Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 13 building a low res cage pt1_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 13 building a low res cage pt1_frames_transcription.json

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 {
-  "text": "In this video I want to show you an alternative method of how we can deform this character, and that is with modeling a low-res cage with quadra in Maya, and then using that, or deform that by the joints, and other, you know, deformation methods such as corrective shapes and so on and so forth, and then using that low-res mesh, perhaps smooth it once or twice, subdivided, and then use that as a driver for our final mesh, so basically just using a raptor former or transferring the skin weights, depending on whatever gives us the best results. But this will allow you to have basically two different topologies, one for your model itself, and it can be, you know, higher res, that especially is useful if you have a high res character already that perhaps you cannot down res. So building a character just for your deformations also allow you to kind of like, you know, have the model itself or the skin itself be more anatomically correct, so basically that it follows more the muscles or, you know, the rib cage and things like that. Here for example, I think we talked about this earlier, where the topology is more, you know, made for working with, you know, getting specific shapes out of the model, but not so good for deformations. And therefore, if we build our own deformation model that's independent from the topology of the model, then we get some benefits there, and it will also make weights painting and things like that a lot easier. The downside of that, you know, low-risk cage is kind of two things. First of all, you have to build it first, it takes some time to build or model. And second of all, it will probably be a little bit slower using that low-risk cage as a raptor deformer, because then essentially you have two deformations going on, one you're deforming your low-risk cage with the joints. That will be pretty fast, because first of all, it's pretty low-risk, and it's just joint-based, but then once you glue on the final model onto your low-risk cage, that will probably slow things down, so I don't think you will be able to do that in real time anymore. So, but it could be used, you know, animators could potentially animate with the low-risk cage pretty fast and efficiently, and then if they wanted to see the final model, then they can just turn on that layer and see that, and then it will be slow, but they will see, you know, how it will look like in renderers and stuff like that. So let's start building this low-risk cage here. I'm probably not going to show you everything, but just how I start, and then we'll probably break the video here, and then I'll show you a completed version of that. But first, we have to go into tools here, and the modeling, polygons, mesh tools, quad-raw tool. So it's part of the modeling toolkit that was introduced in, I think, Maya 2012 or 2013, can't remember now, but here we have quad-raw, and first of all, actually, I forgot one thing, we have to make our topology that we want to use as our model or base our model on. We have to select that and make that live. So actually, I have all this here expanded, so we're basically just picking this, make the selected object live, at least in Maya 2015, I think, in 2014, it was a little bit different. So we're making it live, and then we can use quad-raw here, going back to mesh, quad-raw, and we can start laying out points here, for example, one here, maybe one here at the elbow, maybe one on top, and here what we want to do with this is we want to be pretty sparse with our topology. What we want to have is kind of follow the same rules that I was talking about before with, for our joints to get good deformations, we at least want to have three loops, right? Everywhere we have a joint that bends a lot, maybe even five, but then in between, we probably only need one, if at all, probably one would be fine, so let's drop in one, and then in terms of going around like this, we probably want to have one on top, one on the bottom, one edge on the back, one edge on the front, so that gives us four, and then maybe one in between, so I would say maybe eight would be a good number, because if it's too few, then it's also not good, so let's drop in the ones here in the middle, okay? And once we have a few points here, or even just four points, we can hold down shift, and hover over this, and that will kind of like start drawing faces now between those points that we drew in, so let's create some faces here, one back here for this, and gives you a preview how the face will look like, so this obviously doesn't make sense, so you want to always create quads, four-sided polygons, so if you take a look how this looks now, you can see it, actually we forgot two faces down here, so let's drop those in, going back to the tool. Sometimes it's a little bit tricky I found with the quadra to make it work correctly, let's see if we can turn the geo off here, so you have to sometimes orbit around a little, I can also move them later on after you have modeled them, so we can kind of like move them around, you can see how it's sticking to the surface, so it doesn't go in or lose volume or anything, which is pretty nice, still having trouble creating my additional ones, let's drop in some more points here, I think that should make it easier, here we go, then we can create those, and that one, and we need one here, and here, and then we can also kind of split it, that's with control here, if we hold down control we can see it splitting that loop, and we can also see that it's snapping it back to the surface, so let's do the same here, drop one in here, drop one in there, so that basically we end up with eight points all around here, one on top, one on bottom, one back, one in front, and then in between each of those, that probably is a good starting point, what we also should look into is that we make them pretty even, so that we don't have some that are closer together, it will give us better control later on, when we want to model corrective shapes or stuff like that, make sure it is on the bottom, or defining our bottom area, and they don't have to line up with the existing topology, it can be different from that, something like this, and we can start here on the lower arms, again here is where the joint is, so that's where we want to have a loop for sure, and then one probably before and one after, one on the bottom, one on the back, and then maybe some in between here, the top one, the back one, and you know once you drop in a point, for example here, and you see oh this is wrong, you can either use undo, control Z, and then you know put the point again, or you can also select a point, basically just hovering over it and with the middle mouse button, drag it around later on, which is the same as you can do once you have faces connected to them as well, middle mouse button allows you to move them around, someone for the back here, I can drop in a few faces here holding down shift, again sometimes if these faces are too far, or these points are too far apart, it doesn't really work, so then you can temporarily move those a little bit closer, then you should be able to create the face, and then with the middle mouse button, move them back to the top. You can also move edges as well, holding middle mouse button over an edge will allow you to move those. Okay, let's try if we, let's see if we can drop in here the last face. Doesn't really want to create it, here we go, as I said sometimes it can be a little bit finicky to create those faces, especially if they're like to do those points are too far apart, then you have to kind of like orbit around and see when it allows you to create a face there, but here we have our four, four is probably not going to be enough, and also we want to match it up with the upper arm that we created, so we'll drop in some in between here with, was it shift, I think, no, control, here we go, control, then one there, one here in the bottom, one there, and then we should be able to connect those up here now. It might also be too far apart now, so it's finding like the wrong, the wrong faces here, then we can try moving them closer together and then moving them away again, so let's see if that works, if we try to, if I'm closer, create the face and then move them away, that kind of thing, moving them closer, creating it and then moving it away again, then we should be able to create this one, here we can actually create it right away, this one, here we might have to move that closer, and then we need one face here, oops, one face there, I think, there's one missing, here we go, so now we have it all around, so now it's time to make them a little bit more even, and this one here is the one for the top, so then we have one line going all the way, this one here is, you get in between the front and the top, okay, something like that, perhaps, and here, you know, for this carrier it's probably not necessary, because it is a fairly low rest model, but if you have higher rest, or even here you can also see that we're basically saving, you know, every other loop here, which still makes it easier to paint weights and do deformations and corrective shapes and stuff like that on the low rest, and then the high rest will just attach to that, here I said before that we have the one at the joint, so we want to maybe move that a little bit closer to that elbow joint, middle joint, and then what I also said before was we want to have three in here, at the moment we only have one edge, so we want to have one a little bit closer to the lower arm and one a little bit closer to the upper arm, so those I'm going to drop in now with control and creating the whole loop, and I'm probably going to do that where I have my partial joint here already, so you can see it's quite similar for me what I was using on the original model already, and then I'll do the same thing here, here I also want to continue then onto the hand, so let's create some something for the palm here, and we also want to, you know, try to follow that, actually I'm going to go a little bit closer here, make it easier creating my faces, one here in the back, one in the bottom, actually this is probably wrong here now, there'll probably be something like this more, that's the top one, and then we can create a face here, and so here looking in wireframe where our joint is, that's already pretty close, and then we want to create also kind of one a little bit further back, so with control I'll drop one in here and drop one in there, this is going to be for our wrist, our three, this is going to be for our elbow, and then same thing on the shoulder here, we have one for the top, one for the front, one in between, and one in the back, one in between, one here and one in the bottom, okay something like that perhaps, let's see if we have that already on the right position, it could probably come a little bit more towards the arm, that's where our joint is, okay and then let's drop in the half or you know the surrounding ones, so control one here and one there, that's going to be for our shoulder or arm joint rather, and this would be the shoulder, so then we'll have to continue on from there and see how we resolve that maybe we can actually move that all the way to the shoulder, I'm not sure how I'm going to model that, but let's continue onto the spine then also, so we probably want to have one here in the middle and then this is where the other side would be, but we can then take the whole model and mirror it over, so I'm just going to model one side for now, okay here we also want to have one in the front, okay let's see we can use that one, we can maybe move that down, use that for later on for something else here, I want to try to see if I can connect those two together, keep in mind that you know this doesn't need to look particularly pretty, this is really just we want to model it as closely to the geometry as possible and this is then going to be the influence object or like the the wrap for the high rest, so let's model the spine here, again I don't want to model the whole thing, but just a little bit further to see how we can connect those, let's bring this over here, drop in another one, look how it looks like so far, okay, and we need some here in the back, it's just one, then another one down here, one down here, then we can close this off and so on and so forth, and here on this spine we kind of want to do the same thing, so we want to drop in lines or edges loops where we have the joints right, so that we can then skin basically one loop, to one joint, so let's make these joints a little bit bigger, animation joint size one, probably not enough, oh actually that's okay, so we have one here on the top, so let's move all these a little bit higher up, for this joint right here, and then we'll create some for this joint, for that joint, this joint, and that joint, then some here, so this is going to be our, you know, side one, right, and you can see that it continues from the bottom all the way to the side down here, so let's drop in a few more points, one to close to the joints, and then we want to have the ones on the front, so we have one here for this one already, then we need one for here, for there, there and there, and then the ones in between, keep in mind we can always change it later on if we're not happy with those point positions, we can move them around, okay, there'll be one more down here, okay, let's say this was okay for now, if we now wanted to mirror that over to the other side, we should first make sure that all the points here in the middle are really on the middle edge, so that's isolated real quick, and what I'm going to do is here, I'm going to select all the vertices that should be in the middle plane, and I'll go to absolute transforms, and I'll set those all in X to zero, so by doing that now we can guarantee that they're all kind of in the center line, so now when we mirror, there won't be any gaps, okay, and then we can take this, delete the history here, delete the history, and then we'll duplicate it, and scale the duplicate with minus one, and then we can combine those two, so mesh, mesh, combine, and then isolate, add selected objects, and now this is the combined object, we delete the history on this one, and now we have to make sure that we are merging these points, there might be multiple points here on top of each other, we have two points here, so if we select one point and move it away, you can see that there's this gap here now happening, so what we want to do is we want to also select all these points, all these words, where they each have two, one from the one side, one from the other side, and we want to go into the merge components, and we can set the threshold of like how close they should be together for them to merge, so that we're not merging all points into one, one spot, but this is I think a good default, and then we can double check to see, make sure that there's really only one, one left now, if we select the whole range here, then we can see that there's only one left now, another good test, you know, to making sure that you have merged all of them, if I undo real quick, then we get our two back, I'm not quite sure how far back I have to go, here we go, here we have our two, so when you're setting it to three, when you're selecting the mesh and you're hitting three, then you will see this hard line here, that indicates that there are actually two points on top of each other, while if we're merging them, we should see it all being one continuous line here, so let's merge them again, apply, and now if we go into object mode, and we hit three, and we can see now this is all one line, or one surface rather, and we'll select the history again, delete it one more time, and then we have our symmetrical cage here, as I said before, I'm not going to model the whole thing here with you guys, I'm just going to stop the video here and then load in the one that I have already made, and we can look at that and see how we can use that to do skinning and stuff like that.",
-  "language": "en",
-  "segments": [],
-  "language_probability": 0.9940410256385803
+  "text": " In this video I want to show you an alternative method of how we can deform this character. And that is with modeling a low-res cage with quadra in Maya and then using that, or deform that by the joints and other, you know, deformation methods such as corrective shapes and so on and so forth. And then using that low-res mesh, perhaps smooth it once or twice, subdivided, and then use that as a driver for our final mesh. So basically just using a raptor former or transferring the skin weights depending on whatever gives us the best results. But this will allow you to have basically two different topologies, one for your model itself and it can be higher res. That's especially useful if you have a high res character already that perhaps you cannot down-res. So building a character just for your deformations also allow you to kind of like, you know, have the model itself or the skin itself be more anatomically correct. So basically that it follows more the muscles or, you know, the rib cage and things like that. Here, for example, I think we talked about this earlier, where the topology is more made for working with getting specific shapes out of the model, but not so good for deformations. And therefore, if we build our own deformation model that's independent from the topology of the model, then we get some benefits there. And it will also make weights painting and things like that a lot easier. The downside of that, lower-risk cage which is kind of two things. First of all, you have to build it first. It takes some time to build or model. And second of all, it will probably be a little bit slower using that low-risk cage as a raptor former because then essentially you have two deformations going on. One, you're deforming your low-risk cage with the joints. That will be pretty fast because first of all, it's pretty low-risk and it's just joint-based. But then once you glue on the final model onto your low-res cage that will probably slow things down. So I don't think you will be able to do that in real time anymore. So but it could be used, you know, animators could potentially animate with the low-res cage pretty fast and efficiently. And then if they wanted to see the final model, then they can just turn on that layer and see that and then it will be slow, but they will see, you know, how it will look like in renders and stuff like that. So let's start building this low-risk cage here. I'm probably not going to show you everything, but just how I start. And then we'll probably break the video here, and then I'll show you a completed version of that. So first we have to go into tools here and the modeling, polygons, mesh tools, quad-raw tool. So it's part of the modeling toolkit that was introduced in, I think, my 2012 or 2013, I can't remember now. But here we have quad-raw. And first of all, actually I forgot one thing, we have to make our topology that we want to use as our model or base our model on. We have to select that and make that live. So actually I have all this here expanded. So we're basically just picking this, make the selected object live. At least in my 2015, I think in 2014 it was a little bit different. So we're making it live, and then we can use Quadra here, going back to Mesh Quadra, and we can start laying out points here. For example, one here, maybe one here at the elbow, maybe one on top. And here what we want to do with this is we want to be pretty sparse with our topology. So we want to have us kind of follow the same rules that I was talking about before with, you know, for our joints to get good deformations, we at least want to have three loops, right? Everywhere we have a joint that bends a lot, maybe even five. But then in between, we probably only need one, if you know, at all, probably one would be fine. So let's drop in one. And then in terms of going around like this, we probably want to have one on top, one on the bottom, one edge on the back, one edge on the front, so that gives us four. And it may be one in between, so I would say maybe eight would be a good number. Because if it's too few, then it's also not good. So let's drop in the ones here in the middle. Okay, and once we have a few points here, or even just four points, we can hold on shift and and hover over this and that will kind of like start drawing faces now between those points that we drew in. So let's create some faces here. One back here for this. It gives you a preview how the face will look like. So this obviously doesn't make sense. You want to always create quads, four-sided polygons. So if you take a look how this looks now, We can see it, actually we forgot two faces down here, so let's drop those in, go back to the tool. Sometimes it's a little bit tricky I found with the quadro to make it work correctly. Let's see if we can turn the Gio off here. Do I have to sometimes orbit around a little? I can also move them later on after you have modeled them so we can kind of like move them around and you can see how it's sticking to the surface so it doesn't go in or lose volume or anything which is pretty nice. Having trouble creating my additional ones, let's drop in some more points here. I think that should make it easier. Here we go. And then we can create those. And that one, then we need one here. And here. And then we can also kind of split it. That's with control here. If we hold down control, we can see it's splitting that loop. And we can also see that it's snapping it back to the surface. So let's do the same here. Drop one in here, drop one in there. So basically, we end up with eight points all around here. One on top, one on bottom, one back, one in front, and then in between each of those. That probably is a good starting point. What we also should look into is that we make them pretty even so that we don't have some that are closer together. It will give us better control later on when we want to model corrective shapes or stuff like that. Let's make sure it is on the bottom, or defining our bottom area. And they don't have to line up with the existing topology. It can be different from that. Something like this. And we can start here on the lower arms. Again, here is where the joint is. So that's where we want to have a loop for sure. and then one probably before and one after. So one on the bottom, one on the back. And then maybe some in between here, the top one, the back one. And once you drop in a point, for example, here, and you see oh, this is wrong, you can either use undo, control Z, and then put the point again. Or you can also select a point, basically just hovering over it and with the middle mouse button drag it around later on which is the same as you can do once you have faces connected to them as well middle mouse button allows you to move them around. There's one for the back here. I can drop in a few faces here holding down shift. Sometimes if these faces are too far or these points are too far apart doesn't really work so then you can temporarily move those a little bit closer, then you should be able to create the face and then with the middle mouse button move them back to the top. You can also move edges as well, holding middle mouse button over an edge will allow you to move those. Let's see if we can drop in here the last face. It doesn't really want to create it. Here we go. Sometimes it can be a little bit finicky to create those faces, especially if there are like two, those points are too far apart, then you have to kind of like orbit around and see when it allows you to create a face there. But here we have our four. Four is probably not going to be enough, and also we want to match it up with the upper arm that we created. So we'll drop in some in-betweens here with, what's the shift I think? No. Control. Here we go. Control. Then one there. One here on the bottom. One there. And then we should be able to connect those up here now. It might also be too far apart now, so it's finding the wrong faces here. You can try moving them closer together and then moving them away again. So let's see if that works. try to... Move them closer, create the face, and then move them away, that kind of thing. Move them closer, creating it, and then moving it away again. Now we should be able to create this one. Here we can actually create it right away. This one. one. Here we might have to move that closer. Then we need one face here. Oops, one face there I think. There's one missing. Here we go. Now we have it all around, so now it's time to make them a little bit more even. This one here is the one for the top, so then we have one line going all the way. This one here is in between the front and the top. Something like that, perhaps. And here, you know, for this carrier, it's probably not necessary, because it is a fairly low-res model. But if you have higher res, or even here, you can also see that we're basically saving, you know, every other loop here. It still makes it easier to paint weights and do deformations and corrective shapes and stuff like that on the low res. and the high-risk. We'll just attach to that. Here I said before that we have the one at the joint. So we want to maybe move that a little bit closer to that elbow joint, middle joint. And then what I also said before was we want to have three in here. At the moment, we only have one edge. So we want to have one a little bit closer to the lower arm and one little bit closer to the upper arm. So those I'm going to drop in now with control and creating the whole loop. And I'm probably going to do that where I have my partial joint here already. You can see it's quite similar for me what I was using on the original model already. And then I'll do the same thing here. Here I also want to continue then onto the hand. So let's create something for the palm here. And we also want to try to follow that. Actually, I'm going to go a little bit closer here. Make it easier creating my faces, one here in the back, One at the bottom. Actually, this is probably wrong here now. There'll probably be something like this more. That's the top one. Then we can create a face here. So here looking in wireframe where our joint is, that's already pretty close. And then we want to create also kind of one a little bit further back. So with control, I'll drop one in here and drop one in there. This is going to be for our wrist, our three. This is going to be for our elbow and then same thing on the shoulder here. We have one for the top, one for the front, one in between, and one in the back, one in between, one here, one in the bottom. Okay, something like that perhaps. Let's see if we have that already on the right position. I could probably come a little bit more towards the arm. That's where our joint is. Okay, and then let's drop in the half, or you know the surrounding ones. the control one here and one there. That's going to be for our shoulder or arm joint rather. And this would be the shoulder. So then we'll have to continue on from there and see how we resolve that maybe we can actually move it all the way to the shoulder. I'm not sure how I'm going to model that, but let's continue onto the spine then also. So we probably want to have one here in the middle, and then this is where the other side would be, but we can then take the whole model and mirror it over. I'm just going to model one side for now. Okay. Here we also want to have one in the front. Let's see, we can use that one, we can maybe move it down, use that later on for something else here I want to try to see if I can connect those two together. Keep in mind that this doesn't need to look particularly pretty, this is really just, we want to model it as closely to the geometry as possible and this is then going to be the influence object or the wrap for the high-rise. So let's model the spine here. I don't want to model the whole thing, but I'll just a little bit further to see how we can connect those. Let's bring this over here, drop in another one. Look how it looks like so far. Okay, we need some here in the back. It's just one, then another one down here, one down here. Then we can close this off, and so on and so forth. And here on this bind, we kind of want to do the same thing, so we want to drop in lines or edges loops where we have the joints, right? So that we can then skin basically one loop to one joint. So let's make these joints a little bit bigger. Animation joint size 1. Probably not enough. Actually, that's okay. So we have one here on the top. So let's move all these a little bit higher up. disjoint right here and then we will create some for disjoint, for that drawing, disjoint and that drawing. Then some here. So this is going to be our, you know, side one, right? And you can see that it continues from the bottom all the way to the side down here. So let's Let's drop in a few more points, one, two, close to the joints. And then we want to have the ones on the front. So we have one here for this one already, then we need one for here, for there, there and there. And then the ones in between. Keep in mind we can always change it later on if we're not happy with those point positions. We can move them around. Okay. There'll be one more down here. more down here. Okay, let's say this was okay for now. If we now wanted to mirror that over to the other side, we should first make sure that all the points here in the middle are really on the middle edge. So that's isolated real quick and what I'm going to do is here I'm going to select all the vertices that should be in the middle plane and I'll go to absolute transforms and I'll set those all in X to 0. So by doing that now we can guarantee that they're all kind of in the center line. So now when we mirror there won't be any gaps. Then we can take this, delete the history here, delete the history and then we'll duplicate it and scale the duplicate with minus one and then we can combine those So mesh, mesh combine, and then isolate add selected objects. And now this is the combined object. We delete the history on this one. And now we have to make sure that we are merging these points. There might be multiple points here on top of each other. We have two points here. So if we select one point and move it away, you can see that there's this gap here now happening. So what we want to do is we want to also select all these points, all these words, where they each have two, one from the one side, one from the other side. And we want to go into the merge components. And we can set the threshold of how close they should be together for them to merge so that we're not merging all points into one spot. But this is, I think, a good default. And then we can double check to see and make sure that there's really only one left now if we select the whole range here. Then we can see that there is only one left now. Another good test to making sure that you have merged all of them if I undo real quick, Then we get R2 back. I'm not quite sure how far back I have to go. Here we go. Here we have R2. So when you're setting it to 3, when you're selecting the mesh and you're hitting 3, then you will see this hard line here. That indicates that there are actually two points on top of each other. While if we're merging them, we should see it all being one continuous line here. So let's merge them again, apply. And now if we go into object mode and we hit three, and we can see now this is all one line and or one surface rather. And we'll select the history again, delete it one more time. And then we have our symmetrical cage here. As I said before, I'm not going to model the whole thing here with you guys. I'm just going to stop the video here and then load in the one that I have already made and we can look at that and see how we can use that to do skinning and stuff like that.",
+  "segments": [
+    {
+      "text": " In this video I want to show you an alternative method of how we can deform this character. And that is with modeling a low-res cage with quadra in Maya and then using that, or deform that by the joints and other, you know, deformation methods such as corrective shapes and so on and so forth. And then using that low-res mesh, perhaps smooth it once or twice, subdivided, and then use that as a driver for our final mesh. So basically just using a raptor former or transferring the skin weights depending on whatever gives us the best results. But this will allow you to have basically two different topologies, one for your model itself and it can be higher res. That's especially useful if you have a high res character already that perhaps you cannot down-res. So building a character just for your deformations also allow you to kind of like, you know, have the model itself or the skin itself be more anatomically correct. So basically that it follows more the muscles or, you know, the rib cage and things like that. Here, for example, I think we talked about this earlier, where the topology is more made for working with getting specific shapes out of the model, but not so good for deformations. And therefore, if we build our own deformation model that's independent from the topology of the model, then we get some benefits there. And it will also make weights painting and things like that a lot easier. The downside of that, lower-risk cage which is kind of two things. First of all, you have to build it first. It takes some time to build or model. And second of all, it will probably be a little bit slower using that low-risk cage as a raptor former because then essentially you have two deformations going on. One, you're deforming your low-risk cage with the joints. That will be pretty fast because first of all, it's pretty low-risk and it's just joint-based. But then once you glue on the final model onto your low-res cage that will probably slow things down. So I don't think you will be able to do that in real time anymore. So but it could be used, you know, animators could potentially animate with the low-res cage pretty fast and efficiently. And then if they wanted to see the final model, then they can just turn on that layer and see that and then it will be slow, but they will see, you know, how it will look like in renders and stuff like that. So let's start building this low-risk cage here. I'm probably not going to show you everything, but just how I start. And then we'll probably break the video here, and then I'll show you a completed version of that. So first we have to go into tools here and the modeling, polygons, mesh tools, quad-raw tool. So it's part of the modeling toolkit that was introduced in, I think, my 2012 or 2013, I can't remember now. But here we have quad-raw. And first of all, actually I forgot one thing, we have to make our topology that we want to use as our model or base our model on. We have to select that and make that live. So actually I have all this here expanded. So we're basically just picking this, make the selected object live. At least in my 2015, I think in 2014 it was a little bit different. So we're making it live, and then we can use Quadra here, going back to Mesh Quadra, and we can start laying out points here. For example, one here, maybe one here at the elbow, maybe one on top. And here what we want to do with this is we want to be pretty sparse with our topology. So we want to have us kind of follow the same rules that I was talking about before with, you know, for our joints to get good deformations, we at least want to have three loops, right? Everywhere we have a joint that bends a lot, maybe even five. But then in between, we probably only need one, if you know, at all, probably one would be fine. So let's drop in one. And then in terms of going around like this, we probably want to have one on top, one on the bottom, one edge on the back, one edge on the front, so that gives us four. And it may be one in between, so I would say maybe eight would be a good number. Because if it's too few, then it's also not good. So let's drop in the ones here in the middle. Okay, and once we have a few points here, or even just four points, we can hold on shift and and hover over this and that will kind of like start drawing faces now between those points that we drew in. So let's create some faces here. One back here for this. It gives you a preview how the face will look like. So this obviously doesn't make sense. You want to always create quads, four-sided polygons. So if you take a look how this looks now, We can see it, actually we forgot two faces down here, so let's drop those in, go back to the tool. Sometimes it's a little bit tricky I found with the quadro to make it work correctly. Let's see if we can turn the Gio off here. Do I have to sometimes orbit around a little? I can also move them later on after you have modeled them so we can kind of like move them around and you can see how it's sticking to the surface so it doesn't go in or lose volume or anything which is pretty nice. Having trouble creating my additional ones, let's drop in some more points here. I think that should make it easier. Here we go. And then we can create those. And that one, then we need one here. And here. And then we can also kind of split it. That's with control here. If we hold down control, we can see it's splitting that loop. And we can also see that it's snapping it back to the surface. So let's do the same here. Drop one in here, drop one in there. So basically, we end up with eight points all around here. One on top, one on bottom, one back, one in front, and then in between each of those. That probably is a good starting point. What we also should look into is that we make them pretty even so that we don't have some that are closer together. It will give us better control later on when we want to model corrective shapes or stuff like that. Let's make sure it is on the bottom, or defining our bottom area. And they don't have to line up with the existing topology. It can be different from that. Something like this. And we can start here on the lower arms. Again, here is where the joint is. So that's where we want to have a loop for sure. and then one probably before and one after. So one on the bottom, one on the back. And then maybe some in between here, the top one, the back one. And once you drop in a point, for example, here, and you see oh, this is wrong, you can either use undo, control Z, and then put the point again. Or you can also select a point, basically just hovering over it and with the middle mouse button drag it around later on which is the same as you can do once you have faces connected to them as well middle mouse button allows you to move them around. There's one for the back here. I can drop in a few faces here holding down shift. Sometimes if these faces are too far or these points are too far apart doesn't really work so then you can temporarily move those a little bit closer, then you should be able to create the face and then with the middle mouse button move them back to the top. You can also move edges as well, holding middle mouse button over an edge will allow you to move those. Let's see if we can drop in here the last face. It doesn't really want to create it. Here we go. Sometimes it can be a little bit finicky to create those faces, especially if there are like two, those points are too far apart, then you have to kind of like orbit around and see when it allows you to create a face there. But here we have our four. Four is probably not going to be enough, and also we want to match it up with the upper arm that we created. So we'll drop in some in-betweens here with, what's the shift I think? No. Control. Here we go. Control. Then one there. One here on the bottom. One there. And then we should be able to connect those up here now. It might also be too far apart now, so it's finding the wrong faces here. You can try moving them closer together and then moving them away again. So let's see if that works. try to... Move them closer, create the face, and then move them away, that kind of thing. Move them closer, creating it, and then moving it away again. Now we should be able to create this one. Here we can actually create it right away. This one. one. Here we might have to move that closer. Then we need one face here. Oops, one face there I think. There's one missing. Here we go. Now we have it all around, so now it's time to make them a little bit more even. This one here is the one for the top, so then we have one line going all the way. This one here is in between the front and the top. Something like that, perhaps. And here, you know, for this carrier, it's probably not necessary, because it is a fairly low-res model. But if you have higher res, or even here, you can also see that we're basically saving, you know, every other loop here. It still makes it easier to paint weights and do deformations and corrective shapes and stuff like that on the low res. and the high-risk. We'll just attach to that. Here I said before that we have the one at the joint. So we want to maybe move that a little bit closer to that elbow joint, middle joint. And then what I also said before was we want to have three in here. At the moment, we only have one edge. So we want to have one a little bit closer to the lower arm and one little bit closer to the upper arm. So those I'm going to drop in now with control and creating the whole loop. And I'm probably going to do that where I have my partial joint here already. You can see it's quite similar for me what I was using on the original model already. And then I'll do the same thing here. Here I also want to continue then onto the hand. So let's create something for the palm here. And we also want to try to follow that. Actually, I'm going to go a little bit closer here. Make it easier creating my faces, one here in the back, One at the bottom. Actually, this is probably wrong here now. There'll probably be something like this more. That's the top one. Then we can create a face here. So here looking in wireframe where our joint is, that's already pretty close. And then we want to create also kind of one a little bit further back. So with control, I'll drop one in here and drop one in there. This is going to be for our wrist, our three. This is going to be for our elbow and then same thing on the shoulder here. We have one for the top, one for the front, one in between, and one in the back, one in between, one here, one in the bottom. Okay, something like that perhaps. Let's see if we have that already on the right position. I could probably come a little bit more towards the arm. That's where our joint is. Okay, and then let's drop in the half, or you know the surrounding ones. the control one here and one there. That's going to be for our shoulder or arm joint rather. And this would be the shoulder. So then we'll have to continue on from there and see how we resolve that maybe we can actually move it all the way to the shoulder. I'm not sure how I'm going to model that, but let's continue onto the spine then also. So we probably want to have one here in the middle, and then this is where the other side would be, but we can then take the whole model and mirror it over. I'm just going to model one side for now. Okay. Here we also want to have one in the front. Let's see, we can use that one, we can maybe move it down, use that later on for something else here I want to try to see if I can connect those two together. Keep in mind that this doesn't need to look particularly pretty, this is really just, we want to model it as closely to the geometry as possible and this is then going to be the influence object or the wrap for the high-rise. So let's model the spine here. I don't want to model the whole thing, but I'll just a little bit further to see how we can connect those. Let's bring this over here, drop in another one. Look how it looks like so far. Okay, we need some here in the back. It's just one, then another one down here, one down here. Then we can close this off, and so on and so forth. And here on this bind, we kind of want to do the same thing, so we want to drop in lines or edges loops where we have the joints, right? So that we can then skin basically one loop to one joint. So let's make these joints a little bit bigger. Animation joint size 1. Probably not enough. Actually, that's okay. So we have one here on the top. So let's move all these a little bit higher up. disjoint right here and then we will create some for disjoint, for that drawing, disjoint and that drawing. Then some here. So this is going to be our, you know, side one, right? And you can see that it continues from the bottom all the way to the side down here. So let's Let's drop in a few more points, one, two, close to the joints. And then we want to have the ones on the front. So we have one here for this one already, then we need one for here, for there, there and there. And then the ones in between. Keep in mind we can always change it later on if we're not happy with those point positions. We can move them around. Okay. There'll be one more down here. more down here. Okay, let's say this was okay for now. If we now wanted to mirror that over to the other side, we should first make sure that all the points here in the middle are really on the middle edge. So that's isolated real quick and what I'm going to do is here I'm going to select all the vertices that should be in the middle plane and I'll go to absolute transforms and I'll set those all in X to 0. So by doing that now we can guarantee that they're all kind of in the center line. So now when we mirror there won't be any gaps. Then we can take this, delete the history here, delete the history and then we'll duplicate it and scale the duplicate with minus one and then we can combine those So mesh, mesh combine, and then isolate add selected objects. And now this is the combined object. We delete the history on this one. And now we have to make sure that we are merging these points. There might be multiple points here on top of each other. We have two points here. So if we select one point and move it away, you can see that there's this gap here now happening. So what we want to do is we want to also select all these points, all these words, where they each have two, one from the one side, one from the other side. And we want to go into the merge components. And we can set the threshold of how close they should be together for them to merge so that we're not merging all points into one spot. But this is, I think, a good default. And then we can double check to see and make sure that there's really only one left now if we select the whole range here. Then we can see that there is only one left now. Another good test to making sure that you have merged all of them if I undo real quick, Then we get R2 back. I'm not quite sure how far back I have to go. Here we go. Here we have R2. So when you're setting it to 3, when you're selecting the mesh and you're hitting 3, then you will see this hard line here. That indicates that there are actually two points on top of each other. While if we're merging them, we should see it all being one continuous line here. So let's merge them again, apply. And now if we go into object mode and we hit three, and we can see now this is all one line and or one surface rather. And we'll select the history again, delete it one more time. And then we have our symmetrical cage here. As I said before, I'm not going to model the whole thing here with you guys. I'm just going to stop the video here and then load in the one that I have already made and we can look at that and see how we can use that to do skinning and stuff like that."
+    }
+  ]
 }