Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part3_week06 01 model topology for deformation pt1_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part3_week06 01 model topology for deformation pt1_frames_transcription.json

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+{
+  "text": " This week we want to talk about deformations. And before we do that, I want to show you a couple of things related to topology, because good topology is essential for creating good deformations. So here I've created a very simple cube with just one subdivision and two joins, and when I'm rotating this, what we can see is here we're losing volume. Right? We can clearly see this is getting thinner, this is getting thinner as opposed to where it was before. So to avoid that, what we can do is we can add more subdivisions in here, more loops. So if we do that and deform it, then we can see that it's keeping the volume here of the upper arm and lower arm if we consider this was an elbow, for example. We can see that we get to keep the volume on these bones, you know, the skin that's attached to the bones a little bit better. But we can also see that we're still losing a little bit of volume in here in that like half weighted area. So we already talked about this. What we can do is we can add a partial joint that rotates halfway with this joint. That's what I did in the next step. So here, so we can clearly see adding this partial joint that rotates 50% and then weighting all this middle area to 100% to the partial joint, we keep the volume a little bit more or actually we keep it 100% here really. If you consider this without partial joint with partial joint you can really see the difference that it maintains the thickness here a lot better. We're still losing a little bit of you know not volume but it's creating quite a roundness usually for if this was an elbow we probably want to keep the elbow a little bit sharper. So what we can then do is, at a moment we have all these three lines parallel to each other, and when we're rotating, they're becoming this 90 degree angle. But we also know that if we move these points closer together, it automatically creates a sharper corner here. So what we can do instead is moving these points closer together already in the default pose, so that's what I did here. And Now if we deform, we can see that this corner here is a little bit sharper than was before, especially if we smooth it, then we can kind of like see the difference here between those two. And you can see that it's still kind of like forming this triangle here, so we can go even more extreme with our model change and making these lines 45 degrees rotated. And what we get then, if we rotate it 90 degrees, we get three parallel lines in that pose. Okay. Now, this works extremely well, either that or probably my preference would be somewhere in between like what we had before. But it works extremely well if you have, for example, an elbow or a knee or something like that, where you know that it's only going to rotate in one direction. Okay. If we now take this, I'll go with the extreme version here, and we take this joint and rotate it in the opposite direction, then obviously we can clearly see that it won't work so well, first of all, because we get penetrations here, intersections, and second of all, because these lines here are now even longer, so we're getting more roundness than if those lines were parallel. So you kind of want to take that into consideration. If you're modeling your own model, or if you have somebody, if you're involved in the modeling process, want to keep that in consideration, so for elbows and knees and other areas that are rotating more in one direction than in another, you might want to change your topology in such a way that it helps the deformation in one way. And if you have joints or areas that are deforming in both directions, then you probably want to keep it more linear because even though, you know, this is kind of okay, but then at least we can go in both directions kind of the same way. All right. So now with this knowledge, we know that we always want to have at least three edges for areas that are deforming a lot, or bending or rotating a lot, to be able to keep our volume. We probably want to have a partial joint in the area that are deforming a lot. And sometimes we might even want to have two additional loops in between those. So that we have our outer loops to keep the volume of the bone or the area that's attached to the bone. And then we have one that's following the partial joint, so 50% between those two bones, and then maybe two in between those so that we have area that we can wait and play with when we are creating our corrective poses at the end, for example, or even just for the joint deformation. So maybe one that goes here, 50% between this bone and the partial bone, and then one other loop here in the middle, which goes 50% between the main bone here, the first bone, and the partial joint. So we can really create some nice deformations. With this, let's look at our model, and I've prepared some slides here. Okay, look at this model probably doesn't have the best apology, you know, out there, but at least it has some areas that can help us creating these, these poses. And I think it will be okay to use. But if we're looking at this here, where we have our bones or where we have our joints, that's kind of the areas where we want to have the most or the most information will probably occur. So those would be these, these areas. The arm can rotate up and down, the elbow can rotate mainly in, a little bit out maybe, and then the wrist can go up down, maybe a little bit forward, back, and then the same thing here for our hips can actually come forward quite a lot, and the knee can bend backwards quite a lot, almost 180 degrees, that's what we put in our split knee here too, and then we have our ankle that can also rotate quite a lot and our toes. So the best way to look at where we need what type of deformation or what type of topology is probably by creating a calisthenics test, like basically going through the range of motion and seeing how much or how far we want to rotate these joints. So for the upper arm, for example, if we have our three loops here and then we want to be able to rotate this down 90 degrees at least, maybe even more, but probably the rest would come from the shoulder. And then here for going up would probably mainly be the shoulder involved and not really the up arm rotating. Then for the wrist we want to be able to rotate it down which would create something similar to this in terms of the topology. Again, you know, having one that keeps the alignment with or stays perpendicular to the bone and then the other one that's perpendicular to the bone that's rotating and then one in in between, probably also with a partial joint here. And then up, it can probably go that far. And a little bit about these range of motion tests. Try to go what you think is realistic, but then also go a little bit beyond that. So don't just stop where you think is the most realistic one, because other people might be more flexible. And animators, they might want to exaggerate it in certain poses. So we don't want to only provide a range that is realistic. We want to provide a range that is from neutral to realistic plus a little bit extra so that we can guarantee that in the range that is realistic, we get very good deformations. And then in the range that comes beyond that, it works to some extent, depending on how far they really push it. But the more extreme you can bend while your deformations are still holding up, the more likely it is that everything that's less extreme will work just fine. So this is probably more realistic, but we probably want to make it work that we can even rotate this 90 degrees up. And then the wrist can rotate forward and backward a little bit, but that's not that extreme. And then looking from the front here, we have our elbow that's probably the most extreme that we'll ever get. So if we have our loops here, and for the elbow, we said, you know, it's probably mainly the forward rotation that we're interested in. It can rotate probably 160, 170 degrees forwards, but only a little bit backwards if at all. Then it just stops. But again, since this is CG, then animators might want to exaggerate it or in anticipation for one frame or so break the arm and rotate it back. So we do want to make sure that we can do that with our rig. And here is like the extreme rotation of the elbow. We can see it's quite extreme with just having three lines here. It's quite extreme what that difference is. So if we just have these three loops and we smooth it out, it will probably create a very, very round elbow. So what we should probably do is either have more loops in here that are closer together or maybe even create a split elbow similar to what we did for the knee, but it can probably be very very close together here because we don't want to have a lot of thickness going on here. We just want to make sure that we keep that elbow here a little bit at a shape. Okay let's step through further here for the up arm. Also kind of same thing so if we have our three parallel lines here then we can rotate forward as probably the most extreme. We can move our arm more than that but then the shoulder will get involved so the rest of the rotation in this way probably comes from the shoulder rotating forward. And then going backwards, kind of same thing. So this is maybe the most extreme that the arm can go, but then the rest, we can move our arm further, but the rest is coming from the shoulder, which here in this case is still straight. Then the knee or the thigh here, the upper leg can rotate quite extreme. Backwards a little bit, then the glutes will stop it from rotating further back, but forward can actually go quite a lot. And it can probably go even higher than just this, since it's just 90 degrees, right? So it can probably go up till here. Maybe not everybody can do that pose, but I'm sure that some people can. And we want to have extreme deformation, I'll be able to do extreme deformation. You can even see here we get a little bit of volume collapse. We can't really see it here because we don't have our wireframe unshaded on here, we do. And in the extreme post this looks really really ugly so it becomes really problematic, a similar problem that we saw in the knee so we can talk about a way how to relieve that extreme bend a little bit later on. And then for the for the knee we have kind of our three loops here but we said because we want to be able to rotate is also quite extreme, maybe almost 170 degrees, right, in the most extreme form, because some people they can, or most people I guess, can touch with their heels up to the butt. So we want to be able to rotate this all the way, almost 180 degrees. And we said, that's why we added this, these partial or split, split knee setup. So here we actually have three or six loops in total one for the lower knee joint, one for the upper knee joint. And then we can go quite extreme with our rotation while still kind of keeping that kneecap feeling and everything. Obviously, this is not yet weighted, so I can improve that probably a little bit more later on. And then for our foot, we probably, our ankle, we probably also want to go quite extreme down. It's similar to the hand or the wrist, where it can go a little bit up, but quite extreme down. So if we have three loops here, then we're able to rotate this down quite a bit. And then the next area here would probably be our toes, which we can also rotate quite a bit up, or some people can anyways. Especially women, if you think about, you know, if they're wearing high heels, for example, then it can go almost 90 degrees here. So those are kind of the areas that we want or where we want to have the loops and in which orientation we want to have those loops. So that's something that we should consider while we are already working on a model, if we have control over that. So let's take this into Maya and look at it there.",
+  "segments": [
+    {
+      "text": " This week we want to talk about deformations. And before we do that, I want to show you a couple of things related to topology, because good topology is essential for creating good deformations. So here I've created a very simple cube with just one subdivision and two joins, and when I'm rotating this, what we can see is here we're losing volume. Right? We can clearly see this is getting thinner, this is getting thinner as opposed to where it was before. So to avoid that, what we can do is we can add more subdivisions in here, more loops. So if we do that and deform it, then we can see that it's keeping the volume here of the upper arm and lower arm if we consider this was an elbow, for example. We can see that we get to keep the volume on these bones, you know, the skin that's attached to the bones a little bit better. But we can also see that we're still losing a little bit of volume in here in that like half weighted area. So we already talked about this. What we can do is we can add a partial joint that rotates halfway with this joint. That's what I did in the next step. So here, so we can clearly see adding this partial joint that rotates 50% and then weighting all this middle area to 100% to the partial joint, we keep the volume a little bit more or actually we keep it 100% here really. If you consider this without partial joint with partial joint you can really see the difference that it maintains the thickness here a lot better. We're still losing a little bit of you know not volume but it's creating quite a roundness usually for if this was an elbow we probably want to keep the elbow a little bit sharper. So what we can then do is, at a moment we have all these three lines parallel to each other, and when we're rotating, they're becoming this 90 degree angle. But we also know that if we move these points closer together, it automatically creates a sharper corner here. So what we can do instead is moving these points closer together already in the default pose, so that's what I did here. And Now if we deform, we can see that this corner here is a little bit sharper than was before, especially if we smooth it, then we can kind of like see the difference here between those two. And you can see that it's still kind of like forming this triangle here, so we can go even more extreme with our model change and making these lines 45 degrees rotated. And what we get then, if we rotate it 90 degrees, we get three parallel lines in that pose. Okay. Now, this works extremely well, either that or probably my preference would be somewhere in between like what we had before. But it works extremely well if you have, for example, an elbow or a knee or something like that, where you know that it's only going to rotate in one direction. Okay. If we now take this, I'll go with the extreme version here, and we take this joint and rotate it in the opposite direction, then obviously we can clearly see that it won't work so well, first of all, because we get penetrations here, intersections, and second of all, because these lines here are now even longer, so we're getting more roundness than if those lines were parallel. So you kind of want to take that into consideration. If you're modeling your own model, or if you have somebody, if you're involved in the modeling process, want to keep that in consideration, so for elbows and knees and other areas that are rotating more in one direction than in another, you might want to change your topology in such a way that it helps the deformation in one way. And if you have joints or areas that are deforming in both directions, then you probably want to keep it more linear because even though, you know, this is kind of okay, but then at least we can go in both directions kind of the same way. All right. So now with this knowledge, we know that we always want to have at least three edges for areas that are deforming a lot, or bending or rotating a lot, to be able to keep our volume. We probably want to have a partial joint in the area that are deforming a lot. And sometimes we might even want to have two additional loops in between those. So that we have our outer loops to keep the volume of the bone or the area that's attached to the bone. And then we have one that's following the partial joint, so 50% between those two bones, and then maybe two in between those so that we have area that we can wait and play with when we are creating our corrective poses at the end, for example, or even just for the joint deformation. So maybe one that goes here, 50% between this bone and the partial bone, and then one other loop here in the middle, which goes 50% between the main bone here, the first bone, and the partial joint. So we can really create some nice deformations. With this, let's look at our model, and I've prepared some slides here. Okay, look at this model probably doesn't have the best apology, you know, out there, but at least it has some areas that can help us creating these, these poses. And I think it will be okay to use. But if we're looking at this here, where we have our bones or where we have our joints, that's kind of the areas where we want to have the most or the most information will probably occur. So those would be these, these areas. The arm can rotate up and down, the elbow can rotate mainly in, a little bit out maybe, and then the wrist can go up down, maybe a little bit forward, back, and then the same thing here for our hips can actually come forward quite a lot, and the knee can bend backwards quite a lot, almost 180 degrees, that's what we put in our split knee here too, and then we have our ankle that can also rotate quite a lot and our toes. So the best way to look at where we need what type of deformation or what type of topology is probably by creating a calisthenics test, like basically going through the range of motion and seeing how much or how far we want to rotate these joints. So for the upper arm, for example, if we have our three loops here and then we want to be able to rotate this down 90 degrees at least, maybe even more, but probably the rest would come from the shoulder. And then here for going up would probably mainly be the shoulder involved and not really the up arm rotating. Then for the wrist we want to be able to rotate it down which would create something similar to this in terms of the topology. Again, you know, having one that keeps the alignment with or stays perpendicular to the bone and then the other one that's perpendicular to the bone that's rotating and then one in in between, probably also with a partial joint here. And then up, it can probably go that far. And a little bit about these range of motion tests. Try to go what you think is realistic, but then also go a little bit beyond that. So don't just stop where you think is the most realistic one, because other people might be more flexible. And animators, they might want to exaggerate it in certain poses. So we don't want to only provide a range that is realistic. We want to provide a range that is from neutral to realistic plus a little bit extra so that we can guarantee that in the range that is realistic, we get very good deformations. And then in the range that comes beyond that, it works to some extent, depending on how far they really push it. But the more extreme you can bend while your deformations are still holding up, the more likely it is that everything that's less extreme will work just fine. So this is probably more realistic, but we probably want to make it work that we can even rotate this 90 degrees up. And then the wrist can rotate forward and backward a little bit, but that's not that extreme. And then looking from the front here, we have our elbow that's probably the most extreme that we'll ever get. So if we have our loops here, and for the elbow, we said, you know, it's probably mainly the forward rotation that we're interested in. It can rotate probably 160, 170 degrees forwards, but only a little bit backwards if at all. Then it just stops. But again, since this is CG, then animators might want to exaggerate it or in anticipation for one frame or so break the arm and rotate it back. So we do want to make sure that we can do that with our rig. And here is like the extreme rotation of the elbow. We can see it's quite extreme with just having three lines here. It's quite extreme what that difference is. So if we just have these three loops and we smooth it out, it will probably create a very, very round elbow. So what we should probably do is either have more loops in here that are closer together or maybe even create a split elbow similar to what we did for the knee, but it can probably be very very close together here because we don't want to have a lot of thickness going on here. We just want to make sure that we keep that elbow here a little bit at a shape. Okay let's step through further here for the up arm. Also kind of same thing so if we have our three parallel lines here then we can rotate forward as probably the most extreme. We can move our arm more than that but then the shoulder will get involved so the rest of the rotation in this way probably comes from the shoulder rotating forward. And then going backwards, kind of same thing. So this is maybe the most extreme that the arm can go, but then the rest, we can move our arm further, but the rest is coming from the shoulder, which here in this case is still straight. Then the knee or the thigh here, the upper leg can rotate quite extreme. Backwards a little bit, then the glutes will stop it from rotating further back, but forward can actually go quite a lot. And it can probably go even higher than just this, since it's just 90 degrees, right? So it can probably go up till here. Maybe not everybody can do that pose, but I'm sure that some people can. And we want to have extreme deformation, I'll be able to do extreme deformation. You can even see here we get a little bit of volume collapse. We can't really see it here because we don't have our wireframe unshaded on here, we do. And in the extreme post this looks really really ugly so it becomes really problematic, a similar problem that we saw in the knee so we can talk about a way how to relieve that extreme bend a little bit later on. And then for the for the knee we have kind of our three loops here but we said because we want to be able to rotate is also quite extreme, maybe almost 170 degrees, right, in the most extreme form, because some people they can, or most people I guess, can touch with their heels up to the butt. So we want to be able to rotate this all the way, almost 180 degrees. And we said, that's why we added this, these partial or split, split knee setup. So here we actually have three or six loops in total one for the lower knee joint, one for the upper knee joint. And then we can go quite extreme with our rotation while still kind of keeping that kneecap feeling and everything. Obviously, this is not yet weighted, so I can improve that probably a little bit more later on. And then for our foot, we probably, our ankle, we probably also want to go quite extreme down. It's similar to the hand or the wrist, where it can go a little bit up, but quite extreme down. So if we have three loops here, then we're able to rotate this down quite a bit. And then the next area here would probably be our toes, which we can also rotate quite a bit up, or some people can anyways. Especially women, if you think about, you know, if they're wearing high heels, for example, then it can go almost 90 degrees here. So those are kind of the areas that we want or where we want to have the loops and in which orientation we want to have those loops. So that's something that we should consider while we are already working on a model, if we have control over that. So let's take this into Maya and look at it there."
+    }
+  ]
+}