“Rigify Addon” for Blender (PitchiPoy Version) – Tutorial

hello and welcome this is a clear speaking from picture boy studios and I wanted to talk about our new rigify design we're using nathan deck dolls rigify system here is the layout you would get from the normal general rigify and here is our layout as you can even first see we have like a few differences I don't know different spying spying number and face differences or even more than that and I'll get into that later but generally a rig rigify is constructed of brick types various red types and so each each meta rig is constructed of various Ric types and what you can see from here this is for example would be an arm work type this would be spine Ric type this B's would be the clavicle or shoulder rig type these are the leg rig types and each Ric type would be defined here over here in the rig type panel you can see the Ric types name this would be arm it's a it is defined from the first bone of the connected chain you won't see it here even though this is this would be an arm to first chain and this would be in biped arm iPad leg and you have the parameters set for each of those and these are the general this is the general layout that that is already offered in the rig of I and Daryl many other tutorials I assume that talked about it and how you can use it so you be talking about this we would be talking about our new rigify which you could download and in this setup of course constructing the same way because it's still rigify we have different different names and different a different solution for for the layout for the rigging layout and once I'll generate this this rig we will talk about the differences and features that this rig type has and this metric has so let's go over each rig type and talk about a bit what they can do and then we'll generate it and we'll see what it all does so this is face rig type it's rather complex it has a lot of bones and I maybe I'll add right now that if you'll get into edit mode and maybe delete a bone or something like that it will it won't work it has to work it works with all its bones and if one will be missing the code long run also each each name especially for the face guess I guess only for the face must the names must remain as they are because this is how the code is constructed and the parent bone of the face is here you can see the rig type the face red type you can change the tell-tale rigify where to put the layers when it's consuming its generated so you have one extra layer and second primary x-ray on your secondary extra layer and we'll talk about it later once it's generated this entire spine from from the tailbone to the head is called the torso or the super torso tor Bo yeah it's a weird name but it's it's my it's my fault it's anyway you can you can change the tweak there's a there's a tweak layer here and there's a can change the positions and we'll talk about the different positions and what all this means once it's generated but basically the neck position would be here it's the fifth bone so one two three four five so the fifth bone will start a neck so in Nathan's rig it's it's different the general Rafe eyes it's different there's a torso rig type and a neck trip type we connected the torso with the neck and head together as one there's also the pivot position which be the third bone this is where the torso is would be rotating would be the center would would signify the center of the torso this is a general layer we can change it and tweak it around but we give in this metric a general solution and and and also of course you can change and add like subdividing then you can subdivide the the metric to any number of bones you would like and it will work fine and then you can just you should just change it I mean if you would add like fremo bones here then I guess this one beef this one won't be the fifth one would be a bit higher with a high number number but this and it it should it should work fine also yeah so so the standard metric also has this feature when you can you can add subdivisions to it and reach any number of I know you called vertebras vertebrae and and it should work so it follows the same logic but the the result as you could see with Slater would be different here is the limb the limbs and arm break type has its parameters this the hand and the feet the legs you can see that they're they're basically the same Ric type it's a super limb and with what it means is that we figured out that a hand a an arm and a leg and let's see what even we have wearing a paw is basically follows similar to the same rules just have a different ending so it's basically it's the same Ric type but it has a different parameter so you can make it a leg you can bake in an arm this is already set up correctly and it works but it can be changed so this limb would be an arm and it has a rotation axis which you will see later and a number of segments it will be segmented in two you can change that and we'll play with that later and the B bone segments and we'll see that later how the be bones operate with this setup and the same goes here this would be the leg it has a bone that signal there is a few additional bones one would be to show where the heal would be and the toes this these are these palm rigs like where's the rig type on this this is rotate of the palm it it's the same root type as the general matter and the default metal rig we didn't change that so that that would be the same but we did make we call it simple tentacle and these would be the the fingers they they follow different a bit of a different logic mainly because of our animators preferences for finger animation so that covers all end and this rig type which is the basic copy and is used for the clavicle it's a it's it's the same it's not we didn't change that with it it's the beat it's all also default okay I think we can generate it let's generate this sky so I'm in pose mode and here under the object data of the rig rate five buttons generate and the script runs should take about seven seconds while I took took less okay good computer not mine okay so here's the results let's hide the meta rig and see what happened here so this is what happens once you generate the rig of high up made the meta rig on a hide mode and as you can see we have like some different aspects of it doesn't look like the normal rig you would see first of all there are a lot of connections we don't want to see so let's put relation on their display relationship lines uncheck that and let's see what happened here so let's get into pose mode and see what is going on and we can see how also that rig layers we have also UI setup for each layer and wool I think it would be best if we'll just go by each layer and talk about what happens so turn everything off and start talking about just the face here are the face main controllers you would see that this this is our under the third to last layer you have deformation bones and this is how it works basically it's an automated system have the jaw you could connect by parenting your teeth to the set up nose and eyes control or you can see that there's an automated movement for the the eyelids for the eyelids and these these would be the general ones there's an ear and you can take the entire eye move it let's go to this second the face primary these are these these ones Oh put it under not be bone so I stick and see it each bone if you wanted to smile there's also automated responses for you the rest of the face so it moves proportionally as as you would generally expect a face to to move well like for anything when you raise your upper lips so the nose would move a bit and cetera so you can play around with that so that would be the face let's go there's also a secondary layer let's see what at secondary levels just another they're smaller well it's basically it's the same as if I marry but just a bit more fine-tuned okay so that being said let's go to the torso I think I think this this is blown out a bit more we scale it down just go here quickly things widgets down yeah okay maybe that's that should be a fix I think and these ones too to be scared just a slightly okay so you have a general torso controller works as you would expect then you have a hips torso which rotates and in this rig the main difference between this one and the default one is that you're gonna also move it I mean stretches it's a stretchy setup so this setup is very good for productions when you can when you will need to work with characters that need to move around stretch or have like a cartoony leader to have a cartoony effect so these things are very much needed also this chest controller is drilling the major part of of the spine it rotates it and moves it and also it's it's scaled and it scaled in a way that only one part only the the controller you want is being scaled directly and it does not interfere so this can be like for breathing and basically put it any way anywhere in any position you would like you have a neck also you can scale it up and only scales the neck and not the the head rotate it and the heads also rotate and move and scale around that is the torso and trying to fail like a mala - yeah okay so there's we have properties that are specific for for this region the torso region and these are the head following neck follow usually once you're animating you want the head to stick not not to inherit the rotation of the torso so you won't have to counter animate but you do need to but sometimes you do need and want to maintain that relationship of inheritance so we have the neck which now is following 50% you can see that moves only 50% and the head does not move at all so we can change their inheritance and set it to 1 and now they inherit exactly the same rotation as you would expect when you change it and alter it on the go and you can insert keyframes here so you have a property that is fully functional also I think on the head there is something I forgot there is the mouth lock and eyes follow the mouth lock moves let's go to the the mouth walk basically has it sound now the the jaw I was opened and the mouth lock closes the mouth and you would move the drawers if a character is chewing zero and the eyes follow now it follows hundred percent so when I move the head you see that the eyes the eye target is following but if it doesn't follow wait oh this is something else if it doesn't follow it will stay and the eyes would direct to it I think it would be better we would see it better when when it's on a character so save that for later eyes fall one neck follow fifty percent so that's the torso now let's move there's also a torso tweak forgot again just any vertebra any intersection you can move as you wish these are the tweaked bones you can also rotate them you would see it on the octahedral mode you can rotate and scale each section so it gives you like if you're much more freedom when you manipulate the to Rick and not a bad manipulation good okay so let's go to the fingers fingers are the generally the same layout as the general one just in this case we have just an option to move it around to move each target each controller rotated separately and and it's you can see it stretch it's also a stretchy setup it seems like a general note stretchy setup is something that is very much required when working on an animation production I mean you can't seems like you really can't do without it you want your animations to to flow you want to feel the movement and you want to have all these options open to you so if a set up is not stretchy our animators are complaining that they can't work with it basically okay so the let's go to the arm so we have the arm I K let's start with the I K okay as you see we have the i key target control works as you would expect it I'm not used to this but so this I hand target is what I wanted to move it to normal and the safety a normal setup we don't have and in this in this I case setup and all of the IKS and on K target there is no vector target you would see in normal rigs that they have there's like should be a pole around here and are moved and then we move the ball around and then the arm the elbow or the knee would rotate in in this rig our idea was something similar to the what's called there's a face machine in this setup yeah similar to the setup machine and yeah maiya set up machine there's a plugin for Maya called setup machine and and we are studio used to work with it before we got into a blender and and it's basically I think personally it works it works better it works much better because you don't have to mess around search where pole vector would be you have a controller right on the arm and you just rotate it and it moves as you would expect it to move and also another bonus we get is you can scale it so you can stretch and squash the hand or the leg they work the same foam demonstrated on leg as well yeah so that's the I K set up also there's a you can see a soft soft I K set up so when I move it there's not popping and there's no popping and this this is something that is a bit subtle and I guess burst animators would notice it once your key framing and animating a hand or a leg and an arm or leg and you see it would seal it really close to the end there's the good little pop and and we fix that in this solution it's it's working fairly in a smooth way there we don't have to come time to make the comparison but we'll make it in a different video explaining exactly what soft soft I can means but this setup has that so that's good also there's an FK layer and we can switch to it just as you would expect the normal normal way and here go we didn't we didn't make any put any locks on on the axis of rotation our innovators prefer to have freedom to choose and manually just rotate the correct axes because I don't know they just want the freedom to do whatever they want this will be behan and here you can if you would scale each elements you would get a stretchy response you can even be Han itself so I can basically maneuver it wherever I want let's bring it back to the I K there's another layer called the squeak layer as well and the tweak layer moves again as you would expect it inside and with the torso it's moving each each area and yeah it's it gives a way way more freedom sometimes even bit more freedom that you want you need but in case in case you would actually need to use it it's there same thing goes for the legs have big bones the upper area is the same oh and I forgot the the upper eye K control us all so we can move around I mean it acts as an inverse I K inverse I ki k is inverse kinematic so it would be inverse inverse kinematics the V leg has an additional few two additional controls that would be the heel which rocks the leg back and forth and also rolls sorry rose and now it rocks and these are the toes it's very simple setup and it works the same way with I K and F gains also there's a limitation currently you can stretch the leg wherever you want but again all can limit that stretch and work smoothly and that's also in the normal rigify okay so that's the Google work walk through the entire differences now we can start start binding this this set up to a character hello this is clear from PG boy and today we'll be talking about the our rigging process how we start from a general figure general character we have this is an example from character we use for for our production needs and now we'll will basically use our rigify setup the extension we created so this this character is from Baldy Heights this is one of the extras that should be there so we will be will be rigging it with the extension we created for rigify and let's begin so first I'll add the human pitch boy you can see it's not it doesn't have the same the same properties or the same the same portion proportions in scale and we'll have to make sure it works before we generate it won't work full generated now as you might guess so before before we'll start reading this character but just first of all put it in a different layer just put it here talk about a few general notes about our characters and how we set them up in the blender scene so the first layer we would use for the skin of the body this is the basic the basic beginning we use four for skinning four for the white painting after that we have the first layer of the clothes and we also added the eyes teeth tongue please go in the second layer now the third layer not all characters have that but that would be extra things like he has this jacket type idea and belt goes around him and also if you're a bit experienced with with rigging you would understand this these things can be proved it can prove themselves as quite a bit challenge and we'll show how we tackle these issues and come up with a rather nice solution right I think so the first stage would be to take this metric and appropriate it to the character and that's and that'll be in edit mode but we'll have to make sure it's on x-ray so we'll see what we're doing and let's go over and start start the the appropriation or however you should call it make sure you're an x-axis mirror entered in edit mode and now I'm moving on each bone to its location and then I'll also talk about like the different things that you should be aware of when creating this rig type in which each bone does so the first thing we see here is the heel bone and we'll specify the location so in this in this example the heel should should denote the actual place where the the heel needs the the ground and the edge edge of the heel we're actually because around this axis it will rotate when when the leg rolls the foot rolls and making sure that you see this this middle part between the head and the tail of the bone should correspond to the middle part the foot this is just how we designed it so rectify will know that from this bone it will construct other bones and but this is more for mechanism bones and it's not for the general users so that would be the ankle set it up here and the toes now when you set up the toes I prefer and I think it will be most people would prefer that they will be aligned with the ground making sure that these are parallel to the ground just for purposes of the of niceties or just when you're when you're animating you want to make sure that the controllers are aligned well so making sure that this bone is set on the ground see the location said it just it makes it much cleaner now let's go from these axons move them the line in the center now let's go forward Legg here okay so so the leg you want to you want to try and I mean depends on the character but you want to try and as much as possible make them straight the eye Ches work better this way so I'll try to outline as much as possible even though you see that the leg is curved here I mean there's there's a give-and-take here but generally this is where you want it to be because later when the ika legs Bend you don't want the the foot the lead to go off somewhere you wouldn't expect so you wanted to try to generally fold this way on the straight straight line so you try to keep them in a straight line as well these this is the connection to the waists the waist so yeah with the payout of the pelvis this is the connection to the pelvis where they connect here I would suggest to go to anatomy books and see how how you would appropriate the proportions here I'm making the adjustments for the adjustments for the pelvis area and here you will want to use some Anatomy studies would really help it's just the tailbone and the rest of the spine now in making the spinal as you can see here that the spine usually should be somewhere around really really close to the back like really close to the the rim or the outer edge of the backward here I'm trying to put it as much as possible in the center as well as in the legs maybe the the bones the actual bone layout is here but we try to put it in the center axes because we are going to use the bones for weighting purposes and also these bones are not don'ts are not set a simulation of actual simulation of bones there they are there to make deformations work and we want the deformations to go on as smooth as possible and getting smooth results you want to make sure that these these axes your your aligning for the body to move I mean they should of course correspond to bones but because it's it's not a perfect simulation you want to make sure it's sitting on the center as much as possible I mean it's a trade-off between putting it towards the center and making mix anatomically correct that's a little well had a little tip there also when I create these of bones I try to make uh I try to line them up to be fairly even set up works like that better the neck being an exception from the entire torso now let's align the face I'll put the face Ric type main bone around here it doesn't really matter where it's located it can be even located here but just to make things more smooth will Center it around where the head is located this is a scale down one here and now when I'm aligning the face this is this whole procedure is very delicate and you want to make sure that there are no make mistakes and move things too much or to a place that shouldn't be if the face was designed to be to try to be more anatomically respond to the anatomy of smooth these things way to correspond to the anatomy and if we're making adjustments here that are not I mean take the ball for making adjustments that are not correct or they don't correspond to the right and atonic all proportion or location then things could could look kind of weird and going back to what I said before as to where the bones should be located these bones represent actual bones and the bones around the face represent muscle so the way we would lay out bones for the face would not be in the center I wouldn't put the nose around here and try to put it as close as I can to the edge not too close but fairly close and I'm trying to align each bone in order to understand like where should each bone be located each one has its its own name so if that would be nose the first or no so I know it should be that would be the beginning where the nose should be also some sometimes I have to double-click a bone or a segment to make sure I'm moving I'm not disconnecting things so if I would take this one and move it around that's not good we want to make sure that they're kept at the position together because this bone would be a deformation bone that would stretch to here and it would just would not work right if if we move that to a wrong position so have to be careful about that using this set up continue the adjustments sometimes it's kind of hard to see what you're actually doing so you want to move around a 3d view and see where it's actually being aligns just using your skill maybe and modeling can see where where you put things make sure they're in the right spot this one you kind of like off inside you couldn't see that but when you go into 3d view you see that it's not in the right direction or in the right place K squared let's go chin area this Punk should be the under chin under the jaw these are the sides of the jaw putting towards the side now this point here between the temple area and the jaw area is where the jaw hinge is going to be located like between them in the center between this this one and the other so I try to make it as low as possible but also make sure that's in the right position as well low as possible usually from trying things out seems like the even though the jaw hinge would anatomic would be around here making a bit lower would give a better results at the end entire ear so basically this boom for the year is going so this is going to be the general controller and these are the controllers for tweaking me here so there's one on the top in the middle and bottom of the year it's a language correctly now let's go for lips going for the lips I think I think it'd be better if they'll just make it go to object and make it a wireframe yeah wireframe is just much better results I'm just giving myself too much of an effort so going for the ellipse and that also with the lips as well you want to make sure it's even evenly spaced as well as much as possible the lips I would try to put the bones to be in the center of the lip mass because the lips are quite autonomous in terms of the way they're constructed right like if I would compare the lips as the to the forehead muscles the forehead muscle is are not really autonomous their movement is very like smooth being around the bones and the lips they don't have really a much of a bone to to slide around there they're quite free so I would treat I would treat the the lips as if as if these are actually bones if so to speak because their axis should be in the center of mass and not outside but as I get towards the outer rim of them of the lips that starts to be more like a muscle like a general muscle so it's not in the center towards the outer edge how about making sense the eyeball it's uh missus uh yes ah here called I dot L and I dot R they should be located exactly at the center of the eye so let's signify where the center is if I'll take the entire mass it won't work because there's like a lot of there's a lot of polygons around here so it's not the actual center so loop select and shift this cursor to select it and now we know that this is the exact center of the eyeball now referring to that we'll go back to the metric and change the location of the eyeballs here so now the eyeballs are the bomb controlling them is right on the place it should be you can hide that for now won't clutter our view so you'll notice also that you have the lids that they're here but there's also an upper lid area and the upper lid is made for the extra layer of skin or mass that is above right above the the eyelid and beneath the brow there is um there was a design of the rig before that before we had that and this this design was was not really working there it seems like something was missing so so we thought of adding another another chain of deformation bones to give that feeling of of mass for for the under the that place which is under the brow and above the the lids and it works pretty well I guess so let's move the entire linaria scale it generally move each element now here also the lids are kind of like similar to the lips in a way because it's also a circular muscle and also the lids are made should be in the center of the lid mass there's no bone they're sliding on so and also this part here and this part here these are this going to be the sensor controllers so we want to make sure they're on the center of the eye lined up as much as possible so we'll try to move them around the bits and with that being aligned in one line this part should also correspond to it because this is goal so going to be a primary controller and also this one so we have a setup that works I guess this one also could be so there's like a line that goes here and makes more sense to align these line the controller's like that I think this is pretty much it for the face except for making the places setting up the places for the teeth let's see where the teeth are located so there's one here so we want to make sure that should be around from the center and this one here let's make this bone here these are going to be controllers and moving bones here but just imagine that these two are controllers and now for the tongue so this whole area here is tongue smooth this chain is going to be more time let's move that here is enter years yeah seems like it's around the place and that's that settles the face okay so we finished the face and now let's continue for the other places this is the clavicle so starts around here again the the bones of the clavicle should be like our more towards the outer sides but we want to make it as internal as possible because where we're dealing with deformation and it's not exactly bones put bit the hand arms here this character doesn't really have the best proportions or maybe you can just say it has custom proportions so the form is much longer than the actual upper arm but that's that's what we got that's what you get so anyway and we're working in a studio and if you're making the rigs then you're not making the topology or the the models so I mean only if you really get a crappy model then you can complain but if general if it works if that's the design the design was was approved then just got to do it sometimes though there are really I mean there are serious problems with the topology I mean here I guess it's apology is decent but or with the topology or with the way the the model is it's given to you so you can make the adjustment or tell the the one making the model to make the appropriate fixes okay so this would be the elbow putting it Center the wrist center and extension here and just put it like this between those two fingers or something like that I guess now the fingers so for the fingers I'll control I'll press control I and hide the it the rest and just just manipulate these guys and not consider the rest not relevance okay so I'm moving each section of the finger to its appropriate place after that would be done we'll have to adjust the axes of each each finger try to put these things at the center as much as possible just imagine where would they fold I think a good way now then see it is to work from the top to align these on the top and then feel from the side because on the top you really can see the whole picture on the fingers now some rigs you see this area here of the palm bones some rings have all of these joints connected as one to the one joint but and it's debatable but in this with this setup can just imagine these are the the bones of the hand if they're called the metacarpus so these really correspond to bones now aligning from side view and here you can really there are a lot of things like hindering your view when you go to side view looks kind of terrible all of these bones on top of each other so you can just go over to 3d view and just try to maneuver around because you know that on the x and y axes there okay so you can just move it on these z axes and it should be fine again so back and forth issue because takes some time to make it righted after a few minutes it's it's okay there's a lot of back-and-forth here I mean using difference with you as you can see different mistakes so it's better to search from all views and making sure from all the most views the position is aligned properly now with this this model the the fingers are extended there's there's little to no full initial fold for the fingers and it's it's generally not a good idea - not a good practice I think to model your characters you want to make sure that there's like a slight a slight fold initially like there's a slight fold in the at the elbow and a slight fold here it's an a pose of course want to give that natural feeling from the get-go because otherwise it could look when the hands would when the fingers would fold look good could be problematic so you want to make sure that there is an initial initial folding of the fingers but in this case it's it's not it's not here I mean it's not done but it's what we'll see how it works but I guess it's not that bit of a problem okay I think that's pretty much about it for the fingers so on high things like most of our character is ready so now we have the general the general setup of the meta rig now there are a few things that are missing first of all we didn't really check something that is quite fundamental for especially for this this way of dealing with the rig types is that the limbs the hands and the legs they really need to have to start off with a small bit I'm not sure you even sure that this one will do we'll have to see how it works maybe we'll move that around take like a bit forward but we'll see we'll see how it works that the general idea is that it should start off with a slight Bend we'll see once we generate it let's see this seems like a sufficient then actually this this point the default rigify has a better way of dealing with it so it has it doesn't matter which way you would bent it the limp it would work but because we have a certain way of solving these soft I K and also not using a pole vector it really makes demands that there will be a big significant folding initial folding in the matter it I don't think it's it's that I mean it's really it's something that is subtlety but just a subtlety to recognize a few things we need to add is some some bones that will maintain deformation once once the hand the arm will rotate up let's just do that once your arm will rotate up and down this area could take a lot of weights around here so the whole this this area and around the waists could be influenced and it could be like as if this whole thing's being squashed inside could have a really bad result so we need another bone to strengthen the influence around here especially when I'm going the the method I'm going to show of white painting is the method of automatic weight painting so want to make sure with this method that the bones are situated at places at strategic places where they would take the optimum amount of and influence of the weights that could also be another reason why I said before that we want to make the put the joints try to Center them as much as possible so let's begin adding these bones and then giving them a Ric type so we'll make this kind of bone here that would be a chest bone doesn't have to be that accurate it just needs to be there to do the job row zero now I'll bring this press the individual origins button here what it does is what I scale it doesn't matter where I how I select it when I scale it it'll scale like this so I can take this point and scale it to zero and then move the tip like this on the y-axis and now it's aligned straight and let's just make the role zero let's put it as if it was a chest film the nipple bone sorry edit that out okay yeah so it seems like that would be a bone that would take quite of an influence and could give give a good competition to this area so the heat of this bone would be significant so that's one thing now just duplicate this boat and have a hit boat the same thing could have it also on the leg when when this leg will rotate up it could eat up a lot of influence here so the leg will rise that it will just take a chunk a significant show you can just imagine the entire leg going up and taking with it the the whole pelvis area it gives a nasty result so so making let's make this area here better so take the hit and we'll take this head and we'll simulate it as if as if it's actually a pelvis bones the pelvis but there's a bone here in reality that there's bones are look situated should look like a butterfly you would look at some Anatomy pictures and we're trying to simulate that so it's a it's a core boneless right inside and trying to Center it out as much as possible so it'll take the best influence optimal influence okay now let's set up a good parenting so this goal should be the parent of these two let's make sure it's like that I think it's already like that may it's connected so because these bones have the same parents so that's also like that but these bones there need to be parented to this one let's do that okay so now remove that yeah there these are the parents now let's set up the rick type for this rec type will leaves basically the same basic copy and it's already on basic copy because i duplicated this one but so this copy would create a control and a deform bone we're mainly interested in the deform ball but in this case I think also control bone to control the chest area won't be such a bad thing so we can do that maybe we will have to tweak the widgets a bit because it could be like a weird widgets so we want to make thing you should make sure that the artists will know what to do with it but the control one is not really necessary here of course we don't need a control once a little mark that off there's no movement around here and if there is movement should come from the hips and we'll take that with it as one piece so these things just add deformation for this bill so that's that would be a general layout I would use for for an entire an entire character but this character it has another thing and you can see that his jacket is has two flaps and these flaps can be animated by simulation and but in in our project the simulation will take a long time it's baking its computer power and it's it's it tends to be a mess so we will add now to be metric some joints to let the animator freely enemy this area as if these were to I don't know tentacles coming out treat it like that and it should come off from from this area from the hips back hips area and we want to make sure that when we move these bones it won't affect the legs so there should be a some disconnection so here's how we going to do it we're going to add two more bones which will take the same influence and they will be deformation bones that will make the disconnection they should hold the right amount of weight to connect between to mediate between the flap area and the body because if we would directly now take this bone and let's subdivide it and use it to be a flat area or even if we'd make this bone like like this without any connection to the body which which is what would not you would naturally think when this bone would move it would take again a lot of weight so we need another another bone to restrain it so we're adding now this bone to the cursor so we have this bone while taking the weight and this which is me and this one these two mode would be chained for the flaps so this is pair going to be parotid this one that's a basic copy without control so let's just make the flaps seemed better to work more efficiently yes putting them in strategic places I'm and you would get a feel to it when you're when you're reading more you would see when could imagine how a bone would act and also you can get my imagination see where the heat would go and how much influence it could take it takes oh yeah better practice will get you to the place of intuition where it's just it's there so these two bones are connected let's give them an A and rec type this red type would be a copy chain here and a coffee chain here it has controls and deforms and that's what we want and these two are deforms and there's a good parenting relationship where you're maintaining here so make sure their role is set to zero work okay zero that out too but it doesn't really matter just to make it look better now let's give forget this these low these names so that would be a chest just call it there should be a chest controller so we'll call these : ribs yeah be called ribs red rift RL dunno okay let's call this one pelvis down and this one is billed as dark just call this flap Oh flap l coffee that oh okay and be flap dot are okay so it seems like we have a metric that is ready to generate it from so let's hit the generate button and see what happens okay so let's generate this thing press the generate key and see at hope and pray that everything works well okay so let's see we have some weird things here oh no it's okay that's okay the widgets are kind of weird so make sure the widgets are fixed this fish should be here see what happens the main thing thank you still go down a bit yeah okay I think it's fine but we'll see what happens okay that works nice now I'm just trying out the rig itself without deformation just to see if with itself the mechanism works and you see the flaps how they move because of their parenting relationship and it seems okay we talked about the legs and it seems like made an okay fine job with setting up the giving the bend hint for the legs so they they fold to the right position out we seems like we have a little problem here it's not folded enough when I extend the leg it's jumping see if it happens with the arm yes folding okay and it's extending right so the arm is bent correctly the foot needs some better a better hint just just when you make the models make sure that if there's a better hint yeah for the for the bed bending of the leg I mean it works but it just it's so it's not it's kind of not acceptable for for production if it's if it's like that it can release the leg like this so but it seems like everything else works okay the torso needs uh yeah it needs little adjustments okay so it's a oops re rigify this thing regenerated but make sure that the leg here would be a bit more bits more accentuated have too much stuff maybe try something like this see what happens okay regenerated test2 and it seems like it works yeah so that that bending was enough to indicate how the knee should fold and it seems like it's doing a good job let's turn out the deformation layer yeah it works that's good that is good now I think we're ready to start setting up the binding process and we're good to go I mean it's really a crucial point here to make sure that the rig works because doesn't work then you're out to regenerate it again and again I mean most probably we will need to regenerate it but just making sure that the initial layout is is fine it's workable and sound okay so what I'm doing is usually I move when I'm setting up the layout of move the rig itself to the layer below first layer and the second lower layer would be the metric and a note when you make it when you regenerate it you have to make sure that both the layers of the rig and the metric are on because if it's going to be only the matter you know generated it'll an arrow will pop up I don't know why this is just how it works okay so we have a rig and we have a character let's start the binding process okay so now going for the binding process first if we'll inspect the we inspect the mesh we see we have a few meshes here so let's begin with the first mention bind that I'll see how it works what we should want each student want okay so let's start and see what happens when we make the automatic painting not at the automatic weights now notice that I want the other tutorials or in some places you would see just the method I've just selected taking the the mesh and then select the shift selecting the rig and then ctrl P and automatic weights but if we'll do that well let's just try that press the automatic weights and see what happens now it's bound to the mesh and we'll see that it moves and be working fine seems not very nice and all but there is something that is not that clean here and the thing that is problematic is that if we look at the object data of the mesh and we'll see it we're seeing a lot of deformation bills basically all the deformation bones that start with D EF to form they're bound and they're registered in in the mesh but if we'll look at in inside this list and see we have some bones that are not really don't have any effect like there is the flap that we worked on and there's a pelvis for our form we need but yeah so we're I'm sure there's like a leg somewhere around here that we don't need can sort that by the way I saw sorts these things by name and it makes more sense you have a foot so I just need all of these groups once we did the parenting there's an automatic modifier that is assigned to the the mesh and and that's the armature modifier but we want it before the subsurf because it's it's like a stack so first there's the armature and then subdivision surfaces now it's so simplified but we usually when we work with animation we want we don't really want to use the subdivisions so we try to simplify the scene as much as possible not to take too much RAM so now there's no I mean that there is the the the modifier is on but because there's no verdicts verdicts good to take the deformation nothing nothing's done nothing's happening so we need to make an binding of selecting the only the bows that will actually make the deformation if they don't make it to the information we don't need them so let's do that we are going to put it on x-ray mode so we'll see all the all the bones and then only click on the layer that has the deformation bones which is said the last at the third-to-last and let's select them so going to select only the ones I need now which are these hands and pick this whole area including this bone and the entire face area without the tongue we're binding the tongue is a separate mesh so we'll do away with them now if and here's like a little tip and wait video file I can I can go in and enter it wait wait mode and when these all these bones are selected I could just go to wait and assign automatic for bones and basically that's the same thing but if these are automatic only the automatic bones I selected so there's not you won't see a leg deform or anything it's all these are exactly the bones I want there is a little thing you really it can't really be seen here because all these bones are are affecting exactly their area but if we had like a mesh and we wanted these bones to these bones that you see here not to interfere with with the weight painting process we would hide them so I would generally work and I think we can see this problem I'm not sure it's there because like because the tongue here should take some deformation I think it could cause a problem when it's apparent so what I usually do is I usually hide it and then I do this the the entire process again but just to show you guys how it what happens when I do that when I don't do the hiding thing see what happens here so because the tongue is an inside inside the mouth and it was apparent when I was making the automatic weight was not hidden brick a blender thought that it should do the automatic weights and it should consider that the tongue is there so it won't give it it won't assign it in automatic weight but it would block any automatic weight of other bones that that would interfere that's why when I when I want to assign automatic weights I make sure that only the deformation bones are parents that I want and the rest are excluded by way of hiding them so now we select everything the tongue is already hidden control I and let's hide the wrists now I have only the bones the information one that I want to make the influence all of them are now selected now let's do this override it with sign automatic bones it should be the same it's the same number in the same list of vertex groups and now it should be fine let's see yeah so now it didn't have any problem and it's basically a good solid white paint the there is a problem that we'll fix later and it's with the the hands and feet wait here it's not that it's slightly apparent I guess but it's the deformation between these two bones you have two bones can you form the hand and see that here you have 100% influence and just maybe 0.1 or something and here it's bear also very high and very low [Music] influence there so it's it's very well yeah harsh and we want to sue we're not witness we would want to smooth it out between this bone and that one so when the arm spins on its axis it's it's what it'll make better deformation so yeah we'll fix that later now we have a lot of other meshes to attend so this one is okay we can hide this layer and go to the another layer let's work with the eyes and teeth and and tongue so the teeth they don't really need any modifier they just need to be parented to the teeth controller let's do that pick the select the objects of the teeth and then select in pose mode the teeth controller and then parent to control P to the bone same thing patrol beat the bone and so we have you see that this controller patrols it now the eyeball is not connected to this to the eye master it's connected to go to the mechanism bone these are not deformable these are mechanism bones that's the mechanism layer it's kind of weird and freakish and certainly not for the user but the user will only use this layer for adding the eyes so the main bone here you can remember it from the metric that we assigned it in its position we can see it projected here in the generator grid so well parent the I select the object and select the outlet and the selected pose bone and parent it's to the bone now we can make a little test turn on face players and see if it works yes and it works and that's maybe the nice thing about this rig setup is without any manual weight painting I got to a fairly decent waiting setup didn't have to go to the eyes and set up things it just it works I mean it has a few problems as you can see here this thing for some reason it enters to me I mean protrudes the eye and things that will have to be dealt with later but the general the general outcome is decent for an automatic solution so that covers the whole internal organs of the face they would hide them and now we are going to talk about the clothes now let's say I'm high the other list let's say we're trying to make automatic weight painting on the clothes as if we were doing to the to the body now the difference between the clothes and the body is that the body mesh is relatively smooth and if you would see that look at the topology I mean it's fairly fast forward maybe here and there you see some complexities but it's fairly cylindrical straight forward when you deal with clothes have various folds and the normals are heading in different directions and this thing could cause a problem for the wait wait the automatic waiting process and we'll see what happens if we just directly full directly auto auto painted so let's select the bones we don't want to exclude them so we don't want the face I don't want this area of the hands I guess we want this bone beside them and we don't want the flaps the flaps have nothing to do with this I guess we want this I'm not yeah you know actually I'm not sure if I we want we want these bones but you know what we don't want them let's just see what happens when you don't deal with it like this and now let's auto paint it's so filthy now because I don't want the automatic weights for the entire rig select armature deform and that will parent it in the outliner and will give us the armature modifier stack that up and now we'll go to wiping home select all the bones I review wait sign automatic from bones now give my solution there's a little problem here because I think this joint is kind of like going a bit outside and this would demand any manual fixing here yeah you see you see that this build is too took up an area as if there's a bone here and it's fairly right because in reality there is a bone the pelvis bones usually protrude around this area as well so it's being fine and here's a problem this area the neck took some weights but it didn't take all the weights that it's needed because some mesh was blocking it and that's a problem that happens when you have complex meshes like clothes when you try to auto weight them it can cause a severe mess so let's see what really happened here torso and just try to move that around and see what happens so first of all you can see there like things that are not I mean this mesh is really close to this much but it didn't get exactly the same amount of influence and it causes like weird friction problems same thing with the head and neck all on me this one rotates but not the other one see what happens with the hands I mean this is not the worst worst case there I've seen examples where you have really elaborate clothing clothing with buttons and and whatnot and this is this is fairly straightforward but again it's it's if we try to look at if it works with with the body and you see that like it doesn't really sink same cuff really well there are places where its protrudes out and it's not really in sync so for this for making sure that the automatic wait baby will go on fine and we won't have to tweak each deform bone with by itself there's another method called weight mesh method and we'll talk about it now okay so for this purpose I've already pre-made what I called weight meshes and these meshes will start from this one should they approxi what they do is they approximate the volume of the mesh that I want to weight paint and simplify it so all these folds and complexities are going to be generally white painted here and we know that this is going to give us a smooth result like it gives us with the skin because it's it's smooth so the auto auto weight painting will should work well here once we've done that we are going to transfer these weights over to here with the transfer weights button and we'll see the results and it should be should be much better than directly auto paint it gets from the rig to the actual mesh so let's see what happens I take this now this is the matter if sorry okay just away all these so these are my all my all the bones I want to use for the forum let's just oh it has all radiometer let's wait that and we'll parent it with our maturity form and then entering into weight gain selecting all the bones that we have and weights a sandwich from bones automatic assignable automatic from those yeah so seems like it done that now we're going to take this mesh select this mesh and then shift select the previous the actual clothes and we're going to search for trends for weights I don't know where it's this button is is actually found but yeah I just go and search it from the space bar so transfer weights all sometimes it's on active we can make sure it's on all here side and nearest face use base in vertex and face and all these things I usually don't touch it sometimes it works if you tweak with ease it will give you slightly different results we will just use nearest face replace all tickets should be working fine let's see what happened yeah so now when I move the neck area the entire the entire thing moves with it now you see with when I move the torso there's no vertical there are no vertices they're coming out in a weird way let's see what happened with the with the leg legs - we had some issues with that as well yeah so the legs well maybe they need some modifications but it seems like you're working fine see what happens when I move the leg up yeah so there are a few issues here I mean one leg takes another leg maybe that that needs some fixing some manual fixing I guess it could be handled better if you see that the weight mesh is not exactly corresponding high percent to the to the mesh itself so maybe a better adjustment of the white mesh would give a better results so that's the general method so we use this one this wake mesh for this clothes and we know it works that's that's good let's go for the next the next clothing which is this and we'll see which bones are responsible for its if for the weight painting and influence and then we'll inspect the these bones and how they work these controllers okay so and here is the other weight mesh you see it's quite similar this one so I I've treated the flaps as if there were like tubes because when you auto paint or bind Auto bind the the rig to a mesh it's pickups picks up well objects that are fairly cylindrical or spherical corresponds to the way blender calculates the the heat of bones so let's bind fine first of all the bones that are responsible for this jacket just unhide all the other bones think should be mainly these ones so unselect them then how you get the other the rest so these parts are basically the same as the prior clothing but we don't need the legs too much I think we don't need these area from the legs down from these bones down so let's let them hide them because the leg area here is very close to this area and when you look at this jackets and see where the legs should be I mean when the leg would move this obviously would move with the leg so the leg the upper part of the leg really does have a say in the overall influencing so that's why I I'm still keeping that part on but beneath that it's not relevant yeah I think that's that's exactly what we need let's hope it works so first of all yeah we already have an armature so take that and or parent in your prope armature deform so I select all the bones and then assign automatic from bones and yeah okay so that's the results let's see what happens when we transfer the weights okay so we're selecting first amount of the binding mesh I guess I could have done a better job and adjusting I mean there's like whoa if it would take exactly the volume in exactly the shape I guess it would be that would be better so there are some parts missing here I mean when you're working on it it could be a better job I've I've constructed these meshes these weight meshes from just using the skin modifier and made a quick adjustment of the entire mesh but if you're you're trying to make an elaborate white mesh they'll do it or work seamlessly then maybe you can put some more effort into it okay so so we've selected the white nation ship selected the the actual clothing and we'll go to transfer weights and same thing let's see what happens it's really cool the blender transfers the weights like automatically you it's like very fast you don't need to wait at all it just happens I know there's there's a there used to be it or maybe still is and a wait waiting tool with that the big does the same thing but it takes a long time see what happens it seems like it doesn't work what what happened here the armature oh okay wait armature didn't have it so I just put a red let's see what happens yeah okay so seems like it works let's see if it works in sync with the clothes beneath it and the real trick would be to stick these the real trick would be if this leg moves and this mesh is in sync with this mesh then it seems like we did a good job and yeah it looks like they move in unison okay let's see if the flap works yeah they seem it seems like they work as well also there's a little slight problem when I move this and this this is the danger I told you of it took more weight around here so we can do two things we can go to the metter it and move these these two bones like a bit below so it will have less influence and then we'll regenerate it and then it should work so let's do that the other one would be just manually weight painting it so these two guys here this one here okay so just move both of them here let's regenerate now when you regenerate it they're all the hierarchies and parenting's remain I think they're the teeth well the parent thing we've done both that we'll have to do that again for some reason or maybe the eyes we'll see we'll see what happens okay now I'll have to do the same thing again oh okay and to get you to this keyboard okay let's select the bones I don't want to influence - select all the bones and get into paid way pincode and weights aside on a matter for bones so you see there's a slight change there and now we'll transfer the weights see what happens switching I like to use the eye case what I testing out the character some people love the FK I'm I'm Anna I'm an IKE a fan it gives a very fast response especially when you're checking checking out to see what happened and how the deformation works okay let's go to second and see what happens when I do this thing again so yeah we see that the problem decreased slightly but not enough and I think from at this point I won't regenerate it I mean I couldn't play with it again and again but I think got the point and you can just manually mean take this wavelength in here and like easily try to take break down we'll set the way to zero and strength will be 2 1 oh and just make sure we're on X mirror and there's also the Auto normalized just tap a bit and making sure that this bone will not interfere with anything else see what happens yeah so the slight tapping helped a bit and I guess I mean you can make a better result but I think that they'll do they'll do it for now okay so we have let's see what if all of it everything works remember we hidden the eyes and everything see if they're still down yeah okay there okay oh we didn't touch the tongue okay the tongue needs the same thing take the tongue and we'll take the the rig and hit backsplash only have them in view you can edit them so for the tongue of course I only need only three bones so I'll just select the bones I want and ctrl I to invert the selection hide the rest now I just have three bones and this is my tongue and now I take I select the mesh select shift select the rig and armature deform and now entered waiting mode select all the bones weights sign automatic from bones and now the tongue is all the way painted in aya I don't think there needs to be too much of a judgement adjustments after after this see now works seems to work fairly well and I think that gives us exactly all we need for basic character rigging setup using the custom rigify from boy have a few let's try to put this guy in a pose and see if everything is working working well this looks ok it's fine and stretch it out of it see what happens scale is in announce yeah so generally the teams like the mesh is responding well to the rig and and we know for sure that everything in terms of weight painting is and the vertex booth data that is in all these messages is set up correctly did we check that later but seems like all of it is working quite well also have our chest adjustments rib adjustments and you can see also that when I talked about before the hands like now when the arm now is moving downwards this is taking a lot of weight so it gives a good competition so it's it won't interfere so that's a that's a good place we put the bone here yeah and I think we're ready to start manually painting the stuff that didn't then work well with the auto auto painting and we'll make the adjustments the manual adjustment needed especially around the joints the arms and legs and then we'll go to the face

Channel: Pitchi Poy

Views: 107,385

Keywords: Pitchi Poy, Blender (Software), Rigify Addon, Tutorial

Id: -dwCXMc2V0U

Length: 115min 23sec (6923 seconds)

Published: Tue Aug 05 2014