Autodesk Maya 101 blend shapes and the shape editor

hello again and welcome to another tutorial I am Damon and we will be learning about blend shapes this time we will look at the fundamentals of blend shapes what are blend shapes want to do and not to do with them we'll look at the new shape editor which is very powerful and a lot of fun to use I'll show you all kind of techniques in little tricks and how to make you know symmetrical and unsymmetrical blend shapes and we'll also look at the pose editor you'll touch on some sculpting tools but for now let's just jump in and look at what to do and not to do with a blend shape and how to apply a blend shape so with that being said let's get to it all right so let's have a look at how blend shapes work in Maya so first need us apply a blend shape to apply a blend shape it's fairly simple we duplicate an object we change its vertices position basically a shape like so we could do whatever you want and then all we need to do is apply it to the original object so you want this object to morph into this object so I'm gonna select my morph target first then the object that we want it to morph into that object and we'll go to deform because this is the deformation and blend shape now if we look at our inputs over here in chat box you'll see that now we have this node called blend shape and we have a target added called go2 which is the name of the duplicate geometry so I can now change its shape between zero and one we can even add more than one target so let me just blow that away actually just do a couple of undos until blend shape goes away and this duplicate it again and this time I will just grab another one like that will be one my first shape my second shape and then I want everything to blend it into here again we're gonna go to deform blend shape and now you will see that I have two targets I got two geo three geo two I can actually do stuff I have them blend together at the first one second and so on so that's how we create blend shapes very simple so our next step is to look what's exactly happening under the hood admire to understand how not to break this and what we can and cannot do to our geometry to maintain how shapes so let's have a look at that so I'm just gonna undo a couple of times and delete these guys and let's talk about what happens when Maya creates an object when Maya creates an object it basically for each vertice it numbers it so for example this vertices here will be vertices 0 1 2 3 4 and so on we'll go all the way around starting from the plus Z to the minus said and then we'll calculate the positions of these remaining points on X and we can actually display these numbers it's pretty easy to do you can go to display polygon component IDs and turn on vertices and then you'll see that we actually have these numbers now why is this important well it's important because when I duplicate the object and change the vertices position like so when I create a blend shape and what Maya's gonna do is take this point here and try and match its position to this points position all right so that's exactly what's happening so just to illustrate that I'm going to choose these two go to deform again and create a blend shape run the blend shape and you will see that we have matched the positioning exactly now the cool thing is because the way that mine is structured and we have a top node which is the positioning and in the shape node the information of where the vertices are in space comes from the shape node so I can move these vertices anywhere in the world because it's the position node is doing that and this object will continue remain will remain in the same position things will change if I freeze transform I'm not sure that this will break it now but we can try yeah I did so what happened was it didn't disappear if I go back to the blend shape blend shape you'll see that now the vertices are trying to match each other and the reason it's moving from one place to the next is now that this one vertices are at zero zero zero and this one is trying to match those zeros on your points so they're moving that to that point so first rule of thumb never freeze transformation to an object that has a blend shape on it all right or you could let freeze transformation to the original but any duplicates that you create should not have a freeze transform so I'm going to delete this object and now I want to delete the blend shape I can show you how to do we could do that all through the node editor or through the channel box by clicking on it holding down ctrl right click and then go all the way down here and to beat the notes so that's gone out alright another thing that we should never do is just duplicate again so I'm gonna duplicate oops alright like that and [Music] I'm now gonna add some more points so what will happen is that when I try to apply the blend shape I'm gonna get an error and the error says well I would like to apply the blend shape but the vertice count does not match that means that this one has more vertices than this one and it cannot find those extra vertices so oh no that doesn't help us we can add them after the fact so if i duplicate move out and then that there oops sorry this add the blanchett first and now add the cut because of added the blend shape first prior to the cut if I change the behavior here and go back to the object and shave and change it you'll see it will still move the only difference is that if I move any of these vertices nothing's gonna happen here because it's no matching vertices and even if I did add vertices there's no data saying well match those so that won't work alright so I'm just gonna undo all of that one more the last thing that we should never never do with a blend shape is for our target mesh is to basically change the order of the vertices and it's very easy to do that say I deleted half and then went ahead and mirrored it so we want to order the excess my dad said yep that should be about right so as you can see now if we look at this object think this should be broken now should be broken to see if I broke it so I'm just gonna grab all of these and do that and grab that and deform then shade the should go hole weird and the reason it's going all weird is that the positioning of each one of these vertices has changed because I've changed the numbering so if in the past remember 23 was over here now it's somewhere else and everything is moved over all right so you can see that I have 13 at 12 13 14 in here is 23 24 25 so it's gonna look for 23 24 25 which would be some warehouse and then we'll try and match it so to conclude all of this do not change your vertice position that means if you do want to delete 1/2 and mirror it do it to the original and then recreate the blend shapes or the target meshes do not add any data prior to adding the blend shape and do not freeze transformation and you will never ever break your blend shapes alright so that sums up how blend shapes work and how to add them up let's have a look at how to actually use them in a workflow I'll see you in a next segment where that's what we'll do so we looked at how blend shapes actually work in this video we'll start looking at some workflows and the uses of blend shapes so here we have this character and it's rigged so it's got a very simple rig to it really didn't do anything special it's just very basic facial rig there's a jaw control here that I can move up and down hit ctrl left and right and so on I'm just gonna hide that layer what I want to do is now go ahead and create some facial expressions each facial expression will basically add a little more character to a character in Maya 2018 we are able to kinda go into a module or a workspace where allows us to kind of do all our sculpting and blend shapes you'll find it under the sculpting menu set which in turn should open the sculpting tool set give you the tool and the tool settings attribute editor some brushes here and the blend shape blend the shape editor which used to be the blend shape editor this just makes it a lot easier for us as artists to kind of work in one space all right so now that we've set everything up for work let's just talk about the shape editor so the shape editor what it does is kind of contains all of our blend shapes in one place and lets us build on top of that blend shape that's a many different targets so what is a target basic you duplicate your character and create a blend shape that's the target so the character it's a the one shape that you've created is going to try morph into that target all right so in the previous section we look basically it's duplicated and then apply a blend shape and then basically you could turn it on and off well in this case here I have this character I could go ahead and create a blend shape without duplicating and we'll create an empty blend shape like so so nothing's gonna happen but you can see it's set to a hundred percent but there's no target so there's nothing for it to change into I need to set that target so to set a target we have this button called target and it will create a duplication of that head which we cannot see but instead it's creating a what they call a delta or a target kind of proxy mesh letting us actually change this mesh and recording those changes and then making that the target once I turn off this little headed button over here so as long as this little edit button is red we can do all of these changes and to demonstrate that I go over here and grab the character's nose like so and I'm using soft selects so that's holding down B and middle mouse button left and right you can make the selection bigger and I'm just gonna pull out these nodes like this okay - Pinocchio effect all right so now my characters got this big long nose and I could test it out I can actually make it go in and out and if I turn off the Edit it's now locked in place so it's not going to remember that all right so let's just recap quickly we created an empty bland shape by selecting the surface I want to work on then I created a target while the Edit button was turned red we went ahead and changed some vertices and when we turned it off we're now able to save that all right so that is the basics now you can open the shape editor and a few other places you could click the button on the sculpting shelf we can click this button over here or you can go to window animation because it's an animation tool and shape editor I'm going to stop this section here and the next section I'm going to talk about some of the sculpting tools that we have and we'll look at some more of the options that we have in algae better all right so we back in previous part all right talked about how to create a target and now let's look at what else we can do with the different targets and a little bit I'm gonna talk a little bit about the sculpting tools in Maya so I'm just gonna switch to my pen I got a Wacom tablet and I'm using it to kind of navigate and do some changes alright so I have this layer and basically and do not want this target anymore so I can right click right click and use the mouse for that right click and go all the way down here and delete it or I could have pressed a little trash can over there on the side didn't even get rid of the blend shape itself like so so I'm gonna just create a new blend blend shape for this because I just did you did the old one that will click it rename to expression okay so we've got facial expressions and it didn't say my gun shape you got to put a underscore with a naming here otherwise it won't remember whatever you put in all right so I got face expressions I'm gonna create a new target and now that I've created a new target all I need to do is start sculpting so there's several different tools over here that we can sculpt with so let's have a look at them first one is just a basic sculpt tool the way it works I'm gonna just press on that first you select your your match that you want to work on then you select a tool and this should let you sculpt on it I think I changed some of the settings let me just reset the tool there we go I reset the tool so it should look like this to reset a tool just press reset there it's a good idea to do that before you start working now to make the brush smaller hold down B and then drag left and right to change the strength of a brush you hold down M and then drag up and down the left and right that should should change it yeah but I'm actually gonna do this manually on the side there go something like that ah that's closer and make that smaller and what we can do is to start pulling out and making the cheek nice and puffy over here so you can sculpt that in like so let me just undo all of that all right so that's the sculpt and some of the settings then we have a smooth we go to relax we got a grab tool which we're gonna use a lot we've got a pinch tool we have a freeze tool and some other tools that I can get into maybe later on but those are the major ones that we gonna use throughout all right so let's get cracking so let's make a smile I usually just start off with one side so we're gonna create sort of a smirk I'm gonna take the grab tool I'm gonna enlarge it a bit and just start pulling out towards the side that way now as long as this button is red we can do all of this stuff we can also pull back because it's going against the teeth they're gonna have all of this go up alright so as you can see it's kind of curving downward I want to kind of twist it up so we can go and turn on twist and then as I grab it you can just twist those verts you can turn that off and just pull that up some more it's down so that's kind of going over the teeth I'm getting this kind of smirk like so now let's grab the sculpt tool I'm gonna just scale it down we're gonna top this up over a bit we could also use the inflate tool which is this tool over here that's gonna allow us to inflate some of the areas so it feels a little more pinched we could use the pinch tool as well just do it you know cuz everything is being more compressed so I'm gonna just compress that in and you could really take your time with this of course the more time you take with it the better all right if I hold down shift and just move my brush it's gonna smooth out the vertices so you get a smoother and smoother a feel to it if we press this button here this is a relaxed button what that will do is kind of try to keep equal distance between all of these shapes here so you don't get weird stretching so I tend to use this quite a bit when I'm sculpting just because this is a natural face and you just want to kind of mimic skin being pulled over so we can just do that and I'm gonna pull this down a bit get a little more of a smile so all right we're gonna do the cheeks separately later so there we go so I'm pretty happy with this I'm gonna turn off edit and then turn just to see the result I don't like what's going on here so I'm gonna turn edit back on the relaxed it's gonna keep the volume of created but relax those verts alright that way I don't lose the volume and then we want to just test it out and there we go we've got a very nice little smirk going on alright so we looked at the sculpting tools we looked at how much the workflow in the next section we're going to look at how we can duplicate our target to the opposite side how we can create some more options to our expressions all right so in the previous section we looked at how to sculpt now let's look at what we can do with some of our targets so I have this target over here and it's just the one side and I actually want to create a smile so the one way I can do that is basically by right-clicking here and going down and you can go near a target and that will create a smile but what if I don't want to create like a full smile I want to have control of each sides I'm just gonna undo that and what I can do is duplicate the target I'm gonna rename it so that's gonna be right and then get rid of copy over here and as you can see it's now over driving the previous smile and the reason is that basically these are layered so that's kind of pushing it further it's taking this smile and this smile kind of putting adding them together so one in one makes two kind of drives it but twice as much so I actually wanted to flip this on to the other side so I'm gonna do is right click and I flip target so now it's gonna be on the other side so now what we have is it full smile so we've got that that so that's all kind of cool but it looks a bit weird and the reason it's looking a bit weird is that although I'm kind of putting the muscle over there on each side it's not stretching the middle bit quite nicely and what I want is as I pull these guys to 100% I want the entire thing to kind of more from to a third shape which is like this one plus this one will create a surge target so I can do is grab these two over here a right-click and go add combi combined target and what that will do is create a third type of target which is gonna be right smile left smile and it says edit over here so when this is at a hundred percent it's gonna be equal to whatever I sculpt now so what I can do is I'm gonna use the grab tool again but this time I'm gonna go down just bring this up so you guys can see I'm gonna go down to symmetry here put it on X on the object so you can see I'm getting a mirror pull and what I'm gonna do is start just kind of Reese Culp ting some of this so it feels like it's part of the same thing so I can push that a bit pull those out and we get something a little more like this so I'm gonna turn that off so this is the result and so has he smiles we're getting kind of a pool of each one so you can see as I pull up the smile you can see that it's now gonna stretch a little more on each side because the muscles are gonna be pulling equally right so now we got this creepy smile but it's still a smile now the cool thing is that I could grab my chin control here and open and we still have a small oh it's a bit weird but we'll fix that soon enough alright so go back notice that the blend shapes keep on the character no matter what as it's moving it's just the way that it's set up alright next thing that we want to do is let's say I want the ability to turn off and on a full smile except doing each one separately so let's say you do that do that but I also want the ability to I'd say have a full smile and kind of control everything in one go to do that I could group them into the same group so if I grab all three of these and then go to this little icon over here with the little folder from with the plus I'm actually gonna create a group smiles I'm gonna just grab this name and copy it go into group underscore smile so we've got a naming convention actually I'm just gonna do G R P just that's shorter there we go so now I actually have a control over the entire smile like so cool alright so now we saw how to duplicate flip create a blend of two blend shapes together and how to group them together we'll look at some other options in the next section which will allow us to do a few more tweaks to our blend shapes and let us do you know things like blinks and even control a blend shape as we are moving our jaw let's say open close so we get a blend shape happening as that's going on so I'll see you in the next section so welcome back so so far we looked at some of the sculpting tools you know that some of the basic tools to create blend shapes and targets and this one I'm going to show you how to create a blinking and using targets and then how we can kind of control its behavior as we go along so in this case I've got this eyelid here and what I want to do is just rotate that down and have a kind of cover the the cornea here as it's going down and then basically controlling its behavior and then you will do the top bit and we'll do the bottom bit and then we'll basically have control over the entire high alright so how are we gonna approach us well firstly we're gonna grab the geometry and actually we don't need to grab the geometry I just need to grab the blend shape over here and add a target and this is gonna be the left underscore we should call it high-need about that all right can't enter so this is gonna just be the upper eyelid so what I'm gonna do it's fairly easy I'm just gonna go to faces I'm gonna select everything on the inside of my eyelid over here like so it's good a wireframe just to see what I'm actually selecting and I'm gonna deselect most of this somewhat like that same over here I don't need most of that all right so based basically what I have is just in inner part of that eyelid I'm gonna press B and B's gonna put me into my myself in my soft select I am on the mirror so I do have to deselect the other side there we go and what I do want to do is go to my rotate I'm gonna go down to my soft select over here and make sure that's think if I reset it some volume we want to have it on surface and the reason we wanted on surface is that we wanted to calculate the surface selection and not the entire volume off the mesh and I'm just gonna scale this up sets grabbing most of the lid and we're just gonna make sure that this area is not gonna be too affected so there we go something like that okay so we're gonna go to the side view and because I want to rotate it more or less from this corner of the eyelid there now hold down D grab the arrow move it down again and move it to the corner over there alright so as long as this is on edit we good so I'm just gonna rotate that down like so so now I got more or less the shape I want all right click that off and this is what we get it's not perfect in any way but we're gonna do some sculpting so we're gonna go back to object mode so we want the mesh to be green you could press FA twice or right click above and just choose object mode and now what we can do is just grab the move tool but before that I kind of don't want to touch anything to do with the bottom eyelid and probably some of this area here maybe halfway up it so what we can do is grab a freeze brush here and I'll just scale it down and what this does everywhere it's gonna be blue now I won't be able to grab its vertices I'm just gonna paint out the areas that I don't want to affect while I sculpt which is basically everything underneath this eyelid here I'm just gonna paint that out I could also isolate selection just make it easier to see what I'm painting and I want to make sure that I grab everything from in terior as well there we go something like so painted and then we're gonna uh nicely select back to eyeball alright so it looks like he's got a being punched in it high but that's kind of what we want alright so you grab the grab tool and enlarge it and start kind of sculpting in the shape that I would like maybe smoothing out of it this grab the smooth tool it's like stronger smooth so go and grab tool and now we're gonna just pull this down because it's blinking in it's a little bit holding down shift to smooth we can also hold down control it's gonna move the vertices and the grab tool along it's normal if we do that all right so I'm gonna just use the relax again just a little bit so it's keeping the volume but relaxing the shapes here like so grab tool and we kind of just wanna sculpt this very nicely very gently into the shape we would like probably want to bring down these guys it's stretching over the cornea there thank so alright so you got a very nice little sculpt there we can test it out that looks pretty awesome it's squishing in nicely alright stop that alright so we now saw that we can freeze that and create a pretty darn nice looking shape still not too happy with it I'm gonna pause the video and just get to the shape I like and then we'll continue from there alright so I have a better shape then I'm whoops I'm happy with all right so since then all I need to do now is kind of test it out and I want to make sure that as I'm putting the eyelid down some other parts of the eye aren't moving so I can actually use some more tools I've got this this little icon over here or here so all I could do is this grab the eraser and just erase the top here and I will basically anything that I sculpted over here it's gonna stay pretty stiff so now it's just eyelid moving like so all right cool all right so that's how we basically use the freeze tool and some other little tricks to kind of do something like the bottom lid and the next section we'll talk about creating in-between shapes to control the behavior as we shutting the eye so in the previous section we looked at how to create a pretty simple eyelid movement we looked at how to use vertices and soft selection to do that in this section we're going to talk about in-between shapes in between shapes will let us kind of create a in-between sculpt to let the movement look a little more natural not as mechanical alright so to do that all we need to do is kind of find the halfway point between here and here so that should be around about there and to begin with I'm just gonna clear out my my freeze tool over here so I'm just gonna go to the freeze tool and just go unfreeze all and before I do anything I really want to stress that it's very important to keep things in order so always name everything and make sure that the red button is on off when you are actually working on stuff alright so here we have our our shape and I'm gonna put it about 0.2 and at 0.2 I think this should be my halfway point as the eyes closing so I could very easily create a an in-between shape it all you need to do is right click and you can now choose add in-between target so all I need to do is open up here the the add in between Target options and we'll just go through them and understand what's happening when in between target so by default it's set to absolute and use current target shape weight to decide how it's going to behave so if I click apply it's going to create an in between it's going to set it at zero point two and now if I just take the grab tool scale it up and just you know pull it out like so turn off the Edit as I move my shape it's gonna hit that point and then from there it's gonna move down to the final shape all right so that's a absolute in-between shape so this didn't eat that one and let's redo it so it goes zero point three this time this time I'm going to say create a relative shape but use current target weight so let's go apply and what we'll do and I close that window what it will do is set the keyframe at zero point three now of course we could always change this like later it's gonna set our interpolation type to linear that means it's gonna move linearly it's gonna hit that point and then change of course we can also make that different now to like smooth or costume which I'll show you in a minute so let's first change to shape and kind of sculpt the shape we want so as the eyelid is coming down I kind of wanted to roll roll down kind of thing like I have have this go a little lower first so I'm just gonna stretch this down it's a little justice section here like so turn off the edit and now this test it so what's gonna happen is gonna go down there and then fold over so we having a much nicer flow to it see I could also change some of the shape here so that say as it's pulling down I could go to the original shape and say well you know what how about i erase all of that and then it's just whoops just freeze the bottom part here a bit spray paint all right it's just invert that I don't know if for some reason the control is not working on some of this and I'm not sure why and and it's just invert this to not grab anything from above like so now I can grab this brush and just keep that shape turn that off so now it's gonna do that it's just not ideal so turn on we are gonna unfreeze all yeah you know what I can do I could actually delete this but do when it oops just pull these guys back up to where they were before let's use this here so now it will stretch give that nice feel of stretching of the skin above the eye as we go along so basically what I've done is kind of created in between shape just smooth that out a bit more there's a little yeah it's a little tad over here area miss miss miss miss miss miss me means now we go over here because I smooth in the original shape that's gonna get on my stop so you gotta be very careful with these you could get some weird shapes I aren't exactly intended sometimes what I'll do is just delete the shape I've made and we create it alright so let's do that again tonight's move there there we go and there we go so that's adding an in-between when we come back we will look at finishing off the eyelid basically what I'll do is I will sculpt the bottom path part have that set up as a group and then duplicating it on to the other side and then we'll look at some other options that we can use so with that being said we'll see you in the next video all right so I finished creating my open shot I I have my top and bottom eyelid open and closed I got a blend between them and what I wanted to show you that we can actually duplicate everything to the other side very easily so what I need to do is grab everything that I want to duplicate and the first thing I'm going to do is just duplicate targets it's going to duplicate everything again I'm just going to turn off the any edit and a half the next stage I'm just gonna drag that out of it is everything that says copy on it I'm gonna change the side of it so this is gonna be my right hand side and get rid of copy on three this will help us determine which side is what I remember right now it's over driving everything so everything looks kind of weird don't worry about it what we care about is just the naming conventions it's actually gonna be bright underscore i blend all right that means for this one to this one and this is gonna be left all right everything's named everything you know belongs to what so everything that's called bright wait one more R then a group into one groups of everything that is called right okay so I'm gonna put that hand any group all right so this is gonna be right eye it's the right high and if I do that works we're gonna grab whoops all of these including in between right click and flip that should have flipped it to the other side it did so now I can make sure everything's working yep and close that now I'm going to choose everything that's left and group it together and call this we go basically have control on the left eye right eye and we have a smile and there we go so that's basically how you can copy over stuff you just got to make sure that you select every single element and then copy it and then what you want to do is just flip choose all of them and flip them over to the other side cool so that is open closed eyes the next thing I want to show you after duplication is how we can create PS DS post deformation shapes and that we'll see in the next segment all right so the next segment is gonna be a little technical and we're gonna have to take a little bit of time with this so it might be more than ten minutes so I do apologize for this what we gonna do is we're probably gonna have to change our settings here to the rigging if I'm not wrong I know pose sculpt this will set up our pose deformation order and the PS DS what this will do is basically allow us if I open the attribute editor I mean channel box and here browsers scripted okay shapes and box turn on my bones when I open my characters mouth I'll be here like so you'll see that it doesn't deform very nicely doesn't get that nice round shape and the lips tone stretch as as the job pulls down what we want to do is basically sort that out to do that we just dock this up here I've got the outliner as well on the other side I'm just gonna dock it here allow me all right but first thing I need to do I have to have an ignition okay so what I want to do is basically start messing with this so what do I do firstly I need a driver and usually the driver was going to be the bone but in this case as you can see the bone is being driven by a controller now usually when you use post deformations let's say I'm turning a head here and what I want to do is as I turn the head I want and once the neck here to flex more so let's do that first I'm actually gonna bring in my time slider and I'm gonna blow away all the animation here cuz we don't want that right now actually do I blow them away alright so actually I want to keep the animation here so let's go to frame 5 and 1 alright so I just gonna click here and that's gonna create an initial state and a and the initial state is basically gonna be saying when I'm here if I press on the initial state it's gonna go back to its default position alright so when I'm at this position here let's say now I want to sculpt so I could go and add a pose and it's gonna ask some stuff let me just reset everything and this is automatic in blah blah blah because I want this to sit let's just leave it as is and just go apply and it's gonna create this option to do some editing now on the side here you could see it says edit it's basically what it's done but go over here you see it's created a new blend shape and that blend shape has created a new target and that's now being attached to this pose over here so now if I go and do some sculpting on this let's say I grab sculpt brush and here they start sculpting now stronger and just start sculpting this move move this over a bit it's nice and straight and it's grab brush and as we pulling the neck it comes out I'm actually gonna use the Bulge here so that's gonna bulge this muscle and this muscle so I'd say that's exactly what I wanted oh happy all done so now as we move the neck it should all right so go there go to the natural state and it should should have gone back so that's that's the basics of that so as the neck moves I think I'm just gonna blow away all of the as the neck turns I will turn on that lunch so I'm just gonna blow away this yes this one and what I want to do is work on the jaw on because the jaws being driven as you can see in the channel box you can see that it's been driven by controller we actually have to kind of set it a bit differently so by default you'll open it like this and it says Oh select a bone and you do do that and this dial Bach dining box will come up and say hey look this bone is being driven by by another object do you want to continue it say yes and we'll create all of these guys here for you what we want to do is just blow them away for now because before we can add in our default we actually have to tell Maya to grab this shape node and have that as the driver so I'm just gonna drag up and you'll see the driver settings right now it's set to two jaw joint and I actually want to add the rotations of and the translations of this controller instead of the joint itself all right so to do that we actually have to kind of grab its translation rotation channels and we can actually do that from the outliner and to do that go to display and you go down to attributes you'll see now that we get an extra little round plus button now if I just press F and while I have the controls selecting selected I could see it here and I press plus they're open all of its attributes and we just want to scroll down until we find the rotation translation so it should be there's a scale there's a translation and there's the rotation all right I'm just kind of middle Mouse drag all of these in here so x y&z X said all right and let's just turn off the attributes sad and I can call this you see all right and we've pretty much done that's been added all right so the next thing I want to do is basically create the default States so that so we want to go add natural pose and we'll have those for us and then what we will do is just press pet pose so this thing's gonna come up and it's gonna say automatic and so on blend shape node and we can give this a name so this one let's say wow I'm just open and create and it's created a editable shape so if I now move this down to here all right and then it's that open is that it's not gonna work that means that didn't do this right delete that yes I'm gonna open it up to there some reason is still keyframes on this I'm gonna blow those away now I'm just gonna add that pose great all right so now chest it out it does that that does that will bounce between the two so now I can go sculpt so we gonna do that symmetry I want to turn on the symmetry we do want to grab this geometry and now all I need to do start sculpting the actual shapes online so it's pretty darn cool so it looks like it's not sculpting 100% so sometimes what you need to do and it's probably because it's not exactly in the center what you can do is go to Paula G and all you need to do is select a curve so now if I go grab tool it should work exactly the same like so all right and how's its opening I actually want it so we want to sculpt it done so now if I grab my control and rotate you'll see that it's gonna change it to that shape well the cool thing is if I go over here and it's just closed on this so if I go smile smiles gonna pull top that way and I can move this above these guys like so again that means now I should able to so much smile but you can control the amount of smile like that so that's basically it usually what you do is you build these corrective shapes before you before you do your smile mainly because you want this to be above it in the hierarchy so let's say if I now turn off my smile still there there you go alright so that basically wraps up this tutorial about using the new shape editor pose editor some sculpting tools and some workflows and with that being said I'm going to wrap up this video I hope this was helpful for you all see you in the next one

Channel: Damon Lavenski

Views: 25,153

Keywords: Shape editor, Maya 2018, Blend shapes, Pose editor, Cupping targets, Duplicating targets, Mirroring targets

Id: iTPxiQVMlbE

Length: 65min 15sec (3915 seconds)

Published: Wed Mar 07 2018