Add transcription for: frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 09 skin weights painting pt6 add geometry as influence_frames.zip

transcriptions/frames_zips/CGCircuit_RiggingCartoonRealistic_DownloadPirate.com.part4_week06 09 skin weights painting pt6 add geometry as influence_frames_transcription.json

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+{
+  "text": " So that's for adding influences. I want to show you one other thing for adding another type of influence which is not a joint. So I'll save this one more time and then I want to show you how we can use geometry for as influence objects as well. So for example here in the case of the foot we can see that when we are rotating this quite extreme we're losing volume back here. So we might be able to get away with the same technique just adding a partial joint which we haven't for our foot yet which we can then potentially scale in and out or so same thing for the toe bend also if we're rotating this quite extreme we can see this is kind of getting sucked in so we're losing volume here also which we can probably live in alleviate with a partial joint in that area as well However, I want to show you another technique that you could also consider, and that is adding influences in form of geometry. So what I'm going to try to do is I'm going to try to create a little piece of geometry, making this surface slide first, and then I can use Quad Draw. So I will go to Mesh, Quad Draw, and then I'll draw a little piece of geometry here, maybe from there, here, there, and then the The next points up are probably going to be somewhere around here. Actually maybe a little bit further in here. And then the next one perhaps here. Let's see if I can create these points here. Okay, then I'll create another one, another new surface. Here in the front, going from here to here to there. Then another one here, here, and maybe there. Okay, so now I have my two surfaces here. So let's skin those to...actually before we do, let's try something else. Let's try to add those as influences for our skinning. So I'll turn this off, live surface, and now I select my... Actually it seems like that I already have those... It seems that it combined those two. That's fine, let's delete the history on it though, and then let's add this as a surface. I was going to create two separate ones, two separate influence objects, but we might as well just use that one. And then I'll go in and I'll select my geo first, my skin, then I'll select my new object here, that surface with the two pieces, and I'll go to Animation, Skeleton, or actually Skin, Add Influence. And now this time I'm going to use Use Drematory, because now we're actually half-drematory that we're going to use, right? No longer drawings. I'll still use lock weights with a default weight of zero. Now hit apply. Now what we can do is we can paint points towards that mesh, so that the mesh is actually influencing it. At the moment we will see that nothing moves, but if I paint this, not that one, but that one. I go all the way down here to the Polysurface 1. That's my surface. I paint, for example, this area here. I hope this will work now, because I've only tried it with making it one, or rather two separate surfaces before. Let's hide this here. We can paint better. So I'll paint all this towards the surface. And I'll also go in and paint this area here in front also to the surface. Actually, let's leave it. Let's just work on this area in the back here first. Now if I move this around, we will see that these points here are actually skinned or glued onto the mesh. The other thing that we can do is if we now select those vertices of that surface, at the moment here we can see nothing really happens, but if we go to our skin cluster, attribute editor, skin cluster 14, that's the one that's on the skin, and then we set here use components from off to on. We will see that it changes color a little bit, I think that's just an artifact somehow, but now if we take this, so we still have the same result as before, where if we move this will be skinned. But if we now take these vertices up there and move them, then we can also see that it's skinned. So now we have something similar to like a raptiformer. So what we can now do with this is we can skin those new pieces to our foot joints. Okay, Let's try that. So let's select our lower leg root and our foot root joint here and our new piece. And let's also paint it towards this one here as well. Smooth bind. Let's hide the GU for a second. So now if I rotate this, what we can see is we can essentially pull out this area here by skinning it to this piece. At the moment, we haven't weighted those pieces yet, but if we go in here and I paint these a little bit differently, so let's paint all this area here white to the leg, and this area down here to the foot. And then add area here also to the foot and add lower area to the foot mid. So now as I'm moving this up and down, you can see that this is kind of shortening. And we're using that now as an influence object for our skin. So if we turn on our skin again. Gio. Then we can see this is actually looking a lot better here already. I mean, it's not looking perfect yet, because now we have this area coming out too much. But if we now paint the falloff a little bit smoother or the surrounding area a little bit better, We should probably see some good results with this. Let's create a little animation again so you can see it a little clearer. Let's key that at zero. And then let's paint this to that new influence surface, maybe 50%. Let's replace it, or 0.25, let's go in smaller steps, so let's add. Actually here we seem to have some trouble painting this. Here we go, let's try that. Let's try painting these. Let's try to replace it with 0.5 to see if we can push this in a little bit more. Perhaps something like that, or perhaps a little bit more, so 0.75, let's try that. Okay, that's probably the sweet spot here. Let's animate the other side here as well. Key. Now you can clearly see the difference between using an influence object and not using an influence object. So with the influence object we can kind of make it look a lot better than without. And the reason why I added this here to the front is because now we can try to also change that up here too. Zero that out. Break this connection. Let's try to use our ball roll instead. You can see it's also going in quite a bit. But with our influence object, we have something to keep it outside if we wait to that. So that area that's getting sucked in, we can now paint, or try to paint towards our, oh I think now I'm crashing here. Let's come back in the next video here and then I'm going to paint that area. Okay, I quickly went in and reproduced that, so we should be back to World War Before, the crash. So we can see this area is definitely better than that area back here. Now we can work on this area here in front a little bit. It doesn't get sucked in so much, but rather keeps a straighter line. So we have our influence object, one back there, one in front of here. Actually, it's the same geometry. But now in neutral, it's kind of like flat, and when we're moving this up, then we can now use that to kind of pull out that area here a bit. So let's hide that and come in here and paint the weights. See if it crashes again or if it works this time. So let's paint a little bit of 0.5 here, perhaps. So we can already see that it is working here. not 100% I don't really like how sharp this gets. So let's paint this a little bit smoother here instead by the next row also. By painting the next row a bit. This is 0.25 perhaps. See how this looks. Maybe the previous one here as well. Okay, it's getting there, still not 100% satisfied. So let's paint a little bit more. Let's try 0.5 here for the whole thing. See what that gives us. Actually maybe now I want this to be pulled out more. so I'll paint the middle here maybe with 0.75 Okay, almost. That one maybe a bit more 0.85. Maybe that should be one. Let's see what we got here. And maybe the next one should also be pulled out a little bit in the previous one. also a bit. So let's try 0.25 for those. 0.25. Okay, let's try that. I think that is probably okay. Definitely better than this side here, in any case. Perhaps we can still try to smooth it out or improve that quality a bit more. We try using smoothing. Not 100% Let's try adding small values. I'm going to pull it apart a bit. Okay. Let's see how this looks. We're still getting a little bit of a crease there. Don't seem to be able to get rid of that with just the influence. Maybe something like that. I'm not 100% sure. I just wanted to show you this technique here too of adding that influence object. Perhaps we could probably keep refining this, like removing a little bit of weight here, so maybe using scale with a value of 0.9 and scaling this to basically move this back, but still doesn't seem to be working here too well. It's getting better and better, so I guess if we were to refine this a little bit more, we probably could create a good result with this. But you can also see kind of the difference between that with the influence objects, especially here in the back field and without the influence objects. I think it really makes a difference here. I'm usually not using those influence objects, the geometry type. I probably would do that with partial joints instead, because then I can really take the partial joint and scale it in and out. I just wanted to show you this anyway as a possible solution of using influence objects. not only geometry that you can then move around and translate it around where the skin follows, but also that you can skin those influence objects. And then you can on the skin cluster, on the main skin cluster, on the skin, you can just say use components and turn it on and have the geometry, that geometry, that simple, geometry drive the final geometry.",
+  "segments": [
+    {
+      "text": " So that's for adding influences. I want to show you one other thing for adding another type of influence which is not a joint. So I'll save this one more time and then I want to show you how we can use geometry for as influence objects as well. So for example here in the case of the foot we can see that when we are rotating this quite extreme we're losing volume back here. So we might be able to get away with the same technique just adding a partial joint which we haven't for our foot yet which we can then potentially scale in and out or so same thing for the toe bend also if we're rotating this quite extreme we can see this is kind of getting sucked in so we're losing volume here also which we can probably live in alleviate with a partial joint in that area as well However, I want to show you another technique that you could also consider, and that is adding influences in form of geometry. So what I'm going to try to do is I'm going to try to create a little piece of geometry, making this surface slide first, and then I can use Quad Draw. So I will go to Mesh, Quad Draw, and then I'll draw a little piece of geometry here, maybe from there, here, there, and then the The next points up are probably going to be somewhere around here. Actually maybe a little bit further in here. And then the next one perhaps here. Let's see if I can create these points here. Okay, then I'll create another one, another new surface. Here in the front, going from here to here to there. Then another one here, here, and maybe there. Okay, so now I have my two surfaces here. So let's skin those to...actually before we do, let's try something else. Let's try to add those as influences for our skinning. So I'll turn this off, live surface, and now I select my... Actually it seems like that I already have those... It seems that it combined those two. That's fine, let's delete the history on it though, and then let's add this as a surface. I was going to create two separate ones, two separate influence objects, but we might as well just use that one. And then I'll go in and I'll select my geo first, my skin, then I'll select my new object here, that surface with the two pieces, and I'll go to Animation, Skeleton, or actually Skin, Add Influence. And now this time I'm going to use Use Drematory, because now we're actually half-drematory that we're going to use, right? No longer drawings. I'll still use lock weights with a default weight of zero. Now hit apply. Now what we can do is we can paint points towards that mesh, so that the mesh is actually influencing it. At the moment we will see that nothing moves, but if I paint this, not that one, but that one. I go all the way down here to the Polysurface 1. That's my surface. I paint, for example, this area here. I hope this will work now, because I've only tried it with making it one, or rather two separate surfaces before. Let's hide this here. We can paint better. So I'll paint all this towards the surface. And I'll also go in and paint this area here in front also to the surface. Actually, let's leave it. Let's just work on this area in the back here first. Now if I move this around, we will see that these points here are actually skinned or glued onto the mesh. The other thing that we can do is if we now select those vertices of that surface, at the moment here we can see nothing really happens, but if we go to our skin cluster, attribute editor, skin cluster 14, that's the one that's on the skin, and then we set here use components from off to on. We will see that it changes color a little bit, I think that's just an artifact somehow, but now if we take this, so we still have the same result as before, where if we move this will be skinned. But if we now take these vertices up there and move them, then we can also see that it's skinned. So now we have something similar to like a raptiformer. So what we can now do with this is we can skin those new pieces to our foot joints. Okay, Let's try that. So let's select our lower leg root and our foot root joint here and our new piece. And let's also paint it towards this one here as well. Smooth bind. Let's hide the GU for a second. So now if I rotate this, what we can see is we can essentially pull out this area here by skinning it to this piece. At the moment, we haven't weighted those pieces yet, but if we go in here and I paint these a little bit differently, so let's paint all this area here white to the leg, and this area down here to the foot. And then add area here also to the foot and add lower area to the foot mid. So now as I'm moving this up and down, you can see that this is kind of shortening. And we're using that now as an influence object for our skin. So if we turn on our skin again. Gio. Then we can see this is actually looking a lot better here already. I mean, it's not looking perfect yet, because now we have this area coming out too much. But if we now paint the falloff a little bit smoother or the surrounding area a little bit better, We should probably see some good results with this. Let's create a little animation again so you can see it a little clearer. Let's key that at zero. And then let's paint this to that new influence surface, maybe 50%. Let's replace it, or 0.25, let's go in smaller steps, so let's add. Actually here we seem to have some trouble painting this. Here we go, let's try that. Let's try painting these. Let's try to replace it with 0.5 to see if we can push this in a little bit more. Perhaps something like that, or perhaps a little bit more, so 0.75, let's try that. Okay, that's probably the sweet spot here. Let's animate the other side here as well. Key. Now you can clearly see the difference between using an influence object and not using an influence object. So with the influence object we can kind of make it look a lot better than without. And the reason why I added this here to the front is because now we can try to also change that up here too. Zero that out. Break this connection. Let's try to use our ball roll instead. You can see it's also going in quite a bit. But with our influence object, we have something to keep it outside if we wait to that. So that area that's getting sucked in, we can now paint, or try to paint towards our, oh I think now I'm crashing here. Let's come back in the next video here and then I'm going to paint that area. Okay, I quickly went in and reproduced that, so we should be back to World War Before, the crash. So we can see this area is definitely better than that area back here. Now we can work on this area here in front a little bit. It doesn't get sucked in so much, but rather keeps a straighter line. So we have our influence object, one back there, one in front of here. Actually, it's the same geometry. But now in neutral, it's kind of like flat, and when we're moving this up, then we can now use that to kind of pull out that area here a bit. So let's hide that and come in here and paint the weights. See if it crashes again or if it works this time. So let's paint a little bit of 0.5 here, perhaps. So we can already see that it is working here. not 100% I don't really like how sharp this gets. So let's paint this a little bit smoother here instead by the next row also. By painting the next row a bit. This is 0.25 perhaps. See how this looks. Maybe the previous one here as well. Okay, it's getting there, still not 100% satisfied. So let's paint a little bit more. Let's try 0.5 here for the whole thing. See what that gives us. Actually maybe now I want this to be pulled out more. so I'll paint the middle here maybe with 0.75 Okay, almost. That one maybe a bit more 0.85. Maybe that should be one. Let's see what we got here. And maybe the next one should also be pulled out a little bit in the previous one. also a bit. So let's try 0.25 for those. 0.25. Okay, let's try that. I think that is probably okay. Definitely better than this side here, in any case. Perhaps we can still try to smooth it out or improve that quality a bit more. We try using smoothing. Not 100% Let's try adding small values. I'm going to pull it apart a bit. Okay. Let's see how this looks. We're still getting a little bit of a crease there. Don't seem to be able to get rid of that with just the influence. Maybe something like that. I'm not 100% sure. I just wanted to show you this technique here too of adding that influence object. Perhaps we could probably keep refining this, like removing a little bit of weight here, so maybe using scale with a value of 0.9 and scaling this to basically move this back, but still doesn't seem to be working here too well. It's getting better and better, so I guess if we were to refine this a little bit more, we probably could create a good result with this. But you can also see kind of the difference between that with the influence objects, especially here in the back field and without the influence objects. I think it really makes a difference here. I'm usually not using those influence objects, the geometry type. I probably would do that with partial joints instead, because then I can really take the partial joint and scale it in and out. I just wanted to show you this anyway as a possible solution of using influence objects. not only geometry that you can then move around and translate it around where the skin follows, but also that you can skin those influence objects. And then you can on the skin cluster, on the main skin cluster, on the skin, you can just say use components and turn it on and have the geometry, that geometry, that simple, geometry drive the final geometry."
+    }
+  ]
+}