Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 11 corrective shapes and psd pt1_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 11 corrective shapes and psd pt1_frames_transcription.json

@@ -0,0 +1,8 @@
+{
+  "text": " The next thing that I want to look at with you guys is the elbow and also creating corrective shapes. Before we do that though, we should try to do our very best to get as far as possible with joint deformations before we start adding corrective shapes. The problem with corrective shapes is that it's kind of dependent on the model and once the model or if the model changes, than any type of shapes that you have done, you probably have to redo or kind of, you know, convert. So anything that you can do with joint deformations, it's probably going to be faster to set up and also easier to transfer if you get some type of model change. So let's see if we can improve that elbow here a little bit. Let's make first a pose, extreme one, 160. Let's set this to zero, delete the animation on the fingers. Okay. So here we already talked about that. I think at the end of the day it would probably be a good idea to add a split, the split elbow that we also added to the knee already, because in the knee we have a very similar situation if we go back to FK here and rotate this, just no real good way being able to rotate this as extreme as we have to. Same thing for the elbow here. Depending on how extreme we want to go, there is just a limit of what we can do. But having said that, we can still try to improve that as much as we can using partial joints and then using corrective shapes on top of that. So let's create a partial joint for the elbow. Let's parent that under this joint here. Set it to zero so that we can get it into the same space, make it a little bit bigger, maybe three. This is our partial joint for the elbow. Let's show it in the Outliner here. We'll select it. At the moment I have it parent it under the IKMID at the end of the day. It should go under the blend joint, blend mid. But also there, it shouldn't really stay where it should go instead as it should go one up. We talked about this before. So let's go our arm blend mid partial JNT. And we'll parent it one above that, so that would be the root. And then what we're going to do is we're going to come in here into the attribute editor and zero out the joint orient zero again. Okay. And then we will connect the rotation to the elbow rotation of the blend mid. So I'll select both of these guys. I appreciate bringing them in, graph, add selected. And we'll go from the blend mid to the blend mid partial through a multiply node. So we can get half of the rotation. So connect the rotations up. Here I'll start with just x for now. And then the output x goes into the rotated x. And then we are multiplying it with 0.5. Then we'll take that partial join. Let's also give it a color. And then let's take this and add it as an influence to the skin here. Skin, add influence without geometry, or it's not a geometry, it's a joint. Now we can paint that towards that partial joint. Star, partial, star. Here that's the one. I want to paint all that to 100% to the partial joint. Okay, I think that looks good. Then let's animate it and see what we'll get. So that works a little bit better now, but we still kind of have the same issue with those two drawings here, or those two loops, you know, kind of penetrating quite a bit. The more obviously we go, the more it will penetrate. So what we can try now is adding more partial joints, one for this row here and one for that row. So let's try that. I'll take the probably the partial joint that I already have in here and I will duplicate it and then I will move it back a little bit along that line. So we know that it's in the space of this joint now, so I can just move along Y to get it back to that joint or just translate it a little bit so that it hits this one right here. And then I want to add another partial joint. And that new partial joint, apparently under the lower arm. So let's call this partial a maybe. And that would be the regular one at the elbow. And then we'll add another one and we'll parent that one under the mid and we'll zero out the rotations here if we get some. joint orient, okay, and then we can move this forward here and zero out to Z. So now it's going to be in the space of the mid joint, and now we can just translate it along Y here again along the joint. Now we just position it so that it's sitting right here at that next loop, I can call this partial B maybe. Now we'll add those two as influence objects here also, or influence joints, so add influence, add those in here. Now if we skin to it, Blend mid A, blend mid B. So the B we can paint all that. And the A can paint all that loop here, those points. OK, so now when we rotate it, we should see pretty much the same behavior as before. However, now what we can do is we can take that partial join and we can rotate it and essentially change the alignment. Same thing with this one here. We can rotate it and change that loop. So you can see here I have full control over that loop, what I want to do with it. And I can also scale it or translate it or whatever I have to do. So let's connect those up to the rotation of the elbow. Let's bring those in here. and select it and I'll duplicate it or I can actually probably create a new one connect this in rotate X and from here I connect into the drone is done it's a lower one so let's do that as a second round, let's connect it to the top one here first, rotate X. So you can see it rotates quite a bit. So let's set this to 0 here, or 0.5. Then we get these lines here parallel. And then we have to connect also through a multiply divide to that last one to also rotate that a little bit. Rotate x to input x and output x into the rotation. Okay, now we can also multiply this with 0.5. Here now we can see it's going into the opposite direction. So it's rotating more. So now we have to actually scale this with minus 0.5. That these lines here stay parallel. You can see what it's doing now. The elbow stays nice and sharp. Here we're still losing a little bit of volume. So now we can do the same what we did for the foot earlier on. can try to scale this middle partial joint a little bit, and maybe also translate it. Let's connect the scale here first. Let's create a remap. Go from the rotation x into the input value. And the rotation can be anywhere from probably 0 to... If we go all the way, it might be as much as 80. So it's 0 to 80. And that should result. If it's 0, then we want to have the scale of 1. And let's leave that at 1 for a second here. Now we can play with that in moments. Out value goes into scale. See, let's try to connect the translation first. Let's see how far we get with that. Here we also have the same problem that we already have translation on this. What we could do is we could try to eliminate translation by adding another Orion group on top. So if we go here, Outliner, and we group that arm blend mid-partial. And then if we take this value here, copy it, and paste it onto the group instead, and remove it from the partial joint, then it still looks the same, but now we have the translation on the group and no longer on the joint. So now the joint is 0, 0, 0, so that makes it easier to connect the translation and then we can just take the name here, paste it onto here and call this partial-orient group. It catches our translation or transform values. And then let's connect that into the translation then. So as we rotate, we want to try to translate that. Another thing that we could also think about is instead of connecting the rotation x onto the joint, connecting it onto the Orion group now. If we do that, then the joint will rotate, but also the orientation will rotate here as well, so then we can actually just rotate it in one axis if that makes sense. So let's do that instead. So I'll take that and go to the hypershade here. And instead of going from here from the output of the multiply divide node into the joint, I'll break this connection and instead I'll set this to zero and instead I'll go into the rotation of the group. So output X, I think it was rotation X here, the Rn group, rotate X. And now we get the same result. So this is rotated 90 degrees, or not 90, but 41 degrees. But now, as I said, we have the space of that joint also rotated because it's the group above that rotated. So now we can actually take this and just translate it in Z as opposed to having to translate it in two values, like to the side and forward. So now let's connect the, now we see we have to connect it a little bit differently because now we don't have rotation here anymore so we have to go from the group into the input value of the remap. So rotate x from the group into input value and that can go from 0 to 80 and then the result, well if it's let's put this both to 0 so that we don't want to get any translation for starters. Then we connect the out value you into the translation. What was it? Translation Z. Translate Z. And now we can play with this value. So if this is approaching 80, we can see how much we want to move that inwards. Perhaps let's say one unit, probably not enough. So let's maybe make it two units or three units. Okay, this is getting somewhere. But probably also we want to scale it a little bit too, because first of all, this is getting pretty round now, and second of all, this is maybe not enough, maybe this needs to push out more. So we probably also want to connect the scale here as well, maybe something like 1.5 if this is getting closer to 180 or 90 or so. So let's create another remap node. Go again from the rotation here, after our group, rotate X, it's again our driver that goes into input value, and the output value goes into the joints scale. I believe it's probably also Z, should be rotate, or scale Z, yep. So the scale is set. Now we go from 0 to 80 just like before. And then we say 11, so this is the regular scale. But now we can say, okay, this should become maybe 1.5. a little bit of a problem, so maybe we have to play with the translation. Here we go. We could do kind of something similar now to those ones here as well if we wanted to, that one and that partial joint here as well, and scale those up. I just wanted to show you, you know, like that is kind of the idea. What you can also do is scale those up here to create a little bit of bulging now based on the rotation. You can really do a lot with just those extra joints in there. The nice thing about this setup is that it's fully automated now. You don't even have to think about this anymore. The moment you rotate it, those extra joints are doing its thing, giving us a better, different There are still things that you cannot really solve and probably the model here is not 100% ideal either. This should perhaps come out a little bit more than that. That should perhaps move out a little bit more, something like this based on the rotation. So you can just keep on adding more joins and more setup, but you can also see that it's kind of like getting complex or more and more complex. So another way how to deal with that would be corrective shapes. So I want to show you also how we can do that. So let's say this was enough, what we want to do in terms of join setup. So let's try to create a corrective shape as an alternative. Maybe we can do it on the other side actually here. And both sides. So what we want to do for the corrective shape is we want to go to the pose where we want to create a corrective shape for. So let's say we want to create one at 90 and then maybe another one at 140 or so. Let's create the one for 90 first. And then what we want to do is we want to duplicate the mesh. Let's reset everything else first. Make sure that we really only have that one control going on. I think that's what we have here. And let's duplicate that skin. And now what we can do here with this is we can model the shape how we want. Going to isolate that duplicated skin. And I'm going to just go in and move these points around so that it actually looks like how I want it to look like. Let's maybe take those guys. Let's maybe create a little bit of bulging here. Let's maybe move those up a bit. It does come out a bit more. We can use any type of modeling technique that we want. We can use soft selection or edges moving points. Idea being, we want to have the model look the way how we want it to look like in a pose. Let's make these come out a little bit more. See how it looks like smoothed. Let's say that was our shape for 90 degrees. You can also think about if we want to add a little bit of biceps bulging here, perhaps or that shape here too. We could also do that with a joint as well. That could translate forward, but let's try adding that with a joint here, or with a corrective shape rather. OK, something like that. Don't have a whole lot of resolution here to actually model muscles and stuff like that, but let's say that is OK. And then what we do is we use a plugin or a tool by Chet Vernon. So you can download that if you go to chetvernon.com on his blog. So what he can also do is he can just search for a CV shape inverter. If you haven't used that before, it's actually pretty handy. CV shape inverter. And it's basically just the first one that comes up here. and then you can go down, download it from the site here. And then here is a little bit of a description and how to use it. So I already installed it on my computer here. So what I do is we first select, we select both of these models, first select the skin and then the new sculpted mesh that we have here. And then we run the import and the command here. And that is basically Python. It's no longer Mel now, so we have to go to a Python window here, Python tab, and run command enter. Actually, there is a mistake. I might have picked them the wrong way. Actually, I think it's still worked. Let's see, even with this error. Here we have to invert a shape. So what that basically does is it removes the skinning and just gives us the shape how we need to apply it as a blend shape. So now we can come in here and we can hide our main one, the one that we modeled, and apply the inverted one as a blend shape, as a front of chain blend shape. So let's hide that as well. One thing to be aware of on that inverted shape that we got from at the tool, we have a live deformer so that as we are making changes to our sculpt here, we can still change that and it will automatically live update the skin inverted here because we have that deformer hanging in here. What we should probably do is before we hand it off to somebody else, we should probably delete the history on that because otherwise if somebody does not have that plugin, then it won't work for them and world through errors. So what I'm going to do is I'm going to on the I'm going to hide that first and then on the inverted shape I'll rename this to be like elbow or elbow 90 corrective. Yes, maybe. And I'm going to delete the history on this, delete by type history. And I'll apply this as a blend shape to the main skin. So let's take this corrective here and apply it as a blend shape to the main skin. Create blend shape. What I'm going to do here in the default settings, I'm actually going to change under Advanced, I'm going to change it from default to front of chain. Then that allows me to create a blend shape in the beginning of the chain so I don't have to change the deformation order. So actually this is kind of my default that I have anyway front of chain to ply. And now we have our blend shape first, then our skin cluster, so that should be the correct deformation order. And now what we can do is we can apply our blend shape here. And we can see it pushes it into what we have modeled here. Okay, and and we get a little bit of biceps here as well. So then we can hide this. Now what we can do is we can, based on the rotation here of our Blend Mid joint, as this is hitting 90, we can dial in our blend shape. So let's connect those two things up here. Blend Mid into the blend shape. Actually, let's select the BlendMidJoint first, Hypershade. Go to New Tab, add that one. So that's our driver. And then the driven will be the blend shape. So let's select the blend shape. And we can perhaps rename this to be corrective shapes. Blend shape. Let's select this, or market, copy it, and paste it into select by name. So then we have the blend shape selected, then we can bring that in here, graph, add selected to graph, and then we can connect the rotation into the blend shape. So here we can also do that with a set-driven key. I'm going to do it with a remap value once again. So I'm going to connect the rotation x into our input value. And then from here I'll go from the output value, I'll go into my weight. And I'll connect this into my Outvalue into my R-albo90 corrective blend shape. And then I have to change the RemaValue. So if this is 0, the blend shape should be 0. If this is 90, the blend shape should be 1. So that's what we get here. And then as we rotate this, we should see how blend shape firing on. And we can see here, we get our corrective blend shape with a little bit of biceps going on. And then as it hits zero, after that it just doesn't continue from there onwards. But now we could model another corrective shape. For example, if we approach 140 or so, we could model a different corrective shape that could then fire off. Basically the same idea. Let's make one for 130. We'll take this model as skin geoduplicated. Here we have our skin 2. So then we come in, panel perspective, show, isolate, add selected object. OK, here we go. And then we can model a corrective for this one and then apply that with the shape inverter first, getting the inverted shape without the skin cluster applied. and then we can add it as in another blend shape.",
+  "segments": [
+    {
+      "text": " The next thing that I want to look at with you guys is the elbow and also creating corrective shapes. Before we do that though, we should try to do our very best to get as far as possible with joint deformations before we start adding corrective shapes. The problem with corrective shapes is that it's kind of dependent on the model and once the model or if the model changes, than any type of shapes that you have done, you probably have to redo or kind of, you know, convert. So anything that you can do with joint deformations, it's probably going to be faster to set up and also easier to transfer if you get some type of model change. So let's see if we can improve that elbow here a little bit. Let's make first a pose, extreme one, 160. Let's set this to zero, delete the animation on the fingers. Okay. So here we already talked about that. I think at the end of the day it would probably be a good idea to add a split, the split elbow that we also added to the knee already, because in the knee we have a very similar situation if we go back to FK here and rotate this, just no real good way being able to rotate this as extreme as we have to. Same thing for the elbow here. Depending on how extreme we want to go, there is just a limit of what we can do. But having said that, we can still try to improve that as much as we can using partial joints and then using corrective shapes on top of that. So let's create a partial joint for the elbow. Let's parent that under this joint here. Set it to zero so that we can get it into the same space, make it a little bit bigger, maybe three. This is our partial joint for the elbow. Let's show it in the Outliner here. We'll select it. At the moment I have it parent it under the IKMID at the end of the day. It should go under the blend joint, blend mid. But also there, it shouldn't really stay where it should go instead as it should go one up. We talked about this before. So let's go our arm blend mid partial JNT. And we'll parent it one above that, so that would be the root. And then what we're going to do is we're going to come in here into the attribute editor and zero out the joint orient zero again. Okay. And then we will connect the rotation to the elbow rotation of the blend mid. So I'll select both of these guys. I appreciate bringing them in, graph, add selected. And we'll go from the blend mid to the blend mid partial through a multiply node. So we can get half of the rotation. So connect the rotations up. Here I'll start with just x for now. And then the output x goes into the rotated x. And then we are multiplying it with 0.5. Then we'll take that partial join. Let's also give it a color. And then let's take this and add it as an influence to the skin here. Skin, add influence without geometry, or it's not a geometry, it's a joint. Now we can paint that towards that partial joint. Star, partial, star. Here that's the one. I want to paint all that to 100% to the partial joint. Okay, I think that looks good. Then let's animate it and see what we'll get. So that works a little bit better now, but we still kind of have the same issue with those two drawings here, or those two loops, you know, kind of penetrating quite a bit. The more obviously we go, the more it will penetrate. So what we can try now is adding more partial joints, one for this row here and one for that row. So let's try that. I'll take the probably the partial joint that I already have in here and I will duplicate it and then I will move it back a little bit along that line. So we know that it's in the space of this joint now, so I can just move along Y to get it back to that joint or just translate it a little bit so that it hits this one right here. And then I want to add another partial joint. And that new partial joint, apparently under the lower arm. So let's call this partial a maybe. And that would be the regular one at the elbow. And then we'll add another one and we'll parent that one under the mid and we'll zero out the rotations here if we get some. joint orient, okay, and then we can move this forward here and zero out to Z. So now it's going to be in the space of the mid joint, and now we can just translate it along Y here again along the joint. Now we just position it so that it's sitting right here at that next loop, I can call this partial B maybe. Now we'll add those two as influence objects here also, or influence joints, so add influence, add those in here. Now if we skin to it, Blend mid A, blend mid B. So the B we can paint all that. And the A can paint all that loop here, those points. OK, so now when we rotate it, we should see pretty much the same behavior as before. However, now what we can do is we can take that partial join and we can rotate it and essentially change the alignment. Same thing with this one here. We can rotate it and change that loop. So you can see here I have full control over that loop, what I want to do with it. And I can also scale it or translate it or whatever I have to do. So let's connect those up to the rotation of the elbow. Let's bring those in here. and select it and I'll duplicate it or I can actually probably create a new one connect this in rotate X and from here I connect into the drone is done it's a lower one so let's do that as a second round, let's connect it to the top one here first, rotate X. So you can see it rotates quite a bit. So let's set this to 0 here, or 0.5. Then we get these lines here parallel. And then we have to connect also through a multiply divide to that last one to also rotate that a little bit. Rotate x to input x and output x into the rotation. Okay, now we can also multiply this with 0.5. Here now we can see it's going into the opposite direction. So it's rotating more. So now we have to actually scale this with minus 0.5. That these lines here stay parallel. You can see what it's doing now. The elbow stays nice and sharp. Here we're still losing a little bit of volume. So now we can do the same what we did for the foot earlier on. can try to scale this middle partial joint a little bit, and maybe also translate it. Let's connect the scale here first. Let's create a remap. Go from the rotation x into the input value. And the rotation can be anywhere from probably 0 to... If we go all the way, it might be as much as 80. So it's 0 to 80. And that should result. If it's 0, then we want to have the scale of 1. And let's leave that at 1 for a second here. Now we can play with that in moments. Out value goes into scale. See, let's try to connect the translation first. Let's see how far we get with that. Here we also have the same problem that we already have translation on this. What we could do is we could try to eliminate translation by adding another Orion group on top. So if we go here, Outliner, and we group that arm blend mid-partial. And then if we take this value here, copy it, and paste it onto the group instead, and remove it from the partial joint, then it still looks the same, but now we have the translation on the group and no longer on the joint. So now the joint is 0, 0, 0, so that makes it easier to connect the translation and then we can just take the name here, paste it onto here and call this partial-orient group. It catches our translation or transform values. And then let's connect that into the translation then. So as we rotate, we want to try to translate that. Another thing that we could also think about is instead of connecting the rotation x onto the joint, connecting it onto the Orion group now. If we do that, then the joint will rotate, but also the orientation will rotate here as well, so then we can actually just rotate it in one axis if that makes sense. So let's do that instead. So I'll take that and go to the hypershade here. And instead of going from here from the output of the multiply divide node into the joint, I'll break this connection and instead I'll set this to zero and instead I'll go into the rotation of the group. So output X, I think it was rotation X here, the Rn group, rotate X. And now we get the same result. So this is rotated 90 degrees, or not 90, but 41 degrees. But now, as I said, we have the space of that joint also rotated because it's the group above that rotated. So now we can actually take this and just translate it in Z as opposed to having to translate it in two values, like to the side and forward. So now let's connect the, now we see we have to connect it a little bit differently because now we don't have rotation here anymore so we have to go from the group into the input value of the remap. So rotate x from the group into input value and that can go from 0 to 80 and then the result, well if it's let's put this both to 0 so that we don't want to get any translation for starters. Then we connect the out value you into the translation. What was it? Translation Z. Translate Z. And now we can play with this value. So if this is approaching 80, we can see how much we want to move that inwards. Perhaps let's say one unit, probably not enough. So let's maybe make it two units or three units. Okay, this is getting somewhere. But probably also we want to scale it a little bit too, because first of all, this is getting pretty round now, and second of all, this is maybe not enough, maybe this needs to push out more. So we probably also want to connect the scale here as well, maybe something like 1.5 if this is getting closer to 180 or 90 or so. So let's create another remap node. Go again from the rotation here, after our group, rotate X, it's again our driver that goes into input value, and the output value goes into the joints scale. I believe it's probably also Z, should be rotate, or scale Z, yep. So the scale is set. Now we go from 0 to 80 just like before. And then we say 11, so this is the regular scale. But now we can say, okay, this should become maybe 1.5. a little bit of a problem, so maybe we have to play with the translation. Here we go. We could do kind of something similar now to those ones here as well if we wanted to, that one and that partial joint here as well, and scale those up. I just wanted to show you, you know, like that is kind of the idea. What you can also do is scale those up here to create a little bit of bulging now based on the rotation. You can really do a lot with just those extra joints in there. The nice thing about this setup is that it's fully automated now. You don't even have to think about this anymore. The moment you rotate it, those extra joints are doing its thing, giving us a better, different There are still things that you cannot really solve and probably the model here is not 100% ideal either. This should perhaps come out a little bit more than that. That should perhaps move out a little bit more, something like this based on the rotation. So you can just keep on adding more joins and more setup, but you can also see that it's kind of like getting complex or more and more complex. So another way how to deal with that would be corrective shapes. So I want to show you also how we can do that. So let's say this was enough, what we want to do in terms of join setup. So let's try to create a corrective shape as an alternative. Maybe we can do it on the other side actually here. And both sides. So what we want to do for the corrective shape is we want to go to the pose where we want to create a corrective shape for. So let's say we want to create one at 90 and then maybe another one at 140 or so. Let's create the one for 90 first. And then what we want to do is we want to duplicate the mesh. Let's reset everything else first. Make sure that we really only have that one control going on. I think that's what we have here. And let's duplicate that skin. And now what we can do here with this is we can model the shape how we want. Going to isolate that duplicated skin. And I'm going to just go in and move these points around so that it actually looks like how I want it to look like. Let's maybe take those guys. Let's maybe create a little bit of bulging here. Let's maybe move those up a bit. It does come out a bit more. We can use any type of modeling technique that we want. We can use soft selection or edges moving points. Idea being, we want to have the model look the way how we want it to look like in a pose. Let's make these come out a little bit more. See how it looks like smoothed. Let's say that was our shape for 90 degrees. You can also think about if we want to add a little bit of biceps bulging here, perhaps or that shape here too. We could also do that with a joint as well. That could translate forward, but let's try adding that with a joint here, or with a corrective shape rather. OK, something like that. Don't have a whole lot of resolution here to actually model muscles and stuff like that, but let's say that is OK. And then what we do is we use a plugin or a tool by Chet Vernon. So you can download that if you go to chetvernon.com on his blog. So what he can also do is he can just search for a CV shape inverter. If you haven't used that before, it's actually pretty handy. CV shape inverter. And it's basically just the first one that comes up here. and then you can go down, download it from the site here. And then here is a little bit of a description and how to use it. So I already installed it on my computer here. So what I do is we first select, we select both of these models, first select the skin and then the new sculpted mesh that we have here. And then we run the import and the command here. And that is basically Python. It's no longer Mel now, so we have to go to a Python window here, Python tab, and run command enter. Actually, there is a mistake. I might have picked them the wrong way. Actually, I think it's still worked. Let's see, even with this error. Here we have to invert a shape. So what that basically does is it removes the skinning and just gives us the shape how we need to apply it as a blend shape. So now we can come in here and we can hide our main one, the one that we modeled, and apply the inverted one as a blend shape, as a front of chain blend shape. So let's hide that as well. One thing to be aware of on that inverted shape that we got from at the tool, we have a live deformer so that as we are making changes to our sculpt here, we can still change that and it will automatically live update the skin inverted here because we have that deformer hanging in here. What we should probably do is before we hand it off to somebody else, we should probably delete the history on that because otherwise if somebody does not have that plugin, then it won't work for them and world through errors. So what I'm going to do is I'm going to on the I'm going to hide that first and then on the inverted shape I'll rename this to be like elbow or elbow 90 corrective. Yes, maybe. And I'm going to delete the history on this, delete by type history. And I'll apply this as a blend shape to the main skin. So let's take this corrective here and apply it as a blend shape to the main skin. Create blend shape. What I'm going to do here in the default settings, I'm actually going to change under Advanced, I'm going to change it from default to front of chain. Then that allows me to create a blend shape in the beginning of the chain so I don't have to change the deformation order. So actually this is kind of my default that I have anyway front of chain to ply. And now we have our blend shape first, then our skin cluster, so that should be the correct deformation order. And now what we can do is we can apply our blend shape here. And we can see it pushes it into what we have modeled here. Okay, and and we get a little bit of biceps here as well. So then we can hide this. Now what we can do is we can, based on the rotation here of our Blend Mid joint, as this is hitting 90, we can dial in our blend shape. So let's connect those two things up here. Blend Mid into the blend shape. Actually, let's select the BlendMidJoint first, Hypershade. Go to New Tab, add that one. So that's our driver. And then the driven will be the blend shape. So let's select the blend shape. And we can perhaps rename this to be corrective shapes. Blend shape. Let's select this, or market, copy it, and paste it into select by name. So then we have the blend shape selected, then we can bring that in here, graph, add selected to graph, and then we can connect the rotation into the blend shape. So here we can also do that with a set-driven key. I'm going to do it with a remap value once again. So I'm going to connect the rotation x into our input value. And then from here I'll go from the output value, I'll go into my weight. And I'll connect this into my Outvalue into my R-albo90 corrective blend shape. And then I have to change the RemaValue. So if this is 0, the blend shape should be 0. If this is 90, the blend shape should be 1. So that's what we get here. And then as we rotate this, we should see how blend shape firing on. And we can see here, we get our corrective blend shape with a little bit of biceps going on. And then as it hits zero, after that it just doesn't continue from there onwards. But now we could model another corrective shape. For example, if we approach 140 or so, we could model a different corrective shape that could then fire off. Basically the same idea. Let's make one for 130. We'll take this model as skin geoduplicated. Here we have our skin 2. So then we come in, panel perspective, show, isolate, add selected object. OK, here we go. And then we can model a corrective for this one and then apply that with the shape inverter first, getting the inverted shape without the skin cluster applied. and then we can add it as in another blend shape."
+    }
+  ]
+}