Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part3_week06 03 adding individual hips ctrls_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part3_week06 03 adding individual hips ctrls_frames_transcription.json

@@ -0,0 +1,8 @@
+{
+  "text": " In this video I want to show a way how we can resolve that extreme deformation that's occurring on the hips. If we switch this to FK, we rotate it up. We rotate the hips quite a lot forward, which I think is totally a pose that the character should be able to do. It's not unrealistic. So here we can see we have a lot of volume loss. And if we look at areas where we dealt with that before, we kind of have two areas where we did that already. One was on the knee, where we resorted to having a split knee, basically having two joints in here as opposed to just one where the rotation occurs from. And then the other form that we have of that would be the arm and shoulder. So if we move the arm up in an extreme way, let's switch this to FK2 here actually and rotate the arm up in an extreme way. We can also see that it's quite an extreme deformation that we are seeing here, but we also talked about that we cannot really lift our arm without moving our shoulder up. Now if we move the shoulder up and the upper arm down a little bit, then we can see where getting a much better deformation. This might still need to be cleaned up a little bit with weights painting, but we haven't even gotten to this point yet. But just by splitting out that rotation into two parts, we should see that here, we have kind of like 45, maybe a 50 degrees from our shoulder, and then we have maybe another 30 or 45 degrees from our arm we get a much better deformation by splitting it out into two joints here. So it's very very similar to what we actually did with the knees, splitting it out into two points where it rotates from. And exactly the same thing we can actually do for the hips here as well or for this leg-root joint. Instead of rotating just from one point we can actually rotate from two points. So let's Let's drop in two more joins here, trying to do that from the front view. And here what I want to do is I want to kind of start pretty high up, kind of where maybe the hip bone would be, somewhere around here maybe. And then I want to end it where the leg starts. Then we can take this and move it forward a little bit. And what we're going to do here with these two joints is we're going to call them hip joint, but right hip root joint and right hip end joint. We're going to group the root and create, name this hip group. And what we also want is we also want to have a control to control that joint. So let's create a curve. I'll go for linear here. And I'll just create a little axis. across here. Looks like a locator. And let's bring this up to the hips root. Snap it there. And then what I'll do is I'll move it out a little bit so that we can actually see that it sits outside of the geometry here. And we'll freeze that. Freeze everything. Rename We're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go rotate the hip. What I'll also do is I'll also move the pivot of it inside so that I can actually rotate also in and out. So I'll take the pivot of that control and move it to where the joint is. Now by selecting this control I can move the hip forward and backward and I can also move it out and in if I have to. Okay, so the next step would be we want the right hip to follow the same thing, to basically follow our hips control. It should go along for the right. So we can just parent this in there. Before I do that though, I actually probably should do the same thing on the other side. And we have a couple of different ways how we can do that. We can either kind of replicate it on the other side. So take our joint, mirror the joint, or we can actually try to take that whole group, It's duplicated and with the pivot being at the origin, you can just scale it with minus one and x, then we have it on the other side. And if we're keeping our, so let's change the name here of that actually. Let's go to modify, search and replace r underscore with l underscore and the whole hierarchy and apply. Then we can remove the one from the end here. We can change the color coding to blue. And now because I have that left hip group scaled with minus one, and that's what we're going to keep, we also have it mirrored already. Oops. We also have it mirrored already. So in, out, forward, back. Twisting, probably we don't really need. but in and out and forward back. And then we'll take these two hip groups and parent it under the hips control parent. And we'll find them again, reveal selected. So this is where they are now under the hips control. So that means that when we move the hips control, the right hip and left hip go along for the right. And then what we wanna do next is now If we rotate the right hip, for example, we want the leg to follow. So here we have our leg group. We also have our leg root stretch that can actually go under the right leg group. And the left leg root stretch can also go under the left leg group. We have that already cleaned up. And now we can take the right leg and parent it under the right hip control. And the left leg can go under the left hip control. All right? And now if we take that, so in terms of the hips, it's going to be exactly the same behavior that it was before with the legs. Right? But now we have that additional control where we can rotate the hip just one side at a time. We can rotate it in and out. And now you can already see perhaps that we can rotate from this point, the hip, and we can rotate the leg here as well from a lower point. So we are getting essentially exactly what we did on the shoulder where we can rotate our leg forward. And we can try to clean it up a little bit with partial joints or something like that. But let's say we rotate this forward 90 degrees and the rest of the rotation can actually come from a different pivot from the hip here, a different joint. So it's quite an extreme pose and we're still losing a little bit of volume we haven't even done any weights painting at this point, but if we compare that to the other side, let's switch the other side here over, to be able to get that same pose, we'd have to take this one joint and rotate it all the way up here. And we're getting a lot more issues here than here. Actually, let's rotate this down a little bit more. Something like this. So this should work a little bit better. Actually you know what? One thing that I completely forgot, this is not even the end of it I think, because at a moment we're still using exactly the same weighting. We haven't even taken this joint in there yet. Those new joints, those new hip joints, that's why it looks a little bit funky. So let's reset all those controls here back to neutral. And I'll also take the arm, set back to neutral. And this arm setting it back to neutral. And then let's select our joints here again. Skin joints. And now it picks up the new joints here as well. They weren't even in the skin cluster before, so now we have our right hip and left hip joints. Then we select, make sure we have to deselect, detach the skin first, delete the old skin cluster, so detach the skin, select our skinning joints, select our skin, smooth bind it again, and now we should see it actually do something. So now we have one pivot here, that's exactly what I was after. So if we rotate our leg forward now, we have our regular, you know, up leg rotation or leg root, and then now we have this additional pivot with weighting this time. So now we can see it's creating a better shape. It's keeping its volume a little bit better than before, even in that really, really extreme pose by just splitting it into two joints here, as opposed to one. And now we can still clean it up a little bit. You know, we can still do our weights painting. We haven't even started doing that yet. So that should give us a better, an even better result than what we currently seeing. Because at the moment we can see that all this area here above is actually rotating with the hip when in fact it probably shouldn't. So there should be an area that stays straight and that weighting we can probably change a little bit to improve. What we can do as a next step here for the hips is we can even think about making auto hips similar to what we were doing with the shoulders where if, for example, our IK leg moves forward, let's switch this back to IK. If this goes up, we could make it so that we add another post reader in here and say, okay, if this goes forward, then we want a little bit of hips movement here too, like 50% of the hips coming forward as well. Or we just keep it manual. I'll probably try to add, or I might add another video for this auto hip. We will see if time allows, but that's something that I've done in the past and it worked quite well because then the more extreme your position gets, or your pose gets, let's move those up a little bit more. The more useful it actually is to animate the hips. And if animators don't do it, if there's a zero then it will look kind of weird. So we always want to have a little bit of rotation going on here. So I think it is a good thing to have that auto hips in there, but maybe we will look get that after we have cleaned up the deformation a little bit. We will see. Now we can also rotate this out. Even in IK you can also see that we can animate the hips forward back, which is nice and we can even take translation here. So if we want we can allow a little bit of translation, like kind of moving the upper part of the leg wherever we feel like. I mean, obviously, we shouldn't be overdoing it, but it's nice to have that extra control. And you can even scale this up too, to kind of create variations with this. Now this only works to some extent, because now if we take this leg and move it up, it will kind of break down a little bit. But I just want to show you the possibilities that we can keep on working on this. And without too much work, we can scale certain body parts up and down in case we want to create a lot of different variations out of our character. This is not really the premise here, but I wanted to show you that we started from a very simple base rig, and now we're adding on to these layers here bit by bit, adding more features and even here for the hips I think we also could potentially keep on the scale. We haven't even locked anything of those controls yet. Again for creating variations and stuff like that. At the moment here I'm probably going to lock and hide the scale and visibility though. If we want to we can maybe unlock it later but lock and hide. And And I'll do the same thing on the other hips here. Lock and hide. And then I'll do the same thing here on the hips. M-Hips. Lock and hide. And on those ones here also. and under chest as well.",
+  "segments": [
+    {
+      "text": " In this video I want to show a way how we can resolve that extreme deformation that's occurring on the hips. If we switch this to FK, we rotate it up. We rotate the hips quite a lot forward, which I think is totally a pose that the character should be able to do. It's not unrealistic. So here we can see we have a lot of volume loss. And if we look at areas where we dealt with that before, we kind of have two areas where we did that already. One was on the knee, where we resorted to having a split knee, basically having two joints in here as opposed to just one where the rotation occurs from. And then the other form that we have of that would be the arm and shoulder. So if we move the arm up in an extreme way, let's switch this to FK2 here actually and rotate the arm up in an extreme way. We can also see that it's quite an extreme deformation that we are seeing here, but we also talked about that we cannot really lift our arm without moving our shoulder up. Now if we move the shoulder up and the upper arm down a little bit, then we can see where getting a much better deformation. This might still need to be cleaned up a little bit with weights painting, but we haven't even gotten to this point yet. But just by splitting out that rotation into two parts, we should see that here, we have kind of like 45, maybe a 50 degrees from our shoulder, and then we have maybe another 30 or 45 degrees from our arm we get a much better deformation by splitting it out into two joints here. So it's very very similar to what we actually did with the knees, splitting it out into two points where it rotates from. And exactly the same thing we can actually do for the hips here as well or for this leg-root joint. Instead of rotating just from one point we can actually rotate from two points. So let's Let's drop in two more joins here, trying to do that from the front view. And here what I want to do is I want to kind of start pretty high up, kind of where maybe the hip bone would be, somewhere around here maybe. And then I want to end it where the leg starts. Then we can take this and move it forward a little bit. And what we're going to do here with these two joints is we're going to call them hip joint, but right hip root joint and right hip end joint. We're going to group the root and create, name this hip group. And what we also want is we also want to have a control to control that joint. So let's create a curve. I'll go for linear here. And I'll just create a little axis. across here. Looks like a locator. And let's bring this up to the hips root. Snap it there. And then what I'll do is I'll move it out a little bit so that we can actually see that it sits outside of the geometry here. And we'll freeze that. Freeze everything. Rename We're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go to our command and we're going to go rotate the hip. What I'll also do is I'll also move the pivot of it inside so that I can actually rotate also in and out. So I'll take the pivot of that control and move it to where the joint is. Now by selecting this control I can move the hip forward and backward and I can also move it out and in if I have to. Okay, so the next step would be we want the right hip to follow the same thing, to basically follow our hips control. It should go along for the right. So we can just parent this in there. Before I do that though, I actually probably should do the same thing on the other side. And we have a couple of different ways how we can do that. We can either kind of replicate it on the other side. So take our joint, mirror the joint, or we can actually try to take that whole group, It's duplicated and with the pivot being at the origin, you can just scale it with minus one and x, then we have it on the other side. And if we're keeping our, so let's change the name here of that actually. Let's go to modify, search and replace r underscore with l underscore and the whole hierarchy and apply. Then we can remove the one from the end here. We can change the color coding to blue. And now because I have that left hip group scaled with minus one, and that's what we're going to keep, we also have it mirrored already. Oops. We also have it mirrored already. So in, out, forward, back. Twisting, probably we don't really need. but in and out and forward back. And then we'll take these two hip groups and parent it under the hips control parent. And we'll find them again, reveal selected. So this is where they are now under the hips control. So that means that when we move the hips control, the right hip and left hip go along for the right. And then what we wanna do next is now If we rotate the right hip, for example, we want the leg to follow. So here we have our leg group. We also have our leg root stretch that can actually go under the right leg group. And the left leg root stretch can also go under the left leg group. We have that already cleaned up. And now we can take the right leg and parent it under the right hip control. And the left leg can go under the left hip control. All right? And now if we take that, so in terms of the hips, it's going to be exactly the same behavior that it was before with the legs. Right? But now we have that additional control where we can rotate the hip just one side at a time. We can rotate it in and out. And now you can already see perhaps that we can rotate from this point, the hip, and we can rotate the leg here as well from a lower point. So we are getting essentially exactly what we did on the shoulder where we can rotate our leg forward. And we can try to clean it up a little bit with partial joints or something like that. But let's say we rotate this forward 90 degrees and the rest of the rotation can actually come from a different pivot from the hip here, a different joint. So it's quite an extreme pose and we're still losing a little bit of volume we haven't even done any weights painting at this point, but if we compare that to the other side, let's switch the other side here over, to be able to get that same pose, we'd have to take this one joint and rotate it all the way up here. And we're getting a lot more issues here than here. Actually, let's rotate this down a little bit more. Something like this. So this should work a little bit better. Actually you know what? One thing that I completely forgot, this is not even the end of it I think, because at a moment we're still using exactly the same weighting. We haven't even taken this joint in there yet. Those new joints, those new hip joints, that's why it looks a little bit funky. So let's reset all those controls here back to neutral. And I'll also take the arm, set back to neutral. And this arm setting it back to neutral. And then let's select our joints here again. Skin joints. And now it picks up the new joints here as well. They weren't even in the skin cluster before, so now we have our right hip and left hip joints. Then we select, make sure we have to deselect, detach the skin first, delete the old skin cluster, so detach the skin, select our skinning joints, select our skin, smooth bind it again, and now we should see it actually do something. So now we have one pivot here, that's exactly what I was after. So if we rotate our leg forward now, we have our regular, you know, up leg rotation or leg root, and then now we have this additional pivot with weighting this time. So now we can see it's creating a better shape. It's keeping its volume a little bit better than before, even in that really, really extreme pose by just splitting it into two joints here, as opposed to one. And now we can still clean it up a little bit. You know, we can still do our weights painting. We haven't even started doing that yet. So that should give us a better, an even better result than what we currently seeing. Because at the moment we can see that all this area here above is actually rotating with the hip when in fact it probably shouldn't. So there should be an area that stays straight and that weighting we can probably change a little bit to improve. What we can do as a next step here for the hips is we can even think about making auto hips similar to what we were doing with the shoulders where if, for example, our IK leg moves forward, let's switch this back to IK. If this goes up, we could make it so that we add another post reader in here and say, okay, if this goes forward, then we want a little bit of hips movement here too, like 50% of the hips coming forward as well. Or we just keep it manual. I'll probably try to add, or I might add another video for this auto hip. We will see if time allows, but that's something that I've done in the past and it worked quite well because then the more extreme your position gets, or your pose gets, let's move those up a little bit more. The more useful it actually is to animate the hips. And if animators don't do it, if there's a zero then it will look kind of weird. So we always want to have a little bit of rotation going on here. So I think it is a good thing to have that auto hips in there, but maybe we will look get that after we have cleaned up the deformation a little bit. We will see. Now we can also rotate this out. Even in IK you can also see that we can animate the hips forward back, which is nice and we can even take translation here. So if we want we can allow a little bit of translation, like kind of moving the upper part of the leg wherever we feel like. I mean, obviously, we shouldn't be overdoing it, but it's nice to have that extra control. And you can even scale this up too, to kind of create variations with this. Now this only works to some extent, because now if we take this leg and move it up, it will kind of break down a little bit. But I just want to show you the possibilities that we can keep on working on this. And without too much work, we can scale certain body parts up and down in case we want to create a lot of different variations out of our character. This is not really the premise here, but I wanted to show you that we started from a very simple base rig, and now we're adding on to these layers here bit by bit, adding more features and even here for the hips I think we also could potentially keep on the scale. We haven't even locked anything of those controls yet. Again for creating variations and stuff like that. At the moment here I'm probably going to lock and hide the scale and visibility though. If we want to we can maybe unlock it later but lock and hide. And And I'll do the same thing on the other hips here. Lock and hide. And then I'll do the same thing here on the hips. M-Hips. Lock and hide. And on those ones here also. and under chest as well."
+    }
+  ]
+}