going beyond that point or beyond the joint. And then we can paint it back in a second here. So mid, then we can come in here and we can paint all this white, maybe even a little bit further back. Let's say this should all be the toe area here, or ball area. Paint all this. And now it might be a good idea to switch to color ramp. So we can see here, for example, we don't have 100% white. We actually have some red, which is like 90%, 95%. So let's make sure that this is all white. here in between. There we get 100% of the weighting there. Okay, that looks good. And then here we can see now with the color ramp that we have some other colors still here. So again, instead of removing that weight, I would add it to where I wanted to go. So it would probably, these points probably have to go to the foot root. So here we can see see this is not white, so now I'm painting them white, painting them white, and then it's essentially removing it from the heel. Drawing the heel joint, you'll probably not get any weighting. Anyway the heel joint we just place to have kind of like a location where we can snap our pivot to, but there is no weighting necessary. It should all go to the foot. This area should go to the foot, or to the foot mid, or to the leg, or in between halfway between the leg and the foot. Now let's bring back our leg here and the lower leg. Let's paint all this area here white too. By painting it white, we're saying, OK, this should all follow 100% of the leg. And then now we can come to the foot and paint it 50% to the foot, this one edge loop here. So now we go back to setting our value to 0.5, and we still on replace. So now we paint this 50%. That follows 50% of leg joint and 50% the foot joint. Here we go. Maybe those two. Those should probably be maybe 25% to the leg and 75% to the foot actually. Let's switch this to 0.75. Paint those here because they're a little bit lower, right, if you think about the 0, 50, 75, 100. Let's see what we get here with our animation. It already kind of looks halfway decent. And now we can mirror it over to the other side again. So come back to the first frame where we have no animation on, and then mirror skin weights. We don't have to go to the settings. I mean, we set them before and apply. And now the other footage would stay where it is, and it does. So now we cleaned all that up. Let's see what we're getting from our tow, tow band. Here we can now come in, and we also have to paint our 50% joint. So if we look at which one it would be, set this to zero. Maybe set that to zero as well. It's a little bit, I mean in terms of the joint positioning might not be ideal, maybe it's this one here. Okay, the one that's kind of closest to the joint or maybe that one. So now let's come back to the foot. This should all be mid. Oops. This paint is 100% of the foot. and this one will be the 50% one. Then we switch it to 50% value. And we paint that 50%. We know that it's zero here because it's all going to the foot root. But now we wanna remove 50%. So essentially we're going to add it to the mid. And by doing that, we're essentially removing 50% from the foot. So again, never remove directly, but always add to something else instead, or partially add somewhere else. Okay, so we have all the way around, and now it's 50% to the root and 50% to the midjoint, and now let's try our toe bend again. And again, it kind of like looks okay. We have here our 100% following the toe and we have our 100% following the foot and we have our 50% joint here. We have a little bit of a problem. I think because this joint is halfway between those two loops, so perhaps what we should do instead is treat it so that this one is fully weighted to the root and that one is fully weighted to the toe and have those two in between, especially for the up. But then again, we haven't even added our partial joints in there yet, right? At the moment, we're just working with the joints that we have. Once we add our partial joints, I think it will probably help a little bit with that. But let's try see if we can improve that a little bit more. So instead of this being 100% to the foot, we should always add our animation here again. So let's break this one. and add another animation for our toe band. Let's set this to zero in the first frame, and then I make a band where I want it to be changed, maybe minus 90, although this is quite extreme. But with that before we wanna be able to go extreme. So let's select all these points here, the whole loop. That's another benefit of having modeling loops and modeling all quads, because then you can kind of select the whole loop and use flooding. So those should probably be weighted now 25% to, or 30% to the foot root. So let's try 25 first, see what we get, 25. And then that one should probably not be 50 anymore, that probably should be weighted more towards the leg now. So let's try to go on this row, 75%, 0, 75 to the foot, something like that. And let's see what we get. I think it works a little bit better. It's still not perfect, but if we're smoothing that, it kind of looks okay. And again, keep in mind that we haven't added our partial joint yet. So with the partial joint, I think we get to keep the volume here a little bit better with those that are rotating. Okay. Let's say that's good enough for now, and let's mirror it over again. Mirror, oops, not mirror joints. That was wrong. Mirror skin weights, that's what I wanted to do. Now we should have the same on the other side now.",
+  "segments": [
+    {
+      "text": " In this video I want to talk a little bit about weights painting, probably not too much, because I assume that you guys already know how to paint weights, but I want to at least mention a few things that are important to me. We already looked at selecting all of our joints with the script and using the smooth bind options here, I told you guys that for me the only two things that are really changing or I'm changing it bind to selected joins because I wanna specify which joins to bind to. And then I make sure that I'm on interactive. Everything else I usually don't change, but you can change them if you want to have different results. For me, those just work fine because I know that I wanna go in and clean up the deformations manually anyway. But I know that in Maya now they have these new bind methods here, which is heat map and geodesic voxels. I don't use them because I felt that I don't work too well, especially if you have broken out hierarchy like I do here. So for me, I just keep it at the default, which I think is closest distance here. But I want to kind of quickly talk about how I go about weights painting anyways to show you my workflow. flow. The first thing that I do is I look at usually everything here a little bit, but I want to determine which the biggest problem areas are and focus on those areas first. And then I want to also do a calisthenics test or some animation that I can just scrub through here while I'm painting. So let's put the leg here. Maybe let's start on the leg and see if we can figure out what we have to do here for the leg. So let's create a little animation here. I always go to the first frame and keyframe it at zero. So then I know this is going to be my default pose. And then I go to the last frame here, whether it's 24 or a different time frame, doesn't really matter. And then I go to an extreme pose, maybe 100 minus 120 here. And perhaps what we should also do is kind of have a back pose too. So let's go 48 and set it to back, however far back we want to go. OK. So we can see a few issues here. First of all, we can see that the most obvious thing is that it takes some points on the other side with it. So that's probably going to be true for this site here as well, that not all points are moving 100% with this. Then we'll start cleaning that up. So we'll go to Paint Skin Weights tool. And here we can use a filter if we want to, so we can say r underscore star. And that will only show us the right side, or we can say leg star, for example. So now you can see how these names are coming in handy because then you can really group things together and only see the joints that you really want to be working on. What I'm doing is I'm switching between using the color ramp and not using the color ramp. Sometimes the color ramp actually is quite useful, but sometimes it's also a little bit not so useful. So I'll switch between those two modes. And then here what I know is I know that all this area should follow 100%. I don't know why it's gray here at the moment, but it should follow 100% the partial, let's see here. Like blend root, like blend mid. And then we have the partial joint here, root, partial joint mid. The partial join mid is basically, let's see here, it's a little bit hard to see. Root is going to be our partial join, so that's the middle. And then mid would be the upper one, I believe. And then we have our lower leg down here, so this can all go to the lower leg. Let's paint that. And here with these settings, I only change value. I never change opacity. They should kind of do a similar thing or the same thing, but I found that if you change opacity to something else in one, it gives you a lot of trouble, or at least it gave me a lot of trouble when I'm trying to smooth weights later on. So I always leave opacity at one. I only change the value if I have to. And then I'll switch between replace and add most of the time. And so here I'm painting with a value of one and I'm adding to it because I have interactive skinning or normalize that to interactive. It will interactively normalize, so that means it will not go beyond one. If I paint here with one and I paint again, it never goes above one. Also important here, maybe to note, I think this is set by default, but our min max values so that we cannot go above one here, okay, to max or to be one. And then the other thing here that I sometimes switch is between the brush profile with the soft falloff. I typically never really use those, most of the time I switch between these two. And the good thing about the one without the falloff is that you get 100% weights the moment it is inside that red circle here. But with the other one, sometimes you have to brush over it a couple of times. Actually, here this may be a bad example, but I think you can see that maybe if we use the color ramp here instead and we brush over it, well actually, now this works. So here for example, you can see this was red as opposed to white. While if we had used that full brush, then it would all be white wherever I brush over. So for blocking out weights, I usually use this one and then the soft fall of one I use mostly for smoothing weights. So now we know that we can paint all this should follow 100% the leg here or the lower leg joint. So we call that I think leg lower root, which is this one right here. So we paint all that to this joint. We can go a little bit above here or beyond. This is probably our area that we want to weight 50% between, you know, to the partial joint or 50% between the leg and the foot. But up till there we want everything to be on the leg. And same thing here, we want probably all this area to be on the leg. And then the next one in that should probably be now weighted between those partial joints. But before we do that, let's go on to this bigger area here, the upper leg. Let's paint all this white here. Now, mainly doing that so that we can clean up the movement that we're seeing here on the other side. So, because once we have that, we can mirror it over and then the other will be fixed as well. Let's paint all this. So we're just blocking in weights at this point. I can use undo control Z. I'm also using it quite a bit. If I'm not happy with what I just painted, I can always go back. you're going into select mode here, then you cannot see the black and white anymore, so then you can just go back to paint. And probably this row should also follow the legs still. I can make our brush a little bit smaller. I'm using the B key here to change my brush size interactively as opposed to coming in here and changing it with the stroke here with the radius, because then it's just not interactive you always kind of like have to see that's too big or too small. So rather just hover over it, hold down B and use your left mouse button to change the brush size. Again, I'm not sure how much you already know about that or how much weight painting or how long you've been doing weight painting for, but then let's go to the next join. So here we want to now go to our root one that would be the one in the middle so we can paint that middle edge to that joint. And then we can come up and the mid one which would be the upper one here I believe. Partial med should be that one. So I'll paint this one here. And by doing that, by painting 100% here, right, a full value of 100% to this joint, you're essentially removing it from any other joint. So here, for example, we can see on the leg blend mid, we have a little bit of weighting here. So we have to remove that. And instead of removing it, I'm going to add it to some other place. Let's quickly check what joins we have here in which order. So we have our neck blend root, which is the one up here. And we have the mid. Probably should rotate this too actually. I'm thinking about it. Maybe create another animation so that we can really see kind of you know what's going on here. Let's actually do that. Let's add another animation back here to the end of it. We just have to remember to delete the animation later on, so maybe let's go to 72. It's 48. create a, set this back to zero, create a keyframe here, and create a keyframe there for the knee. So here we have our rotation for the knee. Now we can maybe clear a little bit more clearly see where we want to paint this to probably to this joint here, leg lower root. Actually, you know what? Let's paint all this area here to the mid, all those three edges to the partial joint root. Let's come in here, partial joint root. I'm going to paint all this area, all these three edges here in the middle to that partial joint. It's basically our knee cap here. Now by doing that, again, painting this all 100% so that it essentially removes it from any other joint. So now we really only have three segments. We have our route for the blend joint, which is this area. We have our partial route joint, which is rotating 50%. And then we have our this one here, the lower leg root, which is this part, the bone. And what we can now do is we can now drop in these partial joints for the partial joint so that we can have something rotating 45 degrees, or rather half of the rotation. At the moment, what we could do until we do that, we can kind of weight it halfway in between. So weighting those halfway to this joint, so we switch our value to 0.5 and replace instead of add. So that if we brush over it, it won't change it. it will just stay 50%. So let's try that. I'm painting that whole loop. Here we go. And then the same thing for the lower leg as well. We want this next loop to be 50% between that drawing and 50% between the partial route. What we can also do is we can come to Select here and just select our loop of points. And then we can use flood, the flood button. Let's go back to paint and use flood 50%, or 0.5 flooding. And now it will be weighted 50%. So now if we rotate this, we can see this is our partial joint 100%. This is partial 50% and lower leg 50%. And this one would be upper leg 50% and partial 50%. We're already getting somewhere here, so it's already starting to look a little bit better. But most importantly, now if we mirror this over to the other side, we shouldn't see that moving anymore. So let's try that. Let's go back to our default pose. So whenever you're mirroring, first of all, obviously you have to have a symmetrical model, but second of all, you should be in neutral. So if you're trying to mirror it while you're in a pose, probably not a good idea. So go into neutral and that's why I think it's also good to have this ability or this animation to be able to go back to frame where you know it's the default and nothing is really animated. And then we can go to mirror skin weights and we can go to reset all these settings here. So we want to pick our plane first. where we want to mirror across. So here in my case, it would be yz. Yz has already set. And then we want to mirror from negative to positive. As you can see, I'm always working on the right side and then flipping over to the left side of the character. I know a lot of people are working the other way around. Doesn't really matter here so much. I'm just used to it because that's kind of what we did at Dreamworks too. We always worked on the right side and then flipped everything over to the left. But then at MPC, it was kind of like the other way around. So I want to mirror from negative to positive. So not positive to negative, the other way around. So I just turned this off. And then here in terms of these settings here, I found that closest component actually gives usually better results than closest point on surface. So I'm going to choose closest component for my mirroring. And then here, these influence associations, usually I just leave them where they are. You can play with those, but for me, I found that they work fine the way they are most of the time anyway, then I hit apply. And now if we move our animation here, we can see that the lag now is no longer moving because we have it essentially mirrored to the other side now. We still see the foot moving a little bit, so we should probably look at that next. So then we kind of just come in here and do the same thing. So we can also create a little animation for that foot. Let's keyframe it. See how extreme we want to go. It might be better or easier here if we reset the animation of the other controls, now that we're done with that, or for now anyways. So let's break the animation of that one, and let's break it off that one, break connections, and let's set this to zero. And we can really only focus on the foot here. So what we probably want to do is go back to our painting. And now we want to pick our foot here too. I wonder if we can type in multiple things. Our foot star. It actually doesn't work. It might work with Comma or so, but let's just pick the foot here. Let's paint all this area to the foot. So I'll set this back to 1 and replace or add doesn't really matter here. And we kind of have to think about what we want to paint. So this should go to the lag. This should probably be our 50% line and then that should all be foot. So I paint all this to the foot. And by painting it like that, you have 100% control over where your weighting is going. And that's why I would also advise to always just add weights. So I would never go in and remove weights. So for example, if you have weighting here, let's say that you don't want, theoretically you can go to replace, you can set a value of zero and you can remove that weighting, right? You can just paint this black. The problem is if you're doing that, the weighting has to go somewhere, right? Because you have interactive weighting turned on here. So as you're removing that weighting from that area, it goes onto some other joints and you don't necessarily have control over which joint it goes to. It doesn't automatically go to the closest one it can find. It might go to your eye joint or to your finger joint or something like that, to any other joint it's a little bit random at times. So you don't really have a lot of control. So instead of set this back to a value of 1, so if you have weighting here, instead of removing that weighting with, by painting a value of 0, replace, I would rather say, OK, where do I want this joint to go? So I probably want it to be on the foot mid, which is our toe joint here. And then I add or replace it with a value of 1. So by adding this, painting this white, I essentially remove it from the other joints, and now it is gone. to always add as opposed to remove. Because by adding it, you have 100% control. You're saying, OK, now I want these points to be influenced by this joint as opposed to the other one. So it removes it automatically for you from the other joint. So then I would go in. Here we can actually paint a little bit broader, even going beyond that point or beyond the joint. And then we can paint it back in a second here. So mid, then we can come in here and we can paint all this white, maybe even a little bit further back. Let's say this should all be the toe area here, or ball area. Paint all this. And now it might be a good idea to switch to color ramp. So we can see here, for example, we don't have 100% white. We actually have some red, which is like 90%, 95%. So let's make sure that this is all white. here in between. There we get 100% of the weighting there. Okay, that looks good. And then here we can see now with the color ramp that we have some other colors still here. So again, instead of removing that weight, I would add it to where I wanted to go. So it would probably, these points probably have to go to the foot root. So here we can see see this is not white, so now I'm painting them white, painting them white, and then it's essentially removing it from the heel. Drawing the heel joint, you'll probably not get any weighting. Anyway the heel joint we just place to have kind of like a location where we can snap our pivot to, but there is no weighting necessary. It should all go to the foot. This area should go to the foot, or to the foot mid, or to the leg, or in between halfway between the leg and the foot. Now let's bring back our leg here and the lower leg. Let's paint all this area here white too. By painting it white, we're saying, OK, this should all follow 100% of the leg. And then now we can come to the foot and paint it 50% to the foot, this one edge loop here. So now we go back to setting our value to 0.5, and we still on replace. So now we paint this 50%. That follows 50% of leg joint and 50% the foot joint. Here we go. Maybe those two. Those should probably be maybe 25% to the leg and 75% to the foot actually. Let's switch this to 0.75. Paint those here because they're a little bit lower, right, if you think about the 0, 50, 75, 100. Let's see what we get here with our animation. It already kind of looks halfway decent. And now we can mirror it over to the other side again. So come back to the first frame where we have no animation on, and then mirror skin weights. We don't have to go to the settings. I mean, we set them before and apply. And now the other footage would stay where it is, and it does. So now we cleaned all that up. Let's see what we're getting from our tow, tow band. Here we can now come in, and we also have to paint our 50% joint. So if we look at which one it would be, set this to zero. Maybe set that to zero as well. It's a little bit, I mean in terms of the joint positioning might not be ideal, maybe it's this one here. Okay, the one that's kind of closest to the joint or maybe that one. So now let's come back to the foot. This should all be mid. Oops. This paint is 100% of the foot. and this one will be the 50% one. Then we switch it to 50% value. And we paint that 50%. We know that it's zero here because it's all going to the foot root. But now we wanna remove 50%. So essentially we're going to add it to the mid. And by doing that, we're essentially removing 50% from the foot. So again, never remove directly, but always add to something else instead, or partially add somewhere else. Okay, so we have all the way around, and now it's 50% to the root and 50% to the midjoint, and now let's try our toe bend again. And again, it kind of like looks okay. We have here our 100% following the toe and we have our 100% following the foot and we have our 50% joint here. We have a little bit of a problem. I think because this joint is halfway between those two loops, so perhaps what we should do instead is treat it so that this one is fully weighted to the root and that one is fully weighted to the toe and have those two in between, especially for the up. But then again, we haven't even added our partial joints in there yet, right? At the moment, we're just working with the joints that we have. Once we add our partial joints, I think it will probably help a little bit with that. But let's try see if we can improve that a little bit more. So instead of this being 100% to the foot, we should always add our animation here again. So let's break this one. and add another animation for our toe band. Let's set this to zero in the first frame, and then I make a band where I want it to be changed, maybe minus 90, although this is quite extreme. But with that before we wanna be able to go extreme. So let's select all these points here, the whole loop. That's another benefit of having modeling loops and modeling all quads, because then you can kind of select the whole loop and use flooding. So those should probably be weighted now 25% to, or 30% to the foot root. So let's try 25 first, see what we get, 25. And then that one should probably not be 50 anymore, that probably should be weighted more towards the leg now. So let's try to go on this row, 75%, 0, 75 to the foot, something like that. And let's see what we get. I think it works a little bit better. It's still not perfect, but if we're smoothing that, it kind of looks okay. And again, keep in mind that we haven't added our partial joint yet. So with the partial joint, I think we get to keep the volume here a little bit better with those that are rotating. Okay. Let's say that's good enough for now, and let's mirror it over again. Mirror, oops, not mirror joints. That was wrong. Mirror skin weights, that's what I wanted to do. Now we should have the same on the other side now."
+    }
+  ]
+}