Add transcription for: week02 02 arms and legs ikfk blend.wav

transcriptions/week02 02 arms and legs ikfk blend_transcription.json

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+  "text": " Okay, let's continue with those limbs set up here, arms and legs. And we want to look into a way how we can blend between our IK arm and our FK arm here. And there are a couple of different ways how we can do that. One that you might already be aware of that you might have seen before is with orient constraints. or constraints in general, parent constraints or something like that, that when we kind of move this, that we would constrain from one end the other towards the third thing and then we can kind of use the weighting of the constraint to blend between one or the other in terms of rotation. That's one way of doing it, but there are kind of two reasons why I don't like to use constraints for that, first of all, because constraints tend to be pretty slow. So far we haven't used any constraints. So far everything we did was just using hierarchies and then a few custom attributes and our reconnections. So that will be very, very fast, kind of like the fastest way possible to do a rig. But the more kind of extra nodes we will add, especially constraints, tend to be really, really slow or get really slow. I mean, you know, again, same thing that I mentioned before, if you have one constraint here and there, it's probably not going to make much of a difference, especially with computer speeds these days, but if you have a lot of constraints and kind of like adds up, so I try to keep the amount of constraints that I use in my rig to a minimum. The other thing with constraints here is probably not a big problem because all these orientations we kind of just duplicated them, so all the orientations of these three guys is going to be the same, but if these orientations, you know, for some reason are different and you're creating constraints in terms of rotations, or either orient constraints here, orient constraints, or parent constraints, and you're using the rotation part of an or of a parent constraint. So whenever you're constraining rotations, and the two objects that you're constraining together are not, don't have the same orientation to begin with, then although it might look like it's following properly in the first, you know, on the first glance, since these values are then potentially going to be different, you can run into things like where the object that's constrained, the one that's following, might pop all of a sudden either 180 degrees or flip or something like that, kind of get out of whack that way. So I try to avoid especially constraints that have orientation connected. Point constraints are fairly safe to use. They're very, very simple. But again, also I try to kind of keep them to an absolute minimum only when I really need them. And there's no other way to do it with a hierarchy or with a connection or some other node than I'll use constraints. So here is another way how we can set this up, which is, I find, personally, simpler than using a orian constraint. And it saves us using orian constraint nodes. and that is with math notes or utility notes. So I want to show you how I would do that. Since we have rotation values here, and by default there are zero, right, until we start kind of rotating this, then obviously it has to solve this arm and then we get rotation values here. But still, it's kind of one set of rotation values. And then here on the FK, we have another set of rotation values. So if we start rotating that, you can see that we're getting different rotations. So we have kind of three channels here, x, y, c, rotation, and then here we have all the x, y, c, rotation. And on the third one, this is what we want to connect it towards and blend between those two rotation values or set of rotation values. How can we do that? Well, there is an easy way in Maya, and let's open it up in the hyper shade or node editor, whatever your tool of choice is. those in here, all three joints, graph, and select it. So what we can now do is I typically lay them out in such a way how I want to connect them. So I want to connect towards the blend arm and from the IK and the FK, kind of those two values. I typically put IK on top. It doesn't really matter, you know, which way you connect it towards, but I want to make sure that I always use the same, that I always have kind of IK and then FK or first fk then ik, but that is always the same for all the arms and kind of like all the drawings that I connect. So I always start with ik on top, fk on bottom, and then the blending here, that's what I want to connect to. And now how can we blend between one set of values for our ik and another set of value rotation values for fk? There is a node here, utility node if we come down. Actually, if we want to make this list a little bit shorter, we and just go to Utility Nodes, and then we can kind of see all the utility nodes. Most of them are actually for shading purposes, but a lot of those you can also use for rigging. So you might have done it already. Again, I'm not 100% sure what exactly your background is or how long you've been rigging. But one thing that I like to use is actually the Blend Color node for this. So the Blend Color node, by default, it is meant to kind of mix two colors together. And then as you have one color, color one, you have another color, color two, and then you can blend between those two different colors and you can kind of assign textures and stuff like that. But with this blend color node, if you think about what is a color, right? A color at the end is nothing else. And if we switch to RGB, nothing else than RGB, three channels, same thing, like X, Y, Z. And also if you think about what our colors you are for our axis, RGB, red, green, blue, it's kind of like the same thing here, right? So RGB, XYZ is kind of interchangeable. And if we look at these colors at the end of the day, if we look at it in the journal box here, color one, RGB, color two, RGB, so it's kind of just three sets of values. So we can kind of use that to connect our rotation into our IK rotation into, for example, color one values, our FK rotation into the color two values. And then we have a blender that we can blend between those two different values that are coming in here into the color. And then we get an output color and the output color we can then connect to the rotation of our blended joint. So let's set this up. So I'll go from, you know, middle mouse button, drag over, go to other connection editor, and then I'll connect here my rotation of the IK root joint. Rotation X goes into color one. and then first one to the first one, second one to the second one, set to B here, third one. Now those are connected, it doesn't show up, it's again a refresh problem because again, Maya's going to create these unit conversions node that we talked about last time. It's going to create those in between and it's not showing the connections right away, but we know that they're connected, you can see that here. And now we go from the FK to the blend color and connect those rotations into color 2. 1, 2, 3. Now those are connected as well here as we can see in yellow. And then we go from the output into the blend joint and blend color output, R, and we connect it into rotation now again. First one to first one, second one to second one, third one to third one, and now everything is connected. If I go into the separate tab here, a new tab, and I show the input and output connectors on the blend color, now we can see that everything is actually connected, as I said. And here by default, I don't know why. It's kind of like mixing those up, but we connected them like that. So IK goes into color one, and FK goes into color two. It's kind of weird here that it lays it out like that. So kind of misleading, you might say, hey, these are on top, so they're in color one. No, that's not true. We connected the FK into color two. Just be aware of that. And if we look at the same kind of setup here in the node editor, just for reference, you can do the same setup here too. But what you will see is then it's creating all these unit conversions here, because it has to go from rotation to color, so different unit. And it has to go from color back to rotation here. At the end of the day, it's kind of just values. So I don't really care about these unit conversions, but apparently Maya does. So it has to do some sort of conversion here. And that's kind of the reason why I don't like the node editor again, because all these unit conversions show up. So a very simple connection is getting much more complicated to look at than in the node editor, where we basically just have these four nodes that are kind of connected together. Okay, so now if we come in here and we try to blend our blender here from one to the other, then we can already see it's kind of doing something. So it's either blending and following this, or then if we use a blender and blend it to zero, then it's not following the IK anymore, and then now it's following 100% the FK. And if we're somewhere in between, like 0.5 on our blender, then it follows 50% both of them. Alright, it's exactly in between. So this is how we can do the blending. Now we have to kind of do the same setup here on the middle drawings as well. We haven't connected those ones yet. So we'll select the mid-joins, all three of them, bring them in here, graph, add selected, can move them down a little bit. Again, I like to lay them out. We don't have to, but it makes it visually a little bit easier to see what we connect to out. The blender goes here in the end, IK on top, FK on bottom, that's what I meant with. We want to make sure that we connect it the same way. So if we have IK always on top, then we know IK goes into color one, FK goes into color two. But you might as well swap it around as long as it's always consistent within your setup. So IK goes to top for me. Rotation here goes into color one. set it up the same way and then I'll set it up here with rotation of fk goes in color 2 and what you will see me do a lot here all the time basically is I'm connecting the individual ones I'm connecting the first one to first one second one to second one last one to last one as opposed to just clicking on rotate and clicking on color theoretically you can also do that but I I found some issues that, it was a while ago, so some Maya versions back, so they might have fixed it in the meantime, but when I did that back then, I found some issues where not always it connected them the proper way how I wanted it. So sometimes it kind of like went arbitrary and connected the wrong channel to the wrong thing. It technically, it shouldn't really happen. It should connect it the right way, but I also found some other issues that if I want to kind of trace back where the connections are coming from, there are some issues here with that too, which is why I got into the habit of connecting them kind of like one by one, then I know for sure which channel is connected to which channel. Okay, it just feels a little bit safer to me based on my experience. Then I'll go from the Out Color here, Output, I have to blend Color into the rotation of the blend joint mid. Okay, those three guys, those are set up. And again if we go to a separate tab and we can see that everything is in fact connected even though it is not showing up here right away, it's kind of a refresh problem. And now if we do that then we should have the middle one also working properly. And if we select both these blend colors now at once and we can blend to one and you can see that both are now properly blending and if we blend it to zero then we can blend to the other arm in terms of rotations. So that's working. Now the only thing is that we have to do is we have to set up an attribute that we can blend from IK to FK because we don't want any mirrors having to go in and finding these blend color nodes from us in the setup. So what I typically do for that is let's set those all back to zero here, our default rotation. I created on a separate control. So most of the time I will pick the hand control because the hand control is something that will always be visible. If I put it on the IK control itself, sometimes in some setups, and we will probably do that at a later point, is we wanna hide these IK controls when we're not in IK with our arm. So then when we are in FK, and the control for blending would be on that control, or the attribute for that blending would be on that control, we cannot switch back anymore. So therefore I created on a control that's always there. I've also seen rigs where people kind of created on a central control, then it can switch between all the IKs and all the FKs. But I like to kind of create it on the particular hand that belongs to that arm, or on the particular foot that belongs to the leg. So let's start creating a first pass at the hand control here for that reason. So we can probably go into cvcurve tool. I'll choose cubic here and I will kind of create a new control here. I always find it easier if I quickly hide rig, create my control and then kind of go show it again. So for that I will go with something like this, perhaps 1, 2, 3, 1, 2, 3, 4. And then we can show the rig. Then we can take it and move it up here, snap it to the end of the arm, scale it up, pick we want it to be, show the geo, the display layer. You can see how big we need it and kind of adjust scaling. You can go into component mode and pick those points here, them out a little bit. Perhaps something like that, maybe this could come in a little bit more. This is quite big for hand control, but maybe we can make this go in a little bit more. Just the first pass. Okay. Let's go with that for now. And it's going to be my hand control, our hand CTL. We'll freeze it, freeze all, and then we'll duplicate it. I did you, and now we'll bring it over here to this side, so we'll snap it to that joint, and then we can either rotate it or we can scale it. It doesn't really matter, we can scale it with minus 1 and x, minus 1, and we have it flipped over and we can freeze those guys here again. Freeze everything. Okay, so now we have those two hand controls. We have to rename the left side now. We can do the color coding. I attribute editor, enable this blue, let's make this red on the shape. Okay, and here with the hand, what we can already do is... Well, actually let's continue with the arm first with the blending, which is why what we set out to do. So let's go and create our custom attributes here. So we can add an attribute and remember I always like to create separators after my main attributes. So I'll create my 10 underscores again. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Add that and lock it and then I'll create my FKI kblend. And let's add that. I want it to be a float also. We have the decimal points and we can really blend it as not just 0 or 1, which would be a switch. And then from here I will connect this FK-IK attribute to the two blenders here. So I will bring the control in here as well. Display, sorry, here. graph and select it. And I'll connect from here FKIK to my blender. Okay. FKIK, blender. And from here also into the blender FKIK into the blender of the other Blankolor node. And now if we test that, we move that and we move this down. We come in here with zero, it's fully in FK and if it's one, it's fully in IK. And now here, I didn't put limits earlier, so we can kind of go into negative and we can kind of go beyond one which kind of you know makes this freak out a little bit or you know look broken so we want to limit that between zero and one so we could have done it when we created that but I also wanted to show you how to edit attributes in case you don't know added attributes fkik and I would say has a minimum of zero and has a maximum of one and that's it and now we can kind of blend between those two different modes for both of our joints. That's how simple it is. Now we want to do some more here. We want to, while we're at it, while we still have these nodes showing, we probably also want to give those names because here you can see we have two blend color nodes. Just for this one arm, we'll need another two blend color nodes. that arm to blend color nodes for this leg to blend color nodes for that leg. So it will already be eight blend color nodes. So we may be harder to later on find them, which also brings me to another good point. If you're in a new tab or something and you have nothing showing up here, so if you clear the graph, how can you find your blend color nodes again if you need to get to them? If they're deselected, how can you find them? Because they're not showing up in the outliner by default and they're also not here. There are two ways how you can get them back. One is if you're kind of opening this up to see your shaders and then you go to utilities, this is where your blend color nodes are going to show up along with a lot of other things that here that I have in that scene, but these are our two blend color nodes. Another way how you can get them back is if you go to display and you turn DAG objects only off, that will show you all the nodes. And here you can also see that's where our two blend color nodes you are. You can see all the other nodes that are also in the scene which are hidden by default, by default, it will just show you the DAG objects only. And DAG objects only basically means just the things that you can see in the viewport in a way or the kind of the transform in shapes and so on, not the extra nodes. But turning that off, we'll show you everything. And then we can kind of see them and here they're not named. So let's go back and name them. So we'll later know which ones they are. So this one here on top was for the arm root. So let's call this our arm root BLC for blend color. And the other one was for the mid here, right? Our mid, let's call this our arm mid BLC. And so that's that. And then the other thing that I wanted to show you here while we're at it is, let's take, in a bag on. Now we want to parent them to where they belong. So in the arm, the body open this up all the way to our chest here. We want to take that right hand and parent it under right hand group and the left hand under left hand group. And what we can now do is if we select our group, our, our head control here, we rotate this at the moment, nothing follows yet, right? But we already have the correct pivot. If we had moved that a little bit, we have to make sure that we take the pivot and we kind of like bring it back, snap it to the start or the end of the arm here, but I snapped it anyway, so it's in the right position already, pivot. And what we can now simply do is if we open up the hand group, can simply take all of our root finger joints here, all the roots and parent them under the hand control. And now if we take the hand control, you can see that now we already have our hand control, right, working. We can twist, can beside motion, everything that we need. One thing that we probably don't need is a translation because that's kind of, you know, moving the hand away from the arm. So for translating the arm, we already have that, we just have to connect the hand to the arm then. But we don't one translation on our hand control. And we also don't want scaling. Unless again, we have a cartoony rig, but probably does more harm. So let's for now go in and scale the visibility and the translations on this one. Lock and hide, and only leaving the rotations and our custom switch attribute. So again, let's take a short break, and then let's continue from here on.",
+  "segments": [
+    {
+      "text": " Okay, let's continue with those limbs set up here, arms and legs. And we want to look into a way how we can blend between our IK arm and our FK arm here. And there are a couple of different ways how we can do that. One that you might already be aware of that you might have seen before is with orient constraints. or constraints in general, parent constraints or something like that, that when we kind of move this, that we would constrain from one end the other towards the third thing and then we can kind of use the weighting of the constraint to blend between one or the other in terms of rotation. That's one way of doing it, but there are kind of two reasons why I don't like to use constraints for that, first of all, because constraints tend to be pretty slow. So far we haven't used any constraints. So far everything we did was just using hierarchies and then a few custom attributes and our reconnections. So that will be very, very fast, kind of like the fastest way possible to do a rig. But the more kind of extra nodes we will add, especially constraints, tend to be really, really slow or get really slow. I mean, you know, again, same thing that I mentioned before, if you have one constraint here and there, it's probably not going to make much of a difference, especially with computer speeds these days, but if you have a lot of constraints and kind of like adds up, so I try to keep the amount of constraints that I use in my rig to a minimum. The other thing with constraints here is probably not a big problem because all these orientations we kind of just duplicated them, so all the orientations of these three guys is going to be the same, but if these orientations, you know, for some reason are different and you're creating constraints in terms of rotations, or either orient constraints here, orient constraints, or parent constraints, and you're using the rotation part of an or of a parent constraint. So whenever you're constraining rotations, and the two objects that you're constraining together are not, don't have the same orientation to begin with, then although it might look like it's following properly in the first, you know, on the first glance, since these values are then potentially going to be different, you can run into things like where the object that's constrained, the one that's following, might pop all of a sudden either 180 degrees or flip or something like that, kind of get out of whack that way. So I try to avoid especially constraints that have orientation connected. Point constraints are fairly safe to use. They're very, very simple. But again, also I try to kind of keep them to an absolute minimum only when I really need them. And there's no other way to do it with a hierarchy or with a connection or some other node than I'll use constraints. So here is another way how we can set this up, which is, I find, personally, simpler than using a orian constraint. And it saves us using orian constraint nodes. and that is with math notes or utility notes. So I want to show you how I would do that. Since we have rotation values here, and by default there are zero, right, until we start kind of rotating this, then obviously it has to solve this arm and then we get rotation values here. But still, it's kind of one set of rotation values. And then here on the FK, we have another set of rotation values. So if we start rotating that, you can see that we're getting different rotations. So we have kind of three channels here, x, y, c, rotation, and then here we have all the x, y, c, rotation. And on the third one, this is what we want to connect it towards and blend between those two rotation values or set of rotation values. How can we do that? Well, there is an easy way in Maya, and let's open it up in the hyper shade or node editor, whatever your tool of choice is. those in here, all three joints, graph, and select it. So what we can now do is I typically lay them out in such a way how I want to connect them. So I want to connect towards the blend arm and from the IK and the FK, kind of those two values. I typically put IK on top. It doesn't really matter, you know, which way you connect it towards, but I want to make sure that I always use the same, that I always have kind of IK and then FK or first fk then ik, but that is always the same for all the arms and kind of like all the drawings that I connect. So I always start with ik on top, fk on bottom, and then the blending here, that's what I want to connect to. And now how can we blend between one set of values for our ik and another set of value rotation values for fk? There is a node here, utility node if we come down. Actually, if we want to make this list a little bit shorter, we and just go to Utility Nodes, and then we can kind of see all the utility nodes. Most of them are actually for shading purposes, but a lot of those you can also use for rigging. So you might have done it already. Again, I'm not 100% sure what exactly your background is or how long you've been rigging. But one thing that I like to use is actually the Blend Color node for this. So the Blend Color node, by default, it is meant to kind of mix two colors together. And then as you have one color, color one, you have another color, color two, and then you can blend between those two different colors and you can kind of assign textures and stuff like that. But with this blend color node, if you think about what is a color, right? A color at the end is nothing else. And if we switch to RGB, nothing else than RGB, three channels, same thing, like X, Y, Z. And also if you think about what our colors you are for our axis, RGB, red, green, blue, it's kind of like the same thing here, right? So RGB, XYZ is kind of interchangeable. And if we look at these colors at the end of the day, if we look at it in the journal box here, color one, RGB, color two, RGB, so it's kind of just three sets of values. So we can kind of use that to connect our rotation into our IK rotation into, for example, color one values, our FK rotation into the color two values. And then we have a blender that we can blend between those two different values that are coming in here into the color. And then we get an output color and the output color we can then connect to the rotation of our blended joint. So let's set this up. So I'll go from, you know, middle mouse button, drag over, go to other connection editor, and then I'll connect here my rotation of the IK root joint. Rotation X goes into color one. and then first one to the first one, second one to the second one, set to B here, third one. Now those are connected, it doesn't show up, it's again a refresh problem because again, Maya's going to create these unit conversions node that we talked about last time. It's going to create those in between and it's not showing the connections right away, but we know that they're connected, you can see that here. And now we go from the FK to the blend color and connect those rotations into color 2. 1, 2, 3. Now those are connected as well here as we can see in yellow. And then we go from the output into the blend joint and blend color output, R, and we connect it into rotation now again. First one to first one, second one to second one, third one to third one, and now everything is connected. If I go into the separate tab here, a new tab, and I show the input and output connectors on the blend color, now we can see that everything is actually connected, as I said. And here by default, I don't know why. It's kind of like mixing those up, but we connected them like that. So IK goes into color one, and FK goes into color two. It's kind of weird here that it lays it out like that. So kind of misleading, you might say, hey, these are on top, so they're in color one. No, that's not true. We connected the FK into color two. Just be aware of that. And if we look at the same kind of setup here in the node editor, just for reference, you can do the same setup here too. But what you will see is then it's creating all these unit conversions here, because it has to go from rotation to color, so different unit. And it has to go from color back to rotation here. At the end of the day, it's kind of just values. So I don't really care about these unit conversions, but apparently Maya does. So it has to do some sort of conversion here. And that's kind of the reason why I don't like the node editor again, because all these unit conversions show up. So a very simple connection is getting much more complicated to look at than in the node editor, where we basically just have these four nodes that are kind of connected together. Okay, so now if we come in here and we try to blend our blender here from one to the other, then we can already see it's kind of doing something. So it's either blending and following this, or then if we use a blender and blend it to zero, then it's not following the IK anymore, and then now it's following 100% the FK. And if we're somewhere in between, like 0.5 on our blender, then it follows 50% both of them. Alright, it's exactly in between. So this is how we can do the blending. Now we have to kind of do the same setup here on the middle drawings as well. We haven't connected those ones yet. So we'll select the mid-joins, all three of them, bring them in here, graph, add selected, can move them down a little bit. Again, I like to lay them out. We don't have to, but it makes it visually a little bit easier to see what we connect to out. The blender goes here in the end, IK on top, FK on bottom, that's what I meant with. We want to make sure that we connect it the same way. So if we have IK always on top, then we know IK goes into color one, FK goes into color two. But you might as well swap it around as long as it's always consistent within your setup. So IK goes to top for me. Rotation here goes into color one. set it up the same way and then I'll set it up here with rotation of fk goes in color 2 and what you will see me do a lot here all the time basically is I'm connecting the individual ones I'm connecting the first one to first one second one to second one last one to last one as opposed to just clicking on rotate and clicking on color theoretically you can also do that but I I found some issues that, it was a while ago, so some Maya versions back, so they might have fixed it in the meantime, but when I did that back then, I found some issues where not always it connected them the proper way how I wanted it. So sometimes it kind of like went arbitrary and connected the wrong channel to the wrong thing. It technically, it shouldn't really happen. It should connect it the right way, but I also found some other issues that if I want to kind of trace back where the connections are coming from, there are some issues here with that too, which is why I got into the habit of connecting them kind of like one by one, then I know for sure which channel is connected to which channel. Okay, it just feels a little bit safer to me based on my experience. Then I'll go from the Out Color here, Output, I have to blend Color into the rotation of the blend joint mid. Okay, those three guys, those are set up. And again if we go to a separate tab and we can see that everything is in fact connected even though it is not showing up here right away, it's kind of a refresh problem. And now if we do that then we should have the middle one also working properly. And if we select both these blend colors now at once and we can blend to one and you can see that both are now properly blending and if we blend it to zero then we can blend to the other arm in terms of rotations. So that's working. Now the only thing is that we have to do is we have to set up an attribute that we can blend from IK to FK because we don't want any mirrors having to go in and finding these blend color nodes from us in the setup. So what I typically do for that is let's set those all back to zero here, our default rotation. I created on a separate control. So most of the time I will pick the hand control because the hand control is something that will always be visible. If I put it on the IK control itself, sometimes in some setups, and we will probably do that at a later point, is we wanna hide these IK controls when we're not in IK with our arm. So then when we are in FK, and the control for blending would be on that control, or the attribute for that blending would be on that control, we cannot switch back anymore. So therefore I created on a control that's always there. I've also seen rigs where people kind of created on a central control, then it can switch between all the IKs and all the FKs. But I like to kind of create it on the particular hand that belongs to that arm, or on the particular foot that belongs to the leg. So let's start creating a first pass at the hand control here for that reason. So we can probably go into cvcurve tool. I'll choose cubic here and I will kind of create a new control here. I always find it easier if I quickly hide rig, create my control and then kind of go show it again. So for that I will go with something like this, perhaps 1, 2, 3, 1, 2, 3, 4. And then we can show the rig. Then we can take it and move it up here, snap it to the end of the arm, scale it up, pick we want it to be, show the geo, the display layer. You can see how big we need it and kind of adjust scaling. You can go into component mode and pick those points here, them out a little bit. Perhaps something like that, maybe this could come in a little bit more. This is quite big for hand control, but maybe we can make this go in a little bit more. Just the first pass. Okay. Let's go with that for now. And it's going to be my hand control, our hand CTL. We'll freeze it, freeze all, and then we'll duplicate it. I did you, and now we'll bring it over here to this side, so we'll snap it to that joint, and then we can either rotate it or we can scale it. It doesn't really matter, we can scale it with minus 1 and x, minus 1, and we have it flipped over and we can freeze those guys here again. Freeze everything. Okay, so now we have those two hand controls. We have to rename the left side now. We can do the color coding. I attribute editor, enable this blue, let's make this red on the shape. Okay, and here with the hand, what we can already do is... Well, actually let's continue with the arm first with the blending, which is why what we set out to do. So let's go and create our custom attributes here. So we can add an attribute and remember I always like to create separators after my main attributes. So I'll create my 10 underscores again. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Add that and lock it and then I'll create my FKI kblend. And let's add that. I want it to be a float also. We have the decimal points and we can really blend it as not just 0 or 1, which would be a switch. And then from here I will connect this FK-IK attribute to the two blenders here. So I will bring the control in here as well. Display, sorry, here. graph and select it. And I'll connect from here FKIK to my blender. Okay. FKIK, blender. And from here also into the blender FKIK into the blender of the other Blankolor node. And now if we test that, we move that and we move this down. We come in here with zero, it's fully in FK and if it's one, it's fully in IK. And now here, I didn't put limits earlier, so we can kind of go into negative and we can kind of go beyond one which kind of you know makes this freak out a little bit or you know look broken so we want to limit that between zero and one so we could have done it when we created that but I also wanted to show you how to edit attributes in case you don't know added attributes fkik and I would say has a minimum of zero and has a maximum of one and that's it and now we can kind of blend between those two different modes for both of our joints. That's how simple it is. Now we want to do some more here. We want to, while we're at it, while we still have these nodes showing, we probably also want to give those names because here you can see we have two blend color nodes. Just for this one arm, we'll need another two blend color nodes. that arm to blend color nodes for this leg to blend color nodes for that leg. So it will already be eight blend color nodes. So we may be harder to later on find them, which also brings me to another good point. If you're in a new tab or something and you have nothing showing up here, so if you clear the graph, how can you find your blend color nodes again if you need to get to them? If they're deselected, how can you find them? Because they're not showing up in the outliner by default and they're also not here. There are two ways how you can get them back. One is if you're kind of opening this up to see your shaders and then you go to utilities, this is where your blend color nodes are going to show up along with a lot of other things that here that I have in that scene, but these are our two blend color nodes. Another way how you can get them back is if you go to display and you turn DAG objects only off, that will show you all the nodes. And here you can also see that's where our two blend color nodes you are. You can see all the other nodes that are also in the scene which are hidden by default, by default, it will just show you the DAG objects only. And DAG objects only basically means just the things that you can see in the viewport in a way or the kind of the transform in shapes and so on, not the extra nodes. But turning that off, we'll show you everything. And then we can kind of see them and here they're not named. So let's go back and name them. So we'll later know which ones they are. So this one here on top was for the arm root. So let's call this our arm root BLC for blend color. And the other one was for the mid here, right? Our mid, let's call this our arm mid BLC. And so that's that. And then the other thing that I wanted to show you here while we're at it is, let's take, in a bag on. Now we want to parent them to where they belong. So in the arm, the body open this up all the way to our chest here. We want to take that right hand and parent it under right hand group and the left hand under left hand group. And what we can now do is if we select our group, our, our head control here, we rotate this at the moment, nothing follows yet, right? But we already have the correct pivot. If we had moved that a little bit, we have to make sure that we take the pivot and we kind of like bring it back, snap it to the start or the end of the arm here, but I snapped it anyway, so it's in the right position already, pivot. And what we can now simply do is if we open up the hand group, can simply take all of our root finger joints here, all the roots and parent them under the hand control. And now if we take the hand control, you can see that now we already have our hand control, right, working. We can twist, can beside motion, everything that we need. One thing that we probably don't need is a translation because that's kind of, you know, moving the hand away from the arm. So for translating the arm, we already have that, we just have to connect the hand to the arm then. But we don't one translation on our hand control. And we also don't want scaling. Unless again, we have a cartoony rig, but probably does more harm. So let's for now go in and scale the visibility and the translations on this one. Lock and hide, and only leaving the rotations and our custom switch attribute. So again, let's take a short break, and then let's continue from here on."
+    }
+  ]
+}