Add transcription for: week01 09 modular rigging and simple spine.wav

transcriptions/week01 09 modular rigging and simple spine_transcription.json

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+  "text": " Okay, so I'm going to continue here where we left off. We have all of our joints created, at least the ones that we need for now. And everything is named properly, everything is mirrored to the other side. We did the orientation axis of our joints. So what you will notice here is that I have all these joints are still separated, all these different hierarchies, and I'm actually going to keep that. I'm going to work on individual modules or pieces of the rig one at a time to kind of make it a little bit easier as opposed to thinking of the whole rig as one. I'll rig, you know, I'll think about it as a leg rig and an arm rig and a hand rig and so on, and then we will connect these little rigs together at the end. So first thing that we can do here with these joins in our rig group, we can start grouping them a little bit together at the moment. It might not make too much sense, but later on when we add controls and other things, then I will probably become clearer why we are doing that. So I'll start with the spine, root joint here, I'll group that, and Ctrl G, and I will name that spine group, or M spine group. The moment I only have kind of the joint hierarchy under it. Then I will do that with these other pieces here too. So the leg, we can group that and call this our leg group. And then we'll continue with the arm. That's our arm group. All of these pieces, we don't have to group everything. So for example, the fingers here, all the right fingers, we can group all those together. And that will be our right hand group. And then the left fingers. Those go together into one group. That's going to be our left hand group. Then the foot, I want to keep separate. So left foot group, right foot group. Then the leg, left leg here, left leg group, left arm. left arm group, then perhaps the neck, well let's group it too, to its own group, neck group. Neck will probably keep very simple for in the beginning, and then the jaw we can probably group together with the head into a head group. Okay, so here we have our different or individual modules and our individual packages or individual rakes however you want to think about it that will help us kind of organize our rake and work on these individual rakes one at a time and then later we can connect these little pieces together like Lego bricks. So then we probably want to have you know we want to start creating some controls now. We probably want to I have one control to move the whole character around and probably also want to have our character be scalable. That's also quite important. So we'll add one control. I will start very simple here with, let's see what am I going to do. I'll do some errors here. So for controls I always use NURBS curves. I can use the CV curve tool. There are kind of two different options that you have, linear or cubic. I don't know if everybody knows the difference between those two, but linear is basically if you draw, it will go from point to point and draw a line, a straight line in between so we can get corners and everything. And cubic is smooth, so if we draw three points or sort of four points or more, then it will start adding a curve. And you can also see with the cubic that it does not really go through the control points here, kind of like draws a line between them. We can take these curves, these points and move them around, but the further we move it away, the longer the distance we'll get. So these points are, as the name already says, they're kind of control points, but not really points that the curve is going through. They're more like kind of points that are describing the curve. While here with the linear one, each, you know, the curve is actually going through each point in a linear fashion. So how can we, for example, create curves that are both, that are round, and then have some kinks or some edges in there? We can do that with using cubic. If we go in here, actually let me hide the rig here for a second. If we're going to cubic and we draw, I'll use grid snapping here, I'll draw some points like this maybe for getting around curve for points and now if I want to get a kink in here what I'll do is I'll just drop three points under the same so we already have one point I'll do another one click and I'll do another one click and then I'll start my next point here. So then we can see that now we have a curved line and then a straight line with a sharp corner in here. And the reason why this works is it's actually quite simple. If you think about it, if we are using the cubic curve here and we go from, let's see, Let's create a bunch of points here. Now we take these points and we bring three of these points closer together. Can see the closer we are bringing them together, the sharper this, you know, the roundness here will get, or the less rounder will get, the smaller the curve, the curvature here. until we bring it all the way together into one point, then we're getting a sharp corner here. So if we take these three points and we kind of scale them down to one, scale a bunch of times, then we're getting a sharp corner here, having three points together. And that is actually what these numbers here mean. So three means we need three points to describe a corner. Five would mean that we need five points in one spot to describe a sharp corner, okay, our direction change, and seven means seven and so on and so forth. Usually most of the time I really only use linear or cubic, one of the two depending on what type of curve I want to draw. So let's start by creating a linear one. I'll draw from the top and I'll use grid snapping here. So I'll start by creating control. Let's see here. Perhaps something like this. I'll use 3, 1, 3, 1, 2, 2, 1, 3, 3, 1, 2, 2 diagonal. OK, here we go. So here we have our first control. And controls can really be anything. But as I said, most of the time I use nerf curves for my controls because that has a great advantage, which I can show you here. If we have all of our controls be nerf curves and we have, let's say, geometry and let's say we have also our joints showing up here, then if you want to hide all the controls at once, we actually don't need to display there. All we have to do is we just have to go to show nerf curves, turn that off, and it will hide all of our controls at once. So that is pretty handy for example if the animators want to create a playblast or whatnot then they have a quick way of hiding all their controls and just showing the geometry and if they want to show the controls again because they want to keep on animating then they can just come here show the nerves curves and then they have their controls back. So really controls can be any type of object any type of transform but if you keep them all to one kind, especially if it's NURBS curves. First of all, they don't render, they don't show up in renders, and second of all, there is this easy kind of one step click for animators to be able to hide all the controls at once if they're the same kind of type. Okay, so now I've created my one control here, and let me bring it back to the origin where it was. Now we We can scale it up however big we need it. See we can also modify these a little bit actually. Probably these are a little bit too long. Usually I do them a little bit shorter. So let's try to bring those back if we can. We can try to use grid snapping here using X and then just moving them in one axis. Okay, actually I could have picked that one too here. Okay, these two one in. These one in. This one in. Oops. Only those one in. And one in. Here we go. So that should probably work a little bit better. We don't have to worry too much about what these controls look like. I mean ideally we get them right for Semiron, but we can always change those controls into shapes later on. I can show you how to do that in case you don't know. Let's get something started here. Let's use that. Maybe a little bit. I'll probably keep them well. Probably try to center it here a little bit more. And then I'll bring the pivot probably back. Perhaps this whole character would need to go a little bit further back, but let's put it like, well, I actually want to keep that in the center, so you know what, let's set this back and let's leave the character standing a little bit more in the front. OK. Let's call this mAllControl. So I use my name you can mention again. First decide then what it is and then underscore and then control. So this is going to control everything, the whole rig, the whole character. We could also call this root or center or something like that. I like to call it all. And then we will take this allControl. We will freeze everything. So they're kind of like always three steps with controls that I like to do are actually almost four steps depending on what type of control but first we want to make sure that everything is frozen okay we don't want to have any values in here not in scale not in rotation not in translation so we'll right click here and say freeze all. That's the one step once we are happy with where you know that control is you know after we position it or rotated it or whatever scaled it then we always want to make sure that we freeze in the position that we're happy with. Then the next step that we want to do is we want to give it a name. I already did that. And then the next thing that we do is we want to use color coding. Because if we have all of our controls have the same color, then they're going to be really hard to distinguish from each other. So color coding is a good way. And it's not really a standard, but a lot of people use yellow for middle controls and then either red or blue for left side and then kind of the other color for the other So I'm doing the same. You would see that in a lot of ricks, actually, either red, kind of bright colors, you know, either a bright red or a bright blue or a bright green, and then bright yellow, these are kind of like the three or four colors that most people use. So to color code or control what we will do is we will go into the attribute editor and we have these two nodes here where we have the transform node and underneath the shape node and we always want to do our color coding on the shape node. We can actually do it on both but I think it's a lot better to do it on the shape node than on the transform node and I'll show you why. because if you, well let's actually put it into the rig first and then I'll show you how to color code. It's quite simple. You just take this transform node and all control, put it under the rig because that's where it belongs, right, it's part of the rig. And now if we want everything else to follow, we can just parent everything under this all control. So we'll take all these groups, all these individual pieces here, and parent them under the all control. And by doing that, now you've essentially created a hierarchy where if I show my joints here, then we can take the all control and we can just scale it, translate it and rotate it. Right? That's all what we need. We probably don't need the visibility, so we can lock and hide the visibility. Locking and hiding attributes that we don't want here is another thing that's pretty important. If certain things don't make sense for your character, or they don't do anything, or they even break the rig, in the worst case scenario, like translating it kind of moves the hand completely away from the arm or whatever, or if that's something that you don't want the animators to be using, then you should go ahead and you should at least lock it, but ideally even lock and hide it so that animators can't see that anymore. So if we go lock, you can either lock and then hide, you can lock and hide in one step and it will do whatever attributes you have selected. Now if you want to bring those attributes back because for example you locked and you did lock and hide them by accident, you have to go into the channel box. There is no kind of like unlock. Well there is unlock but it only works on the ones that you've selected. You can lock and unlock but you cannot really unhide from here from the right click menu because you would have to select the ones that you want to unhide. So the channel box, or not the channel box, the channel control, bring it up under window. I think it's under general editors, channel control, that view here. Another way to access that is also from here, edit channel control. Okay, edit channel control, brings up the same window. And then here you have the kube attributes. Kube attributes basically means whatever you see in the channel box. And then you have a second tab here for the ones that are locked. So if we were to unlock those scales, we just take them from the locked and move them to the non-locked. Just put that button, we select them and move them. Now they're unlocked. So now we can scale that rig again. Okay, but there's still not showing up here. So if we want them to show up, we actually have to go to Keable and we have to bring into the Keable state here. So non-Keable hidden, they are in here. We have to find them, scale. Here it is. And we'll bring them over just by moving them over to this side here. And then they show up here again. OK, channel control. So now let's get back to the color coding of those controls. If we do it on a transform node as opposed to on the shape node beneath it, if we do it on a transform node, we go to attribute editor. We're on the transform node here. And we come to drawing override and enable override. And we set a color here, for example, yellow. Then we see that it inherits it to everything that's parented under this transform node. So all these groups, all these joins, everything will kind of get the same color and it's now yellow. So we don't want that. We really only want the control to get that color. And that's why it's better to do it under shape instead, because if we turn this back and disable the color override, then it's back to normal. And if we now go and do it on the shape instead, we have kind of the same thing. We also have object display. We also have drawing override. We can also override it here, but now we're, as you can see, we're on the shape node. So we turn that on and then set this to yellow. Now you can see really only the shape changes color. Everything else stays the same. The reason why that is is because if you turn shapes on here, you can kind of see that nothing is really parented under the shape, while everything is parented under the transform directly. So if we do our color coding on the transform node, everything will inherit it. The shape plus everything else that's parented under it. While if we do the color coding on the shape directly, there's nothing under there, so nothing is going to inherit it except for the shape itself. I will get that color. So that's why I always do your color coding on the shape. So now we have our all control. And these are kind of the three steps, just kind of repeating that again one more time. So when you create a control, you want to give it a proper name. You want to freeze all your attributes so that there are no attributes in here. So scales should always be one. And the translation and rotation should always be zero. The reason for that is so that animators can easily go back once they start playing with it and scale it and move it and rotate it or what not. They can easily go back to the default just by setting translation rotations to zero and scales to one, which is the default. Okay. And that's for all controls. So let's add another control here. The next control that I usually start adding is a body control. That's kind of like the next biggest body part after everything, it's kind of the upper body. We want to have a control for that. So let's go into our Curve, CV Curve tool here, Linear, we're still in that. Now I'm going to draw that from the side here. Let's see. Okay, so here for this, let me turn on my display there for the Geo that I can actually see where I'm drawing. Actually, I can probably start with a small. So I want this character is quite big here. So here we can maybe draw kind of an arrow or a body control. There are a couple of different ways how a body control could look like. It could also be a circle or a square. I will see different ways. And then we have to pivot at the origin, so now we'll modify center pivot. Center pivot, bring it up there, and then we can scale it up, kind of do the same thing that we did before, place it where we want it to be. Maybe shape it a little bit, go into control vertices and move those around a little bit. I think I'm in mirror mode here. Let's turn that off. Okay. Maybe something like this. Okay, perhaps I will change that later on to something else for now. I'll go with this arrow here for the body control. Okay. Maybe a little bit bigger. Alright, then same deal like before. We want to do our three things. We want to name it, freeze it. Let's start with that, freeze. Order doesn't really matter here. So freeze it first, then give it a name. So that's going to be embody control, CTL. And then we want to give it a color and we want to do it in shape. So we want to the attribute editor and make sure that we are in the shape, enable override, and since it's a middle control, I'll color code this yellow. Okay, and maybe a quick word here on these colors. So you only have kind of a limited amount of colors available here. I think it's 16 or 20 or something like that. But there are a bunch of colors that are not really usable or a good idea to use. for example, a gray here. Oops, probably this one here. This will make it quite hard to see, right? So you always want to make sure that you choose bright colors, although these darker colors here, it's kind of like almost like the defaults. It's very similar to the wireframe if they have wireframe on. So especially from far away, it's kind of harder to see than these bright colors, which is why most people, they we'll either use that bright red here or the bright green. That's a good color. The yellow that we already used here, which is somewhere around here, or then the blue here is also kind of working OK for a control color. There are a few colors that are also not a good idea. So for example, white is probably not a good idea, because it looks like as if this control is already selected. If you select two things, then Maya will, by default, turn the thing that was selected first white. So that's not a good idea, because then people might think, oh, this is probably already selected. And in fact, it's not selected. And equally bad is probably that this color here, because now it will look like it's a primary selection. So that's also not a good idea for colors. And then lastly, that pink, this color is probably also not a good idea, because that looks like by default Maya has that color applied to things that are influenced or affected by something else in rigging. So that's probably also not a good idea. Again, the gray is too dark, too similar to the background. If you have a gray background here, of course, if you have a blue background, then probably the blue won't work. And also depends a little bit on the color of your model. Like if you have a monster or whatever, and it's blue or a blue character, then perhaps blue controls are also not the best idea. So it really comes down to it's quite limited in terms of the colors that you can use. Ideally it should be a bright color, red, green, or blue. And yellow is a good one too, because that's not used anywhere else. But default and then maybe this could also work. It's kind of like the color of components. But I've seen that in Rix before. That kind of works. and then maybe this one might also work in rick so that's not a color that's used for anything else. It's pink here. These colors from my taste are a little bit too dark again. They're kind of like not easy to spot, especially from the distance. Let's use our yellow here again. Okay, it's a body control. So for the body control, we kind of want to put in all the joints, all the groups, all the modules that we want to move with the body. So it would basically be everything from the spine upwards, right? We come back here, so we have our body. And first, let's put it into our rig group. That's where it belongs. It's cleaned up. Then we probably also want the body control to move and scale with our all control so So we can already parent it under that as well. And now we come in here. Let me hide the shapes here, actually. We'll see me do that a lot, actually, hiding and showing shapes depending on what I'm doing. By default, most of the times I don't want to see the shapes, because otherwise it gets kind of confusing with what is actual hierarchy and what are just the shapes that are showing up here in between. So now for the body, we said that we want everything to follow from the spine upwards. So the spine, the arm, the hand, the other hand will leave the legs and the feet, the neck and the head. All these spine, two hands, two arms, neck and head, everything above here. Okay, the torso. You can take all these groups, now all these modules or all these rigs. At the moment there is nothing else in there, but we will fill that with controls and other stuff soon. So we'll take these guys and we'll move them under the body. So far we've only done hierarchies, right? No constraints, nothing that might slow the breakdown. Hierarchies are the easiest and the fastest way to make one thing move with another. So here we have our body control. If we rotate this, you can see at the moment it's kind of moving around the wrong pivot because we still have our pivot centered. Now if we take that pivot, go into pivot mode, let's insert on Windows or you can also just press the D key on Mac, it's on my Macbook Pro here, it's function and D left arrow key and then I'm in pivot mode and if I press it again function left arrow key then I'm out of pivot mode again. Again on Windows it's insert key and on Linux I think too and alternatively you can also press D and then as long as you're holding down the D key that's when you're in pivot mode but then you you know and as soon as you let go, you're out of pivot mode. So these are the two options. So if you go to press D, and then I also press V at the same time, then I'm being in snapping mode. So then I can actually snap to the joints here. So now I'll snap to my root of the spine, and now I have my body control joined at the same location as the spine root. Now when I rotate it now, you will see that, Now it kind of rotates around the correct spot and it takes all the joints or all these groups with it that are underneath there. Now we can bend the body forward, we can bend it sideways and we can twist. But now at the moment we still have, it's quite rigid, right? It's kind of like staying very fixed here. What we probably want to do is we probably want to also have a way to kind of control the bendiness of the spine here, kind of bend it forwards. So we can do that a couple of different ways. I'll start by adding some custom attributes. First I'll start and think about, okay, what do I actually want here? I want probably the rotation in all three axes, right? That's fine. I probably also want to have translation at the moment, the legs are not connected yet, but I'll probably want to have the translation when I want to create walk cycles and stuff like that because I need to move the body around, forward and back, left and right, up and down, and then later we're going to connect the legs to actually move with the body together. But scaling is probably something that we don't need here, unless it's like a super cartoony character where we want to be able to scale the upper body, which I doubt we want to do, and we'll probably find other ways how to do that. So I'll remove the scaling here, and I'll also remove the visibility, which is pretty important because otherwise the animator might come in here, and if they move things around and you have scale and visibility showing, then it might come in here and set everything to zero. And if they do that, then all of a sudden, like, kind of half the rig is hidden and gone, And then the animators have to come in here into the outliner and find it again, which if everything is kind of collapsed together, it might take them a long time to find which the control is that was actually hidden by accident. So therefore, we should also go in and make sure that I can't even bring it back anymore. So let me undo here. So we want to make sure that animators can do that. with the scale, you know, if you have scale, you know, if you leave scale there, there is the possibility that Animators might set it to zero, and scaling all to zero will kind of shrink the whole thing down to a dot. And now if they deselect it especially, then they have hard time getting it back while actually here they can, while now it's selecting a joint instead of the control, so you can see how this can cause trouble. So let's just make sure that animators can't accidentally get into that situation by locking and hiding those attributes and now you know that's already safe here. So animators cannot scale and they cannot hide this anymore. Now we can add some custom attributes for controlling the bendiness of the spine and I'll add three attributes. I'll add a bend, a twist for all these three and a side. We don't need to include, we only need these three joints. We don't need the end joint and we don't need to control over that lower joint because that lower joint is already controllable with the body, right? So we really only need one for the three metal joints here to bend that in addition to the body. So we'll add custom attributes and I hope that you guys all know how to add custom attributes and what they are. If not, I'll probably record another separate video just going over the different attribute types here. But now for this, let's just add it. What I like to do also is I have my main attributes translation, rotation and after scale, scale as well. Then I like to add kind of a visual separator here. There is no way or no easy way to add, actually there is no way I guess, to add a separator here per se, but what we can do is you can add underscores as a new attribute. Let me show you, if we go to here added, add attributes, and for the name here we will add kind of 10 underscores, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. We'll add that. So then here we have kind of our separator that we wanted and then we can come in here and lock that so that animators cannot keyframe it or set values on it that is kind of just there as some a visual you know distinction between the main attributes and our custom attributes and then we can come in here and add our you know bend attribute and twist attribute and side attribute so bend I don't use, I'm not going to use any minimum or maximum for that and I'll make sure that it's a float So we'll get all the decimal points and everything. And we get a smooth rotation. So bend, twist, and side. And now we can go in and we can connect those attributes to the rotation of these three joints. We'll select the three joints, and we will select our control. And I usually go there a couple of different ways how you can connect them. I'm sure you know I'll usually do work in the hyper shade quite a lot, but you can also use the node editor or any other methods. Now I'll bring them here in here, graph, head selected to graph. So here I have my control and my three joints, two, three, four, and then I'll connect it up. So I want to go from Bend into the rotation x here, all three. So custom attributes are always on the bottom, Bend into rotation x. And then the second one, here we can kind of like just drag and drop these over. or what you can also do, then it kind of like pre-fills the connection editor with you know what you want or what you can also do is you can just select a new joint here and come in here and say reload and then you will have the new joint in here that way you're not losing your attribute that's selected here. If I were to drag this over and say other then you kind of have to select the attribute first and then select the other attribute which is kind of one click more as opposed to just selecting the joint and then reloading. So let's go to rotate X and then let's select this joint, reload, and then rotate X. And now we have all three joints selected. You will see that there is...the connections don't show up right away, although it is connected. That's kind of a refresh problem. problem. If we go in here and we go on to a separate tab here and I'll show that here. Actually if I use the output connections from this election, which is currently the control body control and I use the output connections, then we can see now here these are actually connected. The reason why we don't see the connections right away and also why we see these gray lines here are supposed to color lines is because there are actually unit conversions in between. We can kind of see that if we hover over these lines there is this text showing up down here, unit conversion, two, unit conversion, three, unit conversion, one, and they're not displayed by default. Okay, here in the hyper shade if we go into the node editor, which is a new thing, and I think they added in Maya 2012, I want to say. And pretty soon actually you'll have to use the node editor, because I think in Maya 2016 they're kind of changing the whole hyper shade, so that it's only for shading, not for rigging. You know, I'm so used to the hyper shape, I know I do all my rigging work in the hyper shade. So in the node editor it's kind of similar, so you can go to the body control, you can show your output connections. And here we can actually see those unit conversions because it has to convert from that custom attribute float into a rotation which is measured in degrees. That's why it's adding these unit conversions in between. It's kind of the same thing if you're connecting translation to rotation or something like that. It has to convert from one unit to another unit or if you're connecting color, for example, into something else that's not color. So I personally, that's kind of the whole reason why I don't like the Node Editor too much, otherwise it's a great thing because probably you've used it already, but you can kind of click on these buttons here once on these little blue squares. And if you click on it once, it kind of shows you the attributes that are connected to something. If you click on it again, then it will show you all the attributes that are available on this node, on this transform, or on this node rather. And if you click on it again, oops, then it will collapse it again. Okay, so you can also select multiple ones and select multiple ones. Actually, it doesn't seem to work here. I thought it did. Maybe if we select those two, no. It seems to be only extending that one or expanding that one. It's kind of three different states, but what you can do is if you have multiple selected, you can also use these buttons up here so that will actually expand it, I think, all of them. So here we can see the connected ones. Clicking the last button will show all. Clicking the first button will collapse all the ones that are selected. And so yeah, I mean I really like the Notator because you can just come in here and it's have the hyper shade and the connection editor all in one. So you can kind of just go from you know bend into your rotation or whatever. So if we try that here, if I delete that unit conversion or the connection and then I try to connect this here in the node editor, what I would do is I'm expanding the rotation here as well and going from bend into rotate X directly and Maya automatically creates that unit conversion again for us. So there's no way around these unit conversions. In the hypershade they're hidden by default. If you want to turn them on or see them, there is actually a way to do that. It's kind of weird. And again, starting in my 2016, you don't have to worry about it anymore because you will have to use the note editor for the connection stuff. It won't be possible in the hypershade anymore. But the way how to show them is if you go to... It's really weird, but if you go to Window, it's under Hypograph. And you can use either one, but you want the Hypograph window. So let's use Connection 1. Hypograph is also quite similar to the Hypershade. I'm so used to doing everything in the Hypershade, but you can do everything that we're doing here in the Hypershade, also in a node editor, or in the Hypograph. So they're all very, very similar. In the hypergraph, if you have this show window, which you don't have here in the hypershade, if you go to show and you go to auxiliary notes down here, these are the available node types and these are the ones that are hidden in editors. With editors, they mean the hypergraph and the hypershade. So if we scroll down here to the hidden ones to unit conversion, it's a hidden node in the editors. If we show that or select it and remove it from this list, then they will show up. So here now you can see your unit conversion showing up. And now if we hit refresh here, so we select this one, we show all the outgoing connections, then we can see the unit conversions now. So you can see showing that here from the Hypergraph menu, Excel Renotes, has an effect or applies to both editors, the Hypergraph and the HyperShade. but it does not apply to the node editor. So here the unit conversions will always show up. As far as I know, there is no easy way to hide them. That's kind of the number one reason why I don't like the node editor so much, because if you have a lot of connections, you always see all these unit conversions in between. So it's making your graph look a lot more messy, with a lot more nodes. So I don't care about these unit conversions. I mean, I know that they are there and they're there for a good reason, but I don't have to care about. All I'm interested in is that I'm connecting from the body control to this joint's rotation, for example. Okay, so let's turn them off again. So we go and hypergraph, sort of re-notes, and then we come in here, search for available node types, unicom versions, I think it's already alphabetically. So we just have to scroll all the way down to unit conversions. Here we go, unit conversion. And we say add to hide list above. And then there will be hidden again. And here refresh thing. So if we come in here and we show this one, the Outcoming Connections, then we can see kind of the line going directly into the joint. But the downside is we cannot hover over the line anymore and kind of see what they're connected like. We can do here, we can hover over the line and see the connection. Here if we hover over the line, all we see is that there is a unit conversion in between and the name of the unit conversion. Okay. This is up to you which one you want to use. I'll probably, in this course, I'll probably kind of use both a little bit, the node editor and the hypergraph for nostalgic reasons. So now we have that connected and now if we try bending here then we can already see our spine is bending. So let's do the same for the twist and for the side also. Let's use the node editor actually for this. So I have my body control in here, that's where my custom attributes are and then I want to have my three joints. Also bring them in here, here it's that plus button that we hit. Spine 2, 3, 4 and then the body. I usually like to bring them kind of like closer together a little bit and we can probably select all those guys that we don't need to see and hide them. I think the trash icon here removed selected from graph, so that is not going to delete it just because it has a trash, it's just going to remove it from this view. So then we go from body and we should click on it twice so that we can see all of our attributes the side as well and we can expand those guys actually we should expand them twice, so hit that, it's quicker and we hit rotations, open And we connect from twist, so that we said that's our y-axis, right? Y is twist, x, y, z, bent twist sign. So twist would be y, y, and y. And you can see again, we're getting three new unit conversions. So you can see just connecting these three attributes to these three joints. We'll already give us nine unit conversions, so we will see how crazy that looks in a second. And then we have side for our last rotation, which is set. Bent with side, right? So set. And then, oops, side. So set. I think this one I connected wrong. So I'll go from side to rotate set. Here we go. And now if I show that and I show all my upcoming connections, Then we can see we have now these nine unit conversions just to connect our bent twist inside to those three joints. Actually now thinking about it, I wonder if it would be possible to just use that unit conversion's output and connect it kind of manually to, it would probably be possible. So if this is going to y here, we could probably connect it also to the y here. And we connect it to the y there too. So we'd have to do it manually, but that way we could get rid of, you know, kind of minimize it down to three unit conversions because we really only have three attributes, so we only need to convert those three attributes three times, right, as opposed to nine times every single time. So if we wanted to save some notes, probably not important, but let's try that. This goes into the set here. So we'll connect from here, output also into set here, and into the rotate set down there. That didn't work. Let's try this one more time. Output, rotate set. Here we go. And then last but not least, this is not needed anymore, and that is not needed anymore, we can delete those two. So we have this one left, so that one goes into x here. Output goes into x. And then here, this one also goes into x, output x. and this one becomes obsolete and that one as well. And delete those two. So now we kind of brought it down to three unit conversions instead, x, y, and z, you know, bent to a side. And then it connects to those three drawings here. So we saved ourselves six nodes. But you can also see it is required that you do it manually then hook it up. Now we can test the testing time again. So we have bent working. We have side also working and then we have twist also working which is a little bit harder to see here but all these three joints are rotating one at a time and getting this value from the twist. The only thing that's not yet working is our arms and our head doesn't follow. But that's easy to fix. All what we have to do is we kind of have to come in here and we can see that our spine is kind of rotating or bending but the arms are not connected to that yet. So the easiest way to do that is again through a hierarchy. All little quickies. So all what we have to do is just select all the pieces, all these modules that are above the spine. So the neck, the arms, the hands and the head. And we can actually parent them under the end of the spine. What I like to do is I'll also like to group them. Before I do that, so I'll group those groups together. And we can call this MChestGroup. We can take the chest group and parent under the end of the spine. That's what our hierarchy looks like now. Now if we try that again, bend, then we have all of the upper body following. Twist is working and side is also working. Obviously we can combine this together as well. Now that in combination with our rotation that we have, that and this already gives us a lot of flexibility. It's still super super simple, right? Like the simplest possible rig. But you can see it's giving us quite a lot of flexibility already here. Which is just with just one control. Okay. So time to do another break here.",
+  "segments": [
+    {
+      "text": " Okay, so I'm going to continue here where we left off. We have all of our joints created, at least the ones that we need for now. And everything is named properly, everything is mirrored to the other side. We did the orientation axis of our joints. So what you will notice here is that I have all these joints are still separated, all these different hierarchies, and I'm actually going to keep that. I'm going to work on individual modules or pieces of the rig one at a time to kind of make it a little bit easier as opposed to thinking of the whole rig as one. I'll rig, you know, I'll think about it as a leg rig and an arm rig and a hand rig and so on, and then we will connect these little rigs together at the end. So first thing that we can do here with these joins in our rig group, we can start grouping them a little bit together at the moment. It might not make too much sense, but later on when we add controls and other things, then I will probably become clearer why we are doing that. So I'll start with the spine, root joint here, I'll group that, and Ctrl G, and I will name that spine group, or M spine group. The moment I only have kind of the joint hierarchy under it. Then I will do that with these other pieces here too. So the leg, we can group that and call this our leg group. And then we'll continue with the arm. That's our arm group. All of these pieces, we don't have to group everything. So for example, the fingers here, all the right fingers, we can group all those together. And that will be our right hand group. And then the left fingers. Those go together into one group. That's going to be our left hand group. Then the foot, I want to keep separate. So left foot group, right foot group. Then the leg, left leg here, left leg group, left arm. left arm group, then perhaps the neck, well let's group it too, to its own group, neck group. Neck will probably keep very simple for in the beginning, and then the jaw we can probably group together with the head into a head group. Okay, so here we have our different or individual modules and our individual packages or individual rakes however you want to think about it that will help us kind of organize our rake and work on these individual rakes one at a time and then later we can connect these little pieces together like Lego bricks. So then we probably want to have you know we want to start creating some controls now. We probably want to I have one control to move the whole character around and probably also want to have our character be scalable. That's also quite important. So we'll add one control. I will start very simple here with, let's see what am I going to do. I'll do some errors here. So for controls I always use NURBS curves. I can use the CV curve tool. There are kind of two different options that you have, linear or cubic. I don't know if everybody knows the difference between those two, but linear is basically if you draw, it will go from point to point and draw a line, a straight line in between so we can get corners and everything. And cubic is smooth, so if we draw three points or sort of four points or more, then it will start adding a curve. And you can also see with the cubic that it does not really go through the control points here, kind of like draws a line between them. We can take these curves, these points and move them around, but the further we move it away, the longer the distance we'll get. So these points are, as the name already says, they're kind of control points, but not really points that the curve is going through. They're more like kind of points that are describing the curve. While here with the linear one, each, you know, the curve is actually going through each point in a linear fashion. So how can we, for example, create curves that are both, that are round, and then have some kinks or some edges in there? We can do that with using cubic. If we go in here, actually let me hide the rig here for a second. If we're going to cubic and we draw, I'll use grid snapping here, I'll draw some points like this maybe for getting around curve for points and now if I want to get a kink in here what I'll do is I'll just drop three points under the same so we already have one point I'll do another one click and I'll do another one click and then I'll start my next point here. So then we can see that now we have a curved line and then a straight line with a sharp corner in here. And the reason why this works is it's actually quite simple. If you think about it, if we are using the cubic curve here and we go from, let's see, Let's create a bunch of points here. Now we take these points and we bring three of these points closer together. Can see the closer we are bringing them together, the sharper this, you know, the roundness here will get, or the less rounder will get, the smaller the curve, the curvature here. until we bring it all the way together into one point, then we're getting a sharp corner here. So if we take these three points and we kind of scale them down to one, scale a bunch of times, then we're getting a sharp corner here, having three points together. And that is actually what these numbers here mean. So three means we need three points to describe a corner. Five would mean that we need five points in one spot to describe a sharp corner, okay, our direction change, and seven means seven and so on and so forth. Usually most of the time I really only use linear or cubic, one of the two depending on what type of curve I want to draw. So let's start by creating a linear one. I'll draw from the top and I'll use grid snapping here. So I'll start by creating control. Let's see here. Perhaps something like this. I'll use 3, 1, 3, 1, 2, 2, 1, 3, 3, 1, 2, 2 diagonal. OK, here we go. So here we have our first control. And controls can really be anything. But as I said, most of the time I use nerf curves for my controls because that has a great advantage, which I can show you here. If we have all of our controls be nerf curves and we have, let's say, geometry and let's say we have also our joints showing up here, then if you want to hide all the controls at once, we actually don't need to display there. All we have to do is we just have to go to show nerf curves, turn that off, and it will hide all of our controls at once. So that is pretty handy for example if the animators want to create a playblast or whatnot then they have a quick way of hiding all their controls and just showing the geometry and if they want to show the controls again because they want to keep on animating then they can just come here show the nerves curves and then they have their controls back. So really controls can be any type of object any type of transform but if you keep them all to one kind, especially if it's NURBS curves. First of all, they don't render, they don't show up in renders, and second of all, there is this easy kind of one step click for animators to be able to hide all the controls at once if they're the same kind of type. Okay, so now I've created my one control here, and let me bring it back to the origin where it was. Now we We can scale it up however big we need it. See we can also modify these a little bit actually. Probably these are a little bit too long. Usually I do them a little bit shorter. So let's try to bring those back if we can. We can try to use grid snapping here using X and then just moving them in one axis. Okay, actually I could have picked that one too here. Okay, these two one in. These one in. This one in. Oops. Only those one in. And one in. Here we go. So that should probably work a little bit better. We don't have to worry too much about what these controls look like. I mean ideally we get them right for Semiron, but we can always change those controls into shapes later on. I can show you how to do that in case you don't know. Let's get something started here. Let's use that. Maybe a little bit. I'll probably keep them well. Probably try to center it here a little bit more. And then I'll bring the pivot probably back. Perhaps this whole character would need to go a little bit further back, but let's put it like, well, I actually want to keep that in the center, so you know what, let's set this back and let's leave the character standing a little bit more in the front. OK. Let's call this mAllControl. So I use my name you can mention again. First decide then what it is and then underscore and then control. So this is going to control everything, the whole rig, the whole character. We could also call this root or center or something like that. I like to call it all. And then we will take this allControl. We will freeze everything. So they're kind of like always three steps with controls that I like to do are actually almost four steps depending on what type of control but first we want to make sure that everything is frozen okay we don't want to have any values in here not in scale not in rotation not in translation so we'll right click here and say freeze all. That's the one step once we are happy with where you know that control is you know after we position it or rotated it or whatever scaled it then we always want to make sure that we freeze in the position that we're happy with. Then the next step that we want to do is we want to give it a name. I already did that. And then the next thing that we do is we want to use color coding. Because if we have all of our controls have the same color, then they're going to be really hard to distinguish from each other. So color coding is a good way. And it's not really a standard, but a lot of people use yellow for middle controls and then either red or blue for left side and then kind of the other color for the other So I'm doing the same. You would see that in a lot of ricks, actually, either red, kind of bright colors, you know, either a bright red or a bright blue or a bright green, and then bright yellow, these are kind of like the three or four colors that most people use. So to color code or control what we will do is we will go into the attribute editor and we have these two nodes here where we have the transform node and underneath the shape node and we always want to do our color coding on the shape node. We can actually do it on both but I think it's a lot better to do it on the shape node than on the transform node and I'll show you why. because if you, well let's actually put it into the rig first and then I'll show you how to color code. It's quite simple. You just take this transform node and all control, put it under the rig because that's where it belongs, right, it's part of the rig. And now if we want everything else to follow, we can just parent everything under this all control. So we'll take all these groups, all these individual pieces here, and parent them under the all control. And by doing that, now you've essentially created a hierarchy where if I show my joints here, then we can take the all control and we can just scale it, translate it and rotate it. Right? That's all what we need. We probably don't need the visibility, so we can lock and hide the visibility. Locking and hiding attributes that we don't want here is another thing that's pretty important. If certain things don't make sense for your character, or they don't do anything, or they even break the rig, in the worst case scenario, like translating it kind of moves the hand completely away from the arm or whatever, or if that's something that you don't want the animators to be using, then you should go ahead and you should at least lock it, but ideally even lock and hide it so that animators can't see that anymore. So if we go lock, you can either lock and then hide, you can lock and hide in one step and it will do whatever attributes you have selected. Now if you want to bring those attributes back because for example you locked and you did lock and hide them by accident, you have to go into the channel box. There is no kind of like unlock. Well there is unlock but it only works on the ones that you've selected. You can lock and unlock but you cannot really unhide from here from the right click menu because you would have to select the ones that you want to unhide. So the channel box, or not the channel box, the channel control, bring it up under window. I think it's under general editors, channel control, that view here. Another way to access that is also from here, edit channel control. Okay, edit channel control, brings up the same window. And then here you have the kube attributes. Kube attributes basically means whatever you see in the channel box. And then you have a second tab here for the ones that are locked. So if we were to unlock those scales, we just take them from the locked and move them to the non-locked. Just put that button, we select them and move them. Now they're unlocked. So now we can scale that rig again. Okay, but there's still not showing up here. So if we want them to show up, we actually have to go to Keable and we have to bring into the Keable state here. So non-Keable hidden, they are in here. We have to find them, scale. Here it is. And we'll bring them over just by moving them over to this side here. And then they show up here again. OK, channel control. So now let's get back to the color coding of those controls. If we do it on a transform node as opposed to on the shape node beneath it, if we do it on a transform node, we go to attribute editor. We're on the transform node here. And we come to drawing override and enable override. And we set a color here, for example, yellow. Then we see that it inherits it to everything that's parented under this transform node. So all these groups, all these joins, everything will kind of get the same color and it's now yellow. So we don't want that. We really only want the control to get that color. And that's why it's better to do it under shape instead, because if we turn this back and disable the color override, then it's back to normal. And if we now go and do it on the shape instead, we have kind of the same thing. We also have object display. We also have drawing override. We can also override it here, but now we're, as you can see, we're on the shape node. So we turn that on and then set this to yellow. Now you can see really only the shape changes color. Everything else stays the same. The reason why that is is because if you turn shapes on here, you can kind of see that nothing is really parented under the shape, while everything is parented under the transform directly. So if we do our color coding on the transform node, everything will inherit it. The shape plus everything else that's parented under it. While if we do the color coding on the shape directly, there's nothing under there, so nothing is going to inherit it except for the shape itself. I will get that color. So that's why I always do your color coding on the shape. So now we have our all control. And these are kind of the three steps, just kind of repeating that again one more time. So when you create a control, you want to give it a proper name. You want to freeze all your attributes so that there are no attributes in here. So scales should always be one. And the translation and rotation should always be zero. The reason for that is so that animators can easily go back once they start playing with it and scale it and move it and rotate it or what not. They can easily go back to the default just by setting translation rotations to zero and scales to one, which is the default. Okay. And that's for all controls. So let's add another control here. The next control that I usually start adding is a body control. That's kind of like the next biggest body part after everything, it's kind of the upper body. We want to have a control for that. So let's go into our Curve, CV Curve tool here, Linear, we're still in that. Now I'm going to draw that from the side here. Let's see. Okay, so here for this, let me turn on my display there for the Geo that I can actually see where I'm drawing. Actually, I can probably start with a small. So I want this character is quite big here. So here we can maybe draw kind of an arrow or a body control. There are a couple of different ways how a body control could look like. It could also be a circle or a square. I will see different ways. And then we have to pivot at the origin, so now we'll modify center pivot. Center pivot, bring it up there, and then we can scale it up, kind of do the same thing that we did before, place it where we want it to be. Maybe shape it a little bit, go into control vertices and move those around a little bit. I think I'm in mirror mode here. Let's turn that off. Okay. Maybe something like this. Okay, perhaps I will change that later on to something else for now. I'll go with this arrow here for the body control. Okay. Maybe a little bit bigger. Alright, then same deal like before. We want to do our three things. We want to name it, freeze it. Let's start with that, freeze. Order doesn't really matter here. So freeze it first, then give it a name. So that's going to be embody control, CTL. And then we want to give it a color and we want to do it in shape. So we want to the attribute editor and make sure that we are in the shape, enable override, and since it's a middle control, I'll color code this yellow. Okay, and maybe a quick word here on these colors. So you only have kind of a limited amount of colors available here. I think it's 16 or 20 or something like that. But there are a bunch of colors that are not really usable or a good idea to use. for example, a gray here. Oops, probably this one here. This will make it quite hard to see, right? So you always want to make sure that you choose bright colors, although these darker colors here, it's kind of like almost like the defaults. It's very similar to the wireframe if they have wireframe on. So especially from far away, it's kind of harder to see than these bright colors, which is why most people, they we'll either use that bright red here or the bright green. That's a good color. The yellow that we already used here, which is somewhere around here, or then the blue here is also kind of working OK for a control color. There are a few colors that are also not a good idea. So for example, white is probably not a good idea, because it looks like as if this control is already selected. If you select two things, then Maya will, by default, turn the thing that was selected first white. So that's not a good idea, because then people might think, oh, this is probably already selected. And in fact, it's not selected. And equally bad is probably that this color here, because now it will look like it's a primary selection. So that's also not a good idea for colors. And then lastly, that pink, this color is probably also not a good idea, because that looks like by default Maya has that color applied to things that are influenced or affected by something else in rigging. So that's probably also not a good idea. Again, the gray is too dark, too similar to the background. If you have a gray background here, of course, if you have a blue background, then probably the blue won't work. And also depends a little bit on the color of your model. Like if you have a monster or whatever, and it's blue or a blue character, then perhaps blue controls are also not the best idea. So it really comes down to it's quite limited in terms of the colors that you can use. Ideally it should be a bright color, red, green, or blue. And yellow is a good one too, because that's not used anywhere else. But default and then maybe this could also work. It's kind of like the color of components. But I've seen that in Rix before. That kind of works. and then maybe this one might also work in rick so that's not a color that's used for anything else. It's pink here. These colors from my taste are a little bit too dark again. They're kind of like not easy to spot, especially from the distance. Let's use our yellow here again. Okay, it's a body control. So for the body control, we kind of want to put in all the joints, all the groups, all the modules that we want to move with the body. So it would basically be everything from the spine upwards, right? We come back here, so we have our body. And first, let's put it into our rig group. That's where it belongs. It's cleaned up. Then we probably also want the body control to move and scale with our all control so So we can already parent it under that as well. And now we come in here. Let me hide the shapes here, actually. We'll see me do that a lot, actually, hiding and showing shapes depending on what I'm doing. By default, most of the times I don't want to see the shapes, because otherwise it gets kind of confusing with what is actual hierarchy and what are just the shapes that are showing up here in between. So now for the body, we said that we want everything to follow from the spine upwards. So the spine, the arm, the hand, the other hand will leave the legs and the feet, the neck and the head. All these spine, two hands, two arms, neck and head, everything above here. Okay, the torso. You can take all these groups, now all these modules or all these rigs. At the moment there is nothing else in there, but we will fill that with controls and other stuff soon. So we'll take these guys and we'll move them under the body. So far we've only done hierarchies, right? No constraints, nothing that might slow the breakdown. Hierarchies are the easiest and the fastest way to make one thing move with another. So here we have our body control. If we rotate this, you can see at the moment it's kind of moving around the wrong pivot because we still have our pivot centered. Now if we take that pivot, go into pivot mode, let's insert on Windows or you can also just press the D key on Mac, it's on my Macbook Pro here, it's function and D left arrow key and then I'm in pivot mode and if I press it again function left arrow key then I'm out of pivot mode again. Again on Windows it's insert key and on Linux I think too and alternatively you can also press D and then as long as you're holding down the D key that's when you're in pivot mode but then you you know and as soon as you let go, you're out of pivot mode. So these are the two options. So if you go to press D, and then I also press V at the same time, then I'm being in snapping mode. So then I can actually snap to the joints here. So now I'll snap to my root of the spine, and now I have my body control joined at the same location as the spine root. Now when I rotate it now, you will see that, Now it kind of rotates around the correct spot and it takes all the joints or all these groups with it that are underneath there. Now we can bend the body forward, we can bend it sideways and we can twist. But now at the moment we still have, it's quite rigid, right? It's kind of like staying very fixed here. What we probably want to do is we probably want to also have a way to kind of control the bendiness of the spine here, kind of bend it forwards. So we can do that a couple of different ways. I'll start by adding some custom attributes. First I'll start and think about, okay, what do I actually want here? I want probably the rotation in all three axes, right? That's fine. I probably also want to have translation at the moment, the legs are not connected yet, but I'll probably want to have the translation when I want to create walk cycles and stuff like that because I need to move the body around, forward and back, left and right, up and down, and then later we're going to connect the legs to actually move with the body together. But scaling is probably something that we don't need here, unless it's like a super cartoony character where we want to be able to scale the upper body, which I doubt we want to do, and we'll probably find other ways how to do that. So I'll remove the scaling here, and I'll also remove the visibility, which is pretty important because otherwise the animator might come in here, and if they move things around and you have scale and visibility showing, then it might come in here and set everything to zero. And if they do that, then all of a sudden, like, kind of half the rig is hidden and gone, And then the animators have to come in here into the outliner and find it again, which if everything is kind of collapsed together, it might take them a long time to find which the control is that was actually hidden by accident. So therefore, we should also go in and make sure that I can't even bring it back anymore. So let me undo here. So we want to make sure that animators can do that. with the scale, you know, if you have scale, you know, if you leave scale there, there is the possibility that Animators might set it to zero, and scaling all to zero will kind of shrink the whole thing down to a dot. And now if they deselect it especially, then they have hard time getting it back while actually here they can, while now it's selecting a joint instead of the control, so you can see how this can cause trouble. So let's just make sure that animators can't accidentally get into that situation by locking and hiding those attributes and now you know that's already safe here. So animators cannot scale and they cannot hide this anymore. Now we can add some custom attributes for controlling the bendiness of the spine and I'll add three attributes. I'll add a bend, a twist for all these three and a side. We don't need to include, we only need these three joints. We don't need the end joint and we don't need to control over that lower joint because that lower joint is already controllable with the body, right? So we really only need one for the three metal joints here to bend that in addition to the body. So we'll add custom attributes and I hope that you guys all know how to add custom attributes and what they are. If not, I'll probably record another separate video just going over the different attribute types here. But now for this, let's just add it. What I like to do also is I have my main attributes translation, rotation and after scale, scale as well. Then I like to add kind of a visual separator here. There is no way or no easy way to add, actually there is no way I guess, to add a separator here per se, but what we can do is you can add underscores as a new attribute. Let me show you, if we go to here added, add attributes, and for the name here we will add kind of 10 underscores, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. We'll add that. So then here we have kind of our separator that we wanted and then we can come in here and lock that so that animators cannot keyframe it or set values on it that is kind of just there as some a visual you know distinction between the main attributes and our custom attributes and then we can come in here and add our you know bend attribute and twist attribute and side attribute so bend I don't use, I'm not going to use any minimum or maximum for that and I'll make sure that it's a float So we'll get all the decimal points and everything. And we get a smooth rotation. So bend, twist, and side. And now we can go in and we can connect those attributes to the rotation of these three joints. We'll select the three joints, and we will select our control. And I usually go there a couple of different ways how you can connect them. I'm sure you know I'll usually do work in the hyper shade quite a lot, but you can also use the node editor or any other methods. Now I'll bring them here in here, graph, head selected to graph. So here I have my control and my three joints, two, three, four, and then I'll connect it up. So I want to go from Bend into the rotation x here, all three. So custom attributes are always on the bottom, Bend into rotation x. And then the second one, here we can kind of like just drag and drop these over. or what you can also do, then it kind of like pre-fills the connection editor with you know what you want or what you can also do is you can just select a new joint here and come in here and say reload and then you will have the new joint in here that way you're not losing your attribute that's selected here. If I were to drag this over and say other then you kind of have to select the attribute first and then select the other attribute which is kind of one click more as opposed to just selecting the joint and then reloading. So let's go to rotate X and then let's select this joint, reload, and then rotate X. And now we have all three joints selected. You will see that there is...the connections don't show up right away, although it is connected. That's kind of a refresh problem. problem. If we go in here and we go on to a separate tab here and I'll show that here. Actually if I use the output connections from this election, which is currently the control body control and I use the output connections, then we can see now here these are actually connected. The reason why we don't see the connections right away and also why we see these gray lines here are supposed to color lines is because there are actually unit conversions in between. We can kind of see that if we hover over these lines there is this text showing up down here, unit conversion, two, unit conversion, three, unit conversion, one, and they're not displayed by default. Okay, here in the hyper shade if we go into the node editor, which is a new thing, and I think they added in Maya 2012, I want to say. And pretty soon actually you'll have to use the node editor, because I think in Maya 2016 they're kind of changing the whole hyper shade, so that it's only for shading, not for rigging. You know, I'm so used to the hyper shape, I know I do all my rigging work in the hyper shade. So in the node editor it's kind of similar, so you can go to the body control, you can show your output connections. And here we can actually see those unit conversions because it has to convert from that custom attribute float into a rotation which is measured in degrees. That's why it's adding these unit conversions in between. It's kind of the same thing if you're connecting translation to rotation or something like that. It has to convert from one unit to another unit or if you're connecting color, for example, into something else that's not color. So I personally, that's kind of the whole reason why I don't like the Node Editor too much, otherwise it's a great thing because probably you've used it already, but you can kind of click on these buttons here once on these little blue squares. And if you click on it once, it kind of shows you the attributes that are connected to something. If you click on it again, then it will show you all the attributes that are available on this node, on this transform, or on this node rather. And if you click on it again, oops, then it will collapse it again. Okay, so you can also select multiple ones and select multiple ones. Actually, it doesn't seem to work here. I thought it did. Maybe if we select those two, no. It seems to be only extending that one or expanding that one. It's kind of three different states, but what you can do is if you have multiple selected, you can also use these buttons up here so that will actually expand it, I think, all of them. So here we can see the connected ones. Clicking the last button will show all. Clicking the first button will collapse all the ones that are selected. And so yeah, I mean I really like the Notator because you can just come in here and it's have the hyper shade and the connection editor all in one. So you can kind of just go from you know bend into your rotation or whatever. So if we try that here, if I delete that unit conversion or the connection and then I try to connect this here in the node editor, what I would do is I'm expanding the rotation here as well and going from bend into rotate X directly and Maya automatically creates that unit conversion again for us. So there's no way around these unit conversions. In the hypershade they're hidden by default. If you want to turn them on or see them, there is actually a way to do that. It's kind of weird. And again, starting in my 2016, you don't have to worry about it anymore because you will have to use the note editor for the connection stuff. It won't be possible in the hypershade anymore. But the way how to show them is if you go to... It's really weird, but if you go to Window, it's under Hypograph. And you can use either one, but you want the Hypograph window. So let's use Connection 1. Hypograph is also quite similar to the Hypershade. I'm so used to doing everything in the Hypershade, but you can do everything that we're doing here in the Hypershade, also in a node editor, or in the Hypograph. So they're all very, very similar. In the hypergraph, if you have this show window, which you don't have here in the hypershade, if you go to show and you go to auxiliary notes down here, these are the available node types and these are the ones that are hidden in editors. With editors, they mean the hypergraph and the hypershade. So if we scroll down here to the hidden ones to unit conversion, it's a hidden node in the editors. If we show that or select it and remove it from this list, then they will show up. So here now you can see your unit conversion showing up. And now if we hit refresh here, so we select this one, we show all the outgoing connections, then we can see the unit conversions now. So you can see showing that here from the Hypergraph menu, Excel Renotes, has an effect or applies to both editors, the Hypergraph and the HyperShade. but it does not apply to the node editor. So here the unit conversions will always show up. As far as I know, there is no easy way to hide them. That's kind of the number one reason why I don't like the node editor so much, because if you have a lot of connections, you always see all these unit conversions in between. So it's making your graph look a lot more messy, with a lot more nodes. So I don't care about these unit conversions. I mean, I know that they are there and they're there for a good reason, but I don't have to care about. All I'm interested in is that I'm connecting from the body control to this joint's rotation, for example. Okay, so let's turn them off again. So we go and hypergraph, sort of re-notes, and then we come in here, search for available node types, unicom versions, I think it's already alphabetically. So we just have to scroll all the way down to unit conversions. Here we go, unit conversion. And we say add to hide list above. And then there will be hidden again. And here refresh thing. So if we come in here and we show this one, the Outcoming Connections, then we can see kind of the line going directly into the joint. But the downside is we cannot hover over the line anymore and kind of see what they're connected like. We can do here, we can hover over the line and see the connection. Here if we hover over the line, all we see is that there is a unit conversion in between and the name of the unit conversion. Okay. This is up to you which one you want to use. I'll probably, in this course, I'll probably kind of use both a little bit, the node editor and the hypergraph for nostalgic reasons. So now we have that connected and now if we try bending here then we can already see our spine is bending. So let's do the same for the twist and for the side also. Let's use the node editor actually for this. So I have my body control in here, that's where my custom attributes are and then I want to have my three joints. Also bring them in here, here it's that plus button that we hit. Spine 2, 3, 4 and then the body. I usually like to bring them kind of like closer together a little bit and we can probably select all those guys that we don't need to see and hide them. I think the trash icon here removed selected from graph, so that is not going to delete it just because it has a trash, it's just going to remove it from this view. So then we go from body and we should click on it twice so that we can see all of our attributes the side as well and we can expand those guys actually we should expand them twice, so hit that, it's quicker and we hit rotations, open And we connect from twist, so that we said that's our y-axis, right? Y is twist, x, y, z, bent twist sign. So twist would be y, y, and y. And you can see again, we're getting three new unit conversions. So you can see just connecting these three attributes to these three joints. We'll already give us nine unit conversions, so we will see how crazy that looks in a second. And then we have side for our last rotation, which is set. Bent with side, right? So set. And then, oops, side. So set. I think this one I connected wrong. So I'll go from side to rotate set. Here we go. And now if I show that and I show all my upcoming connections, Then we can see we have now these nine unit conversions just to connect our bent twist inside to those three joints. Actually now thinking about it, I wonder if it would be possible to just use that unit conversion's output and connect it kind of manually to, it would probably be possible. So if this is going to y here, we could probably connect it also to the y here. And we connect it to the y there too. So we'd have to do it manually, but that way we could get rid of, you know, kind of minimize it down to three unit conversions because we really only have three attributes, so we only need to convert those three attributes three times, right, as opposed to nine times every single time. So if we wanted to save some notes, probably not important, but let's try that. This goes into the set here. So we'll connect from here, output also into set here, and into the rotate set down there. That didn't work. Let's try this one more time. Output, rotate set. Here we go. And then last but not least, this is not needed anymore, and that is not needed anymore, we can delete those two. So we have this one left, so that one goes into x here. Output goes into x. And then here, this one also goes into x, output x. and this one becomes obsolete and that one as well. And delete those two. So now we kind of brought it down to three unit conversions instead, x, y, and z, you know, bent to a side. And then it connects to those three drawings here. So we saved ourselves six nodes. But you can also see it is required that you do it manually then hook it up. Now we can test the testing time again. So we have bent working. We have side also working and then we have twist also working which is a little bit harder to see here but all these three joints are rotating one at a time and getting this value from the twist. The only thing that's not yet working is our arms and our head doesn't follow. But that's easy to fix. All what we have to do is we kind of have to come in here and we can see that our spine is kind of rotating or bending but the arms are not connected to that yet. So the easiest way to do that is again through a hierarchy. All little quickies. So all what we have to do is just select all the pieces, all these modules that are above the spine. So the neck, the arms, the hands and the head. And we can actually parent them under the end of the spine. What I like to do is I'll also like to group them. Before I do that, so I'll group those groups together. And we can call this MChestGroup. We can take the chest group and parent under the end of the spine. That's what our hierarchy looks like now. Now if we try that again, bend, then we have all of the upper body following. Twist is working and side is also working. Obviously we can combine this together as well. Now that in combination with our rotation that we have, that and this already gives us a lot of flexibility. It's still super super simple, right? Like the simplest possible rig. But you can see it's giving us quite a lot of flexibility already here. Which is just with just one control. Okay. So time to do another break here."
+    }
+  ]
+}