Add transcription for: week06 05 skin weights painting pt2.wav

transcriptions/week06 05 skin weights painting pt2_transcription.json

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+{
+  "text": " And then we're just going to step through and kind of you know clean up where cleanup is needed. So here we already did it a little bit but we want to go you know much more extreme with this. So let's maybe work on two more areas before we move on to the next topic. Let's move, let's try to focus on the hips and then maybe the shoulders here which I know can also be a little bit tricky to paint. So let's create an animation here. To remove the one from the toe, break and be sure that it's on zero. Then we'll continue here with this area. Actually here I'm probably going to do two things. I'm first going to animate the hips. Again, choosing an extreme rotation here for hips would probably not go more than 50 degrees or so, I would think. So all this area should not move with the hip. Really, we only want this lower area more to move with the hip, like kind of where the bone is, not the area up here, because that goes into the opposite direction. If this goes forward, then these points are going back, which is not what we want. So now, instead of removing it from the hip, we want to add it to somewhere else, where it should go instead. So I would suggest that probably should go to the spine. Probably the closest spine would be this one, or that one up here, depending on where we are. So that's what we want to paint it towards instead. Let's come in here, go to our painting tool, and select our spine, star, spine, star maybe. So we have the spine one, which is here on the bottom, and then we have spine two, which would be this one. That's that. So we can paint these areas here probably towards the spine. Let's choose more severe ones, or one maybe. With the spine, it's a little bit tricky because we want to keep that smoothness off the spine. So we maybe have to smooth it out a little bit later on. But so this is the spine. This one is probably closer to the spine 3 here. So maybe we should paint that to the spine 3 instead. Again, I'm still thinking about blocking those weights in. OK, maybe something like that. We still have movement up there. So let's paint all this to this point 4, that it doesn't follow the hips anymore. 1, 2, 3, 4, it should be this one. Again, the edge flow here is not perfect. In fact, you can see we have two triangles here and it makes it a little bit tricky because this obviously belongs to that joint while this might be closer to the next joint up. So it is becoming a little bit cumbersome to paint these weights here. But there are areas or things that we can do to improve that later on. Let's just see what we need here, roughly. Here I think all this mask can probably go to the, I think we call it breast or chest joint. Let's see. Chest, maybe. Chest root. Let's paint all that to the chest joint. Switch this back to maybe black and white monitoring. OK. We can make our brushless a little bit bigger. Now here we go. Let me just see our two down there. OK. Now really what we were interested in is painting, you know, removing that area from the hips movement. So we have here something on the belly still moving with. So let's try to see if we can remove that as well by painting it back to the spine. So we have spine 0 down here or spine 1 down there. So maybe up till this area here, that should all be spine 1. So let's go back to the spine. I'll be spying here. We don't have to worry about the other side. We can just mirror it over then. That should maybe also be spying. All this should maybe be spine 1. This could probably be 50% between spine 1 and spine 2 later on. Let's see. And then we have some movement up there that should probably go to spine 3 here. Here we go, it's getting there. Spine 3, maybe that one too. Spine 4, I guess this one here. And then let's see what this joint here is. Spine 5, 1, 2, 3, 4, 5. Yup. This is Spine 5, that one there. Here we have some weighting from spine 5, so that should probably go back to spine 3 or 4. That's not on spine 5 anymore. Here it's also a problem in the topology I think that we have, it's like a 5 sided polygon. I think we don't have a lot of, we don't have a lot of deformation going on here, but I I think we can improve that a little bit or could, you know, the model could be improved by just adding another line or edge from here to here and over to there. The issue with that is it gives us a five, you know, a point with five edges coming out of it as opposed to quads, but I think in this case it would probably be better so that if we bend around this joint, I mean, again, we're not bending too much because bend is going to be distributed, but still I think it would make it a little bit better because here this is just too big and doesn't look very good. Could maybe also work with this triangle here or those triangles and try to see if we could resolve that a little bit differently, but this is more about modeling. Okay, so now we have removed any type of spine movement from the hips, our torso movement from the hips so that looks okay. And then we can think about how we want to continue from there. So let's move this keyframe here somewhere else. Let's move it there. Frame 24 maybe. Keyframe that. And then from there, we want to move our lower, upper leg rather, to 48 maybe. You can see here how extreme that deformation really is, or you know the pose really is really, really extreme. We want to see how good we can get that, because if we can manage to get that somewhat decent, then we know that everything in between that's less will probably most likely look good too. And here same idea. So now we have to think about okay where are our axes that we want to rotate. So this one should probably go 50% the one that's close to the joint and the one below. Now that we added these additional hip joints, I'm thinking that probably the leg joint should have been a little bit lower, maybe here or even down there. It feels a little bit high now to me that we have two, now that we have two joints, but that's kind of what we have now. So I don't want to go in and change that all again. Let's see if we add lag here. Right, lag. Let's paint all this white for now. Let's change it to not have a color. And now this area should probably be 50% between the legs. I'll paint it 100% of the leg first. And then maybe 50% to the hip. That was that one here, I believe. So let's turn our color ramp back on. Let's paint with a value of 0.5. Let's paint all this area here to the hip 100%. I will change this to 100 or 1. you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you Thank you.",
+  "segments": [
+    {
+      "text": " And then we're just going to step through and kind of you know clean up where cleanup is needed. So here we already did it a little bit but we want to go you know much more extreme with this. So let's maybe work on two more areas before we move on to the next topic. Let's move, let's try to focus on the hips and then maybe the shoulders here which I know can also be a little bit tricky to paint. So let's create an animation here. To remove the one from the toe, break and be sure that it's on zero. Then we'll continue here with this area. Actually here I'm probably going to do two things. I'm first going to animate the hips. Again, choosing an extreme rotation here for hips would probably not go more than 50 degrees or so, I would think. So all this area should not move with the hip. Really, we only want this lower area more to move with the hip, like kind of where the bone is, not the area up here, because that goes into the opposite direction. If this goes forward, then these points are going back, which is not what we want. So now, instead of removing it from the hip, we want to add it to somewhere else, where it should go instead. So I would suggest that probably should go to the spine. Probably the closest spine would be this one, or that one up here, depending on where we are. So that's what we want to paint it towards instead. Let's come in here, go to our painting tool, and select our spine, star, spine, star maybe. So we have the spine one, which is here on the bottom, and then we have spine two, which would be this one. That's that. So we can paint these areas here probably towards the spine. Let's choose more severe ones, or one maybe. With the spine, it's a little bit tricky because we want to keep that smoothness off the spine. So we maybe have to smooth it out a little bit later on. But so this is the spine. This one is probably closer to the spine 3 here. So maybe we should paint that to the spine 3 instead. Again, I'm still thinking about blocking those weights in. OK, maybe something like that. We still have movement up there. So let's paint all this to this point 4, that it doesn't follow the hips anymore. 1, 2, 3, 4, it should be this one. Again, the edge flow here is not perfect. In fact, you can see we have two triangles here and it makes it a little bit tricky because this obviously belongs to that joint while this might be closer to the next joint up. So it is becoming a little bit cumbersome to paint these weights here. But there are areas or things that we can do to improve that later on. Let's just see what we need here, roughly. Here I think all this mask can probably go to the, I think we call it breast or chest joint. Let's see. Chest, maybe. Chest root. Let's paint all that to the chest joint. Switch this back to maybe black and white monitoring. OK. We can make our brushless a little bit bigger. Now here we go. Let me just see our two down there. OK. Now really what we were interested in is painting, you know, removing that area from the hips movement. So we have here something on the belly still moving with. So let's try to see if we can remove that as well by painting it back to the spine. So we have spine 0 down here or spine 1 down there. So maybe up till this area here, that should all be spine 1. So let's go back to the spine. I'll be spying here. We don't have to worry about the other side. We can just mirror it over then. That should maybe also be spying. All this should maybe be spine 1. This could probably be 50% between spine 1 and spine 2 later on. Let's see. And then we have some movement up there that should probably go to spine 3 here. Here we go, it's getting there. Spine 3, maybe that one too. Spine 4, I guess this one here. And then let's see what this joint here is. Spine 5, 1, 2, 3, 4, 5. Yup. This is Spine 5, that one there. Here we have some weighting from spine 5, so that should probably go back to spine 3 or 4. That's not on spine 5 anymore. Here it's also a problem in the topology I think that we have, it's like a 5 sided polygon. I think we don't have a lot of, we don't have a lot of deformation going on here, but I I think we can improve that a little bit or could, you know, the model could be improved by just adding another line or edge from here to here and over to there. The issue with that is it gives us a five, you know, a point with five edges coming out of it as opposed to quads, but I think in this case it would probably be better so that if we bend around this joint, I mean, again, we're not bending too much because bend is going to be distributed, but still I think it would make it a little bit better because here this is just too big and doesn't look very good. Could maybe also work with this triangle here or those triangles and try to see if we could resolve that a little bit differently, but this is more about modeling. Okay, so now we have removed any type of spine movement from the hips, our torso movement from the hips so that looks okay. And then we can think about how we want to continue from there. So let's move this keyframe here somewhere else. Let's move it there. Frame 24 maybe. Keyframe that. And then from there, we want to move our lower, upper leg rather, to 48 maybe. You can see here how extreme that deformation really is, or you know the pose really is really, really extreme. We want to see how good we can get that, because if we can manage to get that somewhat decent, then we know that everything in between that's less will probably most likely look good too. And here same idea. So now we have to think about okay where are our axes that we want to rotate. So this one should probably go 50% the one that's close to the joint and the one below. Now that we added these additional hip joints, I'm thinking that probably the leg joint should have been a little bit lower, maybe here or even down there. It feels a little bit high now to me that we have two, now that we have two joints, but that's kind of what we have now. So I don't want to go in and change that all again. Let's see if we add lag here. Right, lag. Let's paint all this white for now. Let's change it to not have a color. And now this area should probably be 50% between the legs. I'll paint it 100% of the leg first. And then maybe 50% to the hip. That was that one here, I believe. So let's turn our color ramp back on. Let's paint with a value of 0.5. Let's paint all this area here to the hip 100%. I will change this to 100 or 1. you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you you Thank you."
+    }
+  ]
+}