Add transcription for: week03 05 eyes.wav

transcriptions/week03 05 eyes_transcription.json

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+{
+  "text": " Let's look at eye controls next. Add those in here. So for that what I'm going to do is let me hide the body here for a second and the face. And let's start by skinning the eyeballs to the joints. We haven't talked about skinning yet, but I can show you what settings I typically use. I just go to reset settings and all that I change is the bind to, I say select the joints and then I make sure that normalized weights is set to interactive. That's kind of the only two settings that are important to me. Everything else I usually leave as default. If you have older Maya version than 2015, this might be set to post for you by default, be careful if you go edit reset settings, make sure that you set this to interactive if it isn't, and make sure that you set this to select the joints. Okay, now we can apply. And we can do the same thing for the other one here as well. Skin smoothbind. Now we're taking those two, should be able to rotate them. Here we go. And now we want to create some aim constraints or some controls that we can actually have kind of a look at where these eyes can look at and the enemies can just animate that look control. So let's create a new circle here. NURBS circle. And let's snap, move it up here, snap it to the eye joint. You can rotate it 90 degrees. scale it up a little, maybe two, maybe the size of the eyeball. And then let's duplicate that, duplicate, move it over to the other side, freeze everything, freeze all, rename those guys, r, i, control, left, i, control, and do our color coding here as always. And then we created it from a circle, so we will have some construction history going on here, so I'll select both and go to edit, delete, but type history, just so you can get rid of these extra nodes that we don't need. Then what I'm going to do is I'm selecting these two controls, moving them forward here in front of the face. Perhaps 60 or 65, doesn't really matter so much. Again, kind of same with the pole vectors. I don't want them to be super far away and I don't want them to be too close either. Something in the middle here, it might work well. And then I'll freeze them one more time, freeze all. And now I will create my aim constraints. So I'll come in here, aim, constraint, aim, and I'll reset all those settings here. And let's select the control first, and then the joint. And If we just do a constraint like that, what tends to happen is that the eye rotates to the side, and we're getting a 90 degree value here. Now what you could do is you could turn the maintain offset on, hit apply, then you're getting no rotations here, but you're getting rotations in your offsets. Usually, most of the times, that might not be a big deal, but I also noticed in the past that sometimes when you're moving your rig around or your head around, then sometimes the eye can actually flip or pop 90 degrees, depending on what you're animating here. So it might not be the most robust solution. So what I'm going to try instead is I'm going to try to show you guys how we can set it up without having the offset on here. Getting rid of that 90 degree offset and also having 0, 0 in here and having 0, 0, 0 in the offsets. we find our joint and we open this up, then we can select our aim constraint and delete it. And instead, what I'm going to do is I'll turn the maintain offset off again. Okay, so I don't want to cheat using maintain offset. Instead, I want to get the constraint to do the right thing. And it's not that simple, not that difficult. It's actually quite easy to get that working. All what you have to do is you have to look at the, at the orientation of your eye joint or the thing that you want to constrain. And the best way to do that is by going into object or I guess object mode is probably the best way, because then you can see in which way the object is facing by default. So here we can see that Z is actually our aim axis. But if we're looking at the settings here, our aim vector is set to X. So that means what Maya will do is if you're using it like that, it first has to rotate the eye to the side so that x can actually be the axis that's pointing towards this object, right? So therefore we got this 90 degree rotation or we got the 90 degree rotation also for when we use maintain offset and then just put it into offset instead of the rotation itself. So instead what we can simply do is we can just give it a correct aim axis. So instead of x, we put x to zero and we put our aim should be z1. Okay, z positive. So that's why we put one in here. If we now hit apply, then it created our aim constraint. But now you can see although we have maintained offset off, it's still facing forward. And if we look at the constraint that it did create, so we have zero rotations here and we have zero in the offsets as well. So we already got that working. just by changing the aim vector to something different here. And now it will be a lot more robust. The other thing that I wanted to show you guys is that now if we're rotating this to the side, you will notice that the ADI is actually not rotating with the hat at the moment. It's maybe hard to see, but you can kind of see that the line here is always staying straight. Okay, it's following in terms of position, but it's not kind of rotating with the head. So if I rotate my head, I would expect the eye to also rotate with that. So for this eye, it's probably not a big deal, but where it is a big deal is if you have textures in here, or if you have a non-round pupil and iris, if you have, for example, snake or a cat or something, you know, that has a non round eye or iris and pupil, then that's going to be a problem because then you will notice that the slits or, you know, the eye texture here is going to stay straight as you're tilting your head. Okay. So a way around that is actually using an up vector. So let's do that. So I'll delete my aim constraint one more time and I will actually create an up object here. So then instead of using the vector here, I'll use up object and I'll specify the object that should always be up for that. So I will create two new locators. It's down there. I'll snap it up to the eye and then I will move it, well I'll duplicate it first, bring it over to the other side and then I can select both these locators and move them up a little bit. I'll move them up so that they're right above the eyes. It doesn't really matter where they are as long as they're above the eye joint, so it would even be fine if they're here, but I usually move them a little bit above the eyes. And then we can parent those guys to the head so that whenever we rotate the head or do anything with the head, they kind of are following with that so that when we use those as up vectors for our eyes that the eyes will then rotate with the hat. That's the whole idea, right? So now we'll create our constraint again and we will use these up vectors. We will rename them to be our eye up locator and left eye up locator and we'll select our control again then we'll select our joint and then we will use the same settings as before so we make sure that the Z is still our aim vector our up vector should be looking at this, it should be y, so that's already correct, x, y, z, so y is correct, and then we use object up instead of vector up, and then we specify the name of our up object, so it was r i up that we called our locator, r i up locator, and we'd apply, make sure that we still have zero rotations in here, and we have zero in the offsets, and Now, if we test this out, we can see that we can rotate our eye, and we also have control of a turn the bioframe back on over where up is for that, using that up locator. And now if we're rotating this, then you will see that now the eye is actually rotating properly. So even if you have textures on or anything, it will no longer kind of stay straight as we had before without the up object, now we'll actually go along for the rights, it's doing the right thing. And if we look left and right, then it will aim towards this control here. So we'll work both ways. If we're moving our head, it will still focus at these controls, and if we're moving these controls, then it will also focus at these controls. Okay, that's the whole idea of the aim constraint here. And we'll quickly do it with the same settings on the other eye, so we select the control, then we select the joint, and we see aim vector should still be Z, up vector should still be 1, and for up object, we're going to use the other one now, the left eye up, left eye up locator, hit apply, and also double checking, we get zero rotations, zero offsets, the eye didn't move, so now we also have this eye working. And the up vector locators are parented under the head. So now we can take these locators, we can hide them, we don't need to see those anymore. And we can maybe create another control for both eyes at the same time so that animators don't have to select those together. So let's duplicate this control here maybe. And now what I want to do is I want to kind of move it into the middle. But you can also see that we have already zeroed it out. So how do we know where the middle is exactly? I mean we could probably eyeball it, but how do we how can we bring it exactly in the middle? You could probably use grid snapping here. So you could just snap it to in this axis here. Another way that you can also use is you can come up here and you can say absolute transforms and then since we want to move it in x we want to use an absolute you know zero so we want to bring it to the origin right so we put zero here and then it's exactly in the middle here in the center on zero in x because we use the absolute transform. So now we have that, now we can make this a little bit bigger, scale it, kind of goes around, can probably grab these points here in component mode, move them down a little bit, move those up over something like that perhaps, shape our control until we're happy with it. Okay, and then we will change the color here of this. First we will call it MIs control because it's for both now. Then we'll freeze it. Everything will change the color since this is a middle control now. We'll make this yellow. And then Then we can parent those two guys into this bigger guy. And now if we take our ice control and we move it around, we can see we have one control for both eyes. And we can still take these individual controls and kind of offset them if we want to. Then it's time for a little bit of locking. So here we probably don't need any rotation. It's not doing anything. We don't need any scaling. It's also not doing anything. So let's get rid of rotation scale and visibility. Lock and hide. Same thing on that one. G. And then here, we want to have the translation x, y, c. So we can move it in all three axes. It depends if we want to have the rotation here now too. It does something, but probably not very useful, I would argue. Also in this way it doesn't make too much sense here I guess. So we can probably get rid of all the rotations I would say. Lock and hide. We should also get rid of the visibility. Lock and hide. And now for the scaling. Scaling up and down doesn't make a difference. Scaling in this way also doesn't make a difference. And set scaling in x does kind of make a difference. If we're scaling in x what we can see, so we can kind of create an across-eyed look and a wall-eyed look. But at the same time, we also have to scale our control quite a bit. So I would recommend doing the cross-eye and wall-eye the different way, not using scaling. So what I'll do is I'll just lock and hide that too. And what we could probably do is just kind of add an offset or something like that, that we can move these individual controls in and out using an attribute here, perhaps, you know, I width or something like that, a custom attribute. For now, let's leave it at that and just have our regular I aim control like this.",
+  "segments": [
+    {
+      "text": " Let's look at eye controls next. Add those in here. So for that what I'm going to do is let me hide the body here for a second and the face. And let's start by skinning the eyeballs to the joints. We haven't talked about skinning yet, but I can show you what settings I typically use. I just go to reset settings and all that I change is the bind to, I say select the joints and then I make sure that normalized weights is set to interactive. That's kind of the only two settings that are important to me. Everything else I usually leave as default. If you have older Maya version than 2015, this might be set to post for you by default, be careful if you go edit reset settings, make sure that you set this to interactive if it isn't, and make sure that you set this to select the joints. Okay, now we can apply. And we can do the same thing for the other one here as well. Skin smoothbind. Now we're taking those two, should be able to rotate them. Here we go. And now we want to create some aim constraints or some controls that we can actually have kind of a look at where these eyes can look at and the enemies can just animate that look control. So let's create a new circle here. NURBS circle. And let's snap, move it up here, snap it to the eye joint. You can rotate it 90 degrees. scale it up a little, maybe two, maybe the size of the eyeball. And then let's duplicate that, duplicate, move it over to the other side, freeze everything, freeze all, rename those guys, r, i, control, left, i, control, and do our color coding here as always. And then we created it from a circle, so we will have some construction history going on here, so I'll select both and go to edit, delete, but type history, just so you can get rid of these extra nodes that we don't need. Then what I'm going to do is I'm selecting these two controls, moving them forward here in front of the face. Perhaps 60 or 65, doesn't really matter so much. Again, kind of same with the pole vectors. I don't want them to be super far away and I don't want them to be too close either. Something in the middle here, it might work well. And then I'll freeze them one more time, freeze all. And now I will create my aim constraints. So I'll come in here, aim, constraint, aim, and I'll reset all those settings here. And let's select the control first, and then the joint. And If we just do a constraint like that, what tends to happen is that the eye rotates to the side, and we're getting a 90 degree value here. Now what you could do is you could turn the maintain offset on, hit apply, then you're getting no rotations here, but you're getting rotations in your offsets. Usually, most of the times, that might not be a big deal, but I also noticed in the past that sometimes when you're moving your rig around or your head around, then sometimes the eye can actually flip or pop 90 degrees, depending on what you're animating here. So it might not be the most robust solution. So what I'm going to try instead is I'm going to try to show you guys how we can set it up without having the offset on here. Getting rid of that 90 degree offset and also having 0, 0 in here and having 0, 0, 0 in the offsets. we find our joint and we open this up, then we can select our aim constraint and delete it. And instead, what I'm going to do is I'll turn the maintain offset off again. Okay, so I don't want to cheat using maintain offset. Instead, I want to get the constraint to do the right thing. And it's not that simple, not that difficult. It's actually quite easy to get that working. All what you have to do is you have to look at the, at the orientation of your eye joint or the thing that you want to constrain. And the best way to do that is by going into object or I guess object mode is probably the best way, because then you can see in which way the object is facing by default. So here we can see that Z is actually our aim axis. But if we're looking at the settings here, our aim vector is set to X. So that means what Maya will do is if you're using it like that, it first has to rotate the eye to the side so that x can actually be the axis that's pointing towards this object, right? So therefore we got this 90 degree rotation or we got the 90 degree rotation also for when we use maintain offset and then just put it into offset instead of the rotation itself. So instead what we can simply do is we can just give it a correct aim axis. So instead of x, we put x to zero and we put our aim should be z1. Okay, z positive. So that's why we put one in here. If we now hit apply, then it created our aim constraint. But now you can see although we have maintained offset off, it's still facing forward. And if we look at the constraint that it did create, so we have zero rotations here and we have zero in the offsets as well. So we already got that working. just by changing the aim vector to something different here. And now it will be a lot more robust. The other thing that I wanted to show you guys is that now if we're rotating this to the side, you will notice that the ADI is actually not rotating with the hat at the moment. It's maybe hard to see, but you can kind of see that the line here is always staying straight. Okay, it's following in terms of position, but it's not kind of rotating with the head. So if I rotate my head, I would expect the eye to also rotate with that. So for this eye, it's probably not a big deal, but where it is a big deal is if you have textures in here, or if you have a non-round pupil and iris, if you have, for example, snake or a cat or something, you know, that has a non round eye or iris and pupil, then that's going to be a problem because then you will notice that the slits or, you know, the eye texture here is going to stay straight as you're tilting your head. Okay. So a way around that is actually using an up vector. So let's do that. So I'll delete my aim constraint one more time and I will actually create an up object here. So then instead of using the vector here, I'll use up object and I'll specify the object that should always be up for that. So I will create two new locators. It's down there. I'll snap it up to the eye and then I will move it, well I'll duplicate it first, bring it over to the other side and then I can select both these locators and move them up a little bit. I'll move them up so that they're right above the eyes. It doesn't really matter where they are as long as they're above the eye joint, so it would even be fine if they're here, but I usually move them a little bit above the eyes. And then we can parent those guys to the head so that whenever we rotate the head or do anything with the head, they kind of are following with that so that when we use those as up vectors for our eyes that the eyes will then rotate with the hat. That's the whole idea, right? So now we'll create our constraint again and we will use these up vectors. We will rename them to be our eye up locator and left eye up locator and we'll select our control again then we'll select our joint and then we will use the same settings as before so we make sure that the Z is still our aim vector our up vector should be looking at this, it should be y, so that's already correct, x, y, z, so y is correct, and then we use object up instead of vector up, and then we specify the name of our up object, so it was r i up that we called our locator, r i up locator, and we'd apply, make sure that we still have zero rotations in here, and we have zero in the offsets, and Now, if we test this out, we can see that we can rotate our eye, and we also have control of a turn the bioframe back on over where up is for that, using that up locator. And now if we're rotating this, then you will see that now the eye is actually rotating properly. So even if you have textures on or anything, it will no longer kind of stay straight as we had before without the up object, now we'll actually go along for the rights, it's doing the right thing. And if we look left and right, then it will aim towards this control here. So we'll work both ways. If we're moving our head, it will still focus at these controls, and if we're moving these controls, then it will also focus at these controls. Okay, that's the whole idea of the aim constraint here. And we'll quickly do it with the same settings on the other eye, so we select the control, then we select the joint, and we see aim vector should still be Z, up vector should still be 1, and for up object, we're going to use the other one now, the left eye up, left eye up locator, hit apply, and also double checking, we get zero rotations, zero offsets, the eye didn't move, so now we also have this eye working. And the up vector locators are parented under the head. So now we can take these locators, we can hide them, we don't need to see those anymore. And we can maybe create another control for both eyes at the same time so that animators don't have to select those together. So let's duplicate this control here maybe. And now what I want to do is I want to kind of move it into the middle. But you can also see that we have already zeroed it out. So how do we know where the middle is exactly? I mean we could probably eyeball it, but how do we how can we bring it exactly in the middle? You could probably use grid snapping here. So you could just snap it to in this axis here. Another way that you can also use is you can come up here and you can say absolute transforms and then since we want to move it in x we want to use an absolute you know zero so we want to bring it to the origin right so we put zero here and then it's exactly in the middle here in the center on zero in x because we use the absolute transform. So now we have that, now we can make this a little bit bigger, scale it, kind of goes around, can probably grab these points here in component mode, move them down a little bit, move those up over something like that perhaps, shape our control until we're happy with it. Okay, and then we will change the color here of this. First we will call it MIs control because it's for both now. Then we'll freeze it. Everything will change the color since this is a middle control now. We'll make this yellow. And then Then we can parent those two guys into this bigger guy. And now if we take our ice control and we move it around, we can see we have one control for both eyes. And we can still take these individual controls and kind of offset them if we want to. Then it's time for a little bit of locking. So here we probably don't need any rotation. It's not doing anything. We don't need any scaling. It's also not doing anything. So let's get rid of rotation scale and visibility. Lock and hide. Same thing on that one. G. And then here, we want to have the translation x, y, c. So we can move it in all three axes. It depends if we want to have the rotation here now too. It does something, but probably not very useful, I would argue. Also in this way it doesn't make too much sense here I guess. So we can probably get rid of all the rotations I would say. Lock and hide. We should also get rid of the visibility. Lock and hide. And now for the scaling. Scaling up and down doesn't make a difference. Scaling in this way also doesn't make a difference. And set scaling in x does kind of make a difference. If we're scaling in x what we can see, so we can kind of create an across-eyed look and a wall-eyed look. But at the same time, we also have to scale our control quite a bit. So I would recommend doing the cross-eye and wall-eye the different way, not using scaling. So what I'll do is I'll just lock and hide that too. And what we could probably do is just kind of add an offset or something like that, that we can move these individual controls in and out using an attribute here, perhaps, you know, I width or something like that, a custom attribute. For now, let's leave it at that and just have our regular I aim control like this."
+    }
+  ]
+}