[Blender 4.0 RIGIFY] ＃4: Complex Human Rig (with Face!)

in chapter 4 of the rigify fundamentals course you'll learn how to rig a full human model with fingers and a face this is one of the most common rigging tasks rigify is designed to help us solve this problem but the process is not entirely gacha free so I'll try to show you some of the most common problems and how to solve them I trust that you did the exercise from the previous chapter and you know how to rig a character with the basic human rig and we'll focus on a fingers and especially the face so let's get into it I downloaded this model from sketchfab it was created by pixel monster and I really appreciate that they made this model CC attribution so that we can use it for the tutorial so you can download this model from sketchfab but you can also download my slightly tweaked version from the academy resources files and as always please check out Academy you'll be able to watch this course for free there as well you can get additional resources and you can also subscribe to get access to all of my content or buy individual courses whatever you prefer hope to see you there let's do a quick model check it's important to make sure that the model is facing front so if you switch to the front view you should see the face of the character ideally the character should be in real size or real world scale here I can verify that with my measure tool if I select an object and go to item scale and rotation should be applied applied scale is 11 1 and applied rotation is all Zer location of 0 0 0 is also good although having the origin point in the middle of the object is also acceptable so if I right click set origin origin to Geometry this is also not wrong but let's undo and I'll have location at 0 0 0 this character is not perfectly symmetrical but regardless we want to have it in the center of the world so the center of the body is almost exactly where this blue Z AIS line extends try to have the legs straight and pointing forward so not at an angle and also the feet ideally should point forward if possible the arms can be in T pose like here or a pose which means slightly slanting down at around 45° the hand should also be in a somewhat neutral pose although it is hard to Define what it is but keep the fingers straight or very slightly bent also the pal of the hand usually faces down having it face forward also kind of makes sense but the convention seems to be Palm down the face should also be neutral and expressionless so with this out of the way we can start rigging so I'll press shift a Armature and this time choose the human met rig which is the complex met rig with a face as previously I want to enable x-ray to see my bones through the mesh but that doesn't work in material preview so I'll switch to solid view then let's scale this meta rig in object mode until it roughly fits the model and of course press crl a and apply the scale so that we have a scale of 1 one one then go to edit mode and I'll start aligning the legs from the front view this is exactly the same as with the simple model so select the whole leg enable X symmetry move the leg on the x-axis I'll rotate it very slightly so I'm manipulating the whole leg with g r and s What I'm trying to avoid is moving the knee in the x-axis because we want to keep these bones as straight as possible from the front view a little bit of bending is fine but too much will create unnatural bending of the knee from the side view I'll align this point here with the ankle this with the toes and this with the knee again I'm keeping the knee slightly bent not straight and not pointing backwards placing this point roughly where it anatomically would be in the human skeleton should give you reasonable results let's work on the arms next and I'm going to give you a little Pro tip here usually we work with the Met rig in edit mode but sometimes pose mode can be useful so if I go to pose mode enable X symmetry because it is separate from edit mode and now I can rotate this arm and very easily align it with the pose of the character I can even scale it I will select all fingers switch to individual Origins which is my default mode when working with rigs in general and rotate the fingers to straighten them a little bit and also align the thumb bones with the thumb mesh so it doesn't have to be perfect something like this and now if I switch to edit mode the bones will go back to their default position so I'll switch back to pose mode press crl a and apply pose as rest pose and now edit mode and pose mode will have the same pose so that is just a little Pro tip which saves you a little bit of time when aligning certain parts of the mes although in general you should work in edit mode so I'll keep aligning and refining these positions now the shoulder bone I'm going to move up a little bit and move it deeper into the volume of the body so this is not exactly anatomically correct but because the shoulder is quite a complex area this seems to be one of the most efficient bone placements that you can use the Press bones I'll position roughly actually let's delete the prast bone it is not essential and we'll do some weight painting in the chest area anyway which will make these breast bones irrelevant unless you have a female character or another type of character that may require an animated breast bone then this bone can be deleted next I'll work on the spine and let's hide the legs I'm placing the spine roughly in the center of the body that seems to produce good results in general and when moving the end of the spine and beginning of the neck don't forget to box select over the this part and move the neck and end of the spine as one unit let's work on neck and head quickly the point of rotation for the head is somewhere below the ear I'll press alt H to unhide the thigh bones and we are done with the basic bone alignments now we'll focus on the more complex ones such as the fingers and face now let's tackle the fingers I'll go to top view and here is my favorite way to align the fingers switch snapping to volume select one end of a bone press G to move and then hold control and this point will snap inside the volume of the character so here these four bones are Palm bones and disconnecting them from the fingers is okay this is a little bit of a problem with rify that until you really get used to it you're not sure which parts you can disconnect and which not the fingers are fine so I'll do something like we did before I'll go to pose mode and roughly rotate and position these bones to align them a little bit better with the actual hand and fingers and then I'll press contr a apply pose as rest pose and then go back to edit mode to make my fine adjustments when aligning the fingers here is what you need to do you need to keep the bones straight from the top view and slightly curled from the side view I'll start using the volume snapping technique that I just explained so select one end of a bone hold control and snap it into the volume of the hand and I'll keep doing this for all of these points so grab this one hold control and snap it in here because this is the knuckle this is a very common mistake that people make don't push it too far into the fingers the actual knuckle is around here basically below the finger then we grab the next Point hold control and snap it around here I'm using the wireframe to help me determine where the knuckles would be next one like this and then align the end of the finger with the end of the mesh finger and I'm trying to keep this finger as straight as possible I'll do this for the rest of the fingers so I'll disable wireframe and see how all all of my fingers are inside the volume of the mesh I'll undo really quickly to show you what we had before the volume snapping right we hit this and then after volume snapping we have this and again I want the fingers to have a slight curve from the side view so let's isolate I'll just grab the end of the fingers and move them down a little bit and maybe these middle fingers or the middle fanges and push them down very slightly and that will create this curve that I'm talking about now because I have a t-e so the hand is very straight from the top view it was quite easy to align these fingers if you have an A Pose the hand will be at an awkward angle and it may be a little bit harder to align these bones in this case you should do it from perspective view so for example for the thump I can do basically the same thing in in perspective mode use the volume snapping technique and snap the position of the bones inside the volume of the mesh so here again for the thumb I'm making a little bit of a curve which will help this thumb Bend naturally and when using the perspective view make sure that you look at it from different angles so here I need to tweak it a little bit to make the thumb straight from this View but this is looking great now and if I look on the other side because I used X symmetry things are pretty much aligned for me you may have to check if your character is not perfectly symmetrical you may have to do some tweaks here but it is looking good and one last tip here if you want to make sure that the fingers are completely straight from the top view you can select all of the fingers and I'll shift select the first first fangi to make it active switch my orientation to normal enable the scale tool and Pivot Point to active element and then if I scale on the X and press zero that will completely straighten the finger on this axis I'll do that for the other fingers as well okay perfect let's move on to the face this face rig has existed in blender and rigify for quite a while but it received a major update in blender 3 and I'm not just mentioning this as a fun fact this is important to understand but I will come back to it when we generate the rig now let's start aligning the face bones I'm in edit mode now I think I can do the pose mode technique again so I'll go to pose mode and select this bone inside the headbone right if you have trouble selecting it select the headbone and then click again and it should select the face bone now I can get the move tool switch to Global orientation and move this bone which will move the entire face structure and I'll only move it on the Z axis and y AIS never on X because that will break the Symmetry right so I'll move it a little bit down to align with the mouth and then maybe scale it down a little bit and once it starts to look good I'll press contr a apply pose as rest pose so again it's okay to tweak things in pose mode but always apply pose as rest P at the end similarly in object mode it is okay to scale your rig in object mode but once you're done always press crl a and apply the scale if you don't apply the scale or the pose you may get problems such as your generated rig being a different size than your meta rig or being in a different pose so if you get such problems check your met rig and make sure everything is applied now I can start aligning the face bones so I'll go to edit mode and my favorite approach my favorite workflow is to first go to the side view and align these Central bones so just select them and move them so the chin bones should be aligned something like this then I'll zoom in on the mouth and place these bones roughly uh to align them with the lips we'll do more adjustments later this here where a couple of Bones connect is the tip of the nose so place it at the tip of the nose and I'll push this bone a little bit back and then align the rest of the bones this should be the bottom of the nose and this bone extends towards the mouth now speaking of connected bones it is extremely important to never disconnect any bones in the face rig and there are a lot of bones that you can disconnect here around the mouth you can disconnect bones in here you know you have bones that should be connected but you can disconnect them so if there are any overlapping bones always box select over their connection and move them like that never move them individually and that will save you so much trouble there are so many different errors that people get mouth is disconnected brow is disconnected it's always the same problem so box select over these parts and move them as one same as uh Spine and Neck right once you have this central line aligned with your mesh you can pretty much keep going and align things as you see fit I'll start from these forehead Bones the end of these bones should go roughly to the hairline and my favorite way to align these bones is to use face snapping this time so face snapping and again move the bone hold control and it will snap on the surface of the face then I can go to the browse and let's select the headbone and hide it with h and then box select over this connection remember these bones should always take connected and then again hold control and move the bone I can switch to material preview here and I want to align these bones exactly with the brow of the character so this in the middle of the brow and this at the edge of the brow because I have plenty of experience I know that I have a connection of boms here so I just box select and move them uh but you know I accidentally selected another bone which I didn't want to select so stay in solid mode with x-ray so that you can be sure what you're doing so this connection of Bones should be away from the edge of the eye something like this then let's do the eyes as well this is the inner edge of the eye and then I'll just keep aligning the lower lid holding control and then here's the outer edge of the eye actually let's align the lower lid first and now the outer edge I have to box select and align it with this edge of the eye now here is another Pro tip when aligning is Bones you should look from the front view and try to align these dots between the upper lid and lower lid in straight lines I mean that right now we have something like this but it should be more like this so I'll select this connection here and move it a little bit to the right or for this one to the left okay this should work now these bones here need to be placed between the brow and the upper eyelid so something like this and then I'll snap them to the surface next these are the nostrils they go to the side of the nose something like this the side of the nose this point below the eye this point you should place somewhere at the cheek and it will allow you to create a cheek puff then here we have connection of bones for the edge of the mouth I'll disable x-ray for a second and align these bones now again I may want to view the texture and I generally align these bones in the middle of the lip and not at the edges and then box select over this connection and move it down on this Z axis in the middle of the lip and same here so I'm not sure how but I think I disconnected these lips but that's good we'll probably get an error and I'll show you how to fix it now let's align the ear you can press L to select connected bones and from the side view I'll align them with the ear and then use face snapping now this defines the end of the chin of the character and then these bones are very important this should go somewhere here at the edge of the jaw and this bone will Define the rotation of the the Joel the pivot point of the Joel so it is extremely important you have to kind of imagine what the Joel looks like so I would say that this should be around here I could be wrong and we can go back and fix it but this is something to really pay attention to and then finally align this and I'll place it around here now this is starting to look really good um if I look from the side view there are these two bones if you pay attention to their names they're called teeth so teeth B is the bottom teeth I'll just align it roughly with the teeth that I see through the mesh I can even hide this main mesh and see my um teeth mesh is a little bit better and a line and then teeth. T which is the top teeth I'll align with the top teeth okay now I have these tongue bones so the tongue is around here but to see it exactly I can hide the top teeth and I have them as a separate mesh if you need to separate something into another mesh just select vertices press p and choose selection and that will make it into a separate mesh hide it and now I can see the tongue so in the Met rig I'll go to edit mode and this is the tip of the tongue and this is the end of the tongue okay I'll go to object mode and unhide all mes I noticed that I forgot something so I'll select the Met rig and zoom in on the foot um and this bone here should be as wide as the foot this is something that I showed in the previous video so now I'll fix it quickly while feeling embarrassed okay something like this go to object mode and with that the basic alignment of the bones is done well done let's try to generate it now I can go to the aracha tab and I can generate the rig but above it you'll see a button saying upgrade face rig and what the heck is that right well this has to do with this update of the face rig in 3.0 and to understand this update it will be useful to understand the so-called rig types I mentioned them very briefly in the first intro video but if I go to pose mode and select this upper arm bone and go to the Bone tab there is this rigify type field so if you wondered how does rigify generate the complex rig from the simple meta rig this is how these rigify types tell rigify what to generate so this is the arm and the rigify type is attached to the upper arm on the lower arm and hand we have nothing but because this is a connected chain of Bones rifi knows what to do with them that is why you shouldn't try to change these chain of Bones I know the double knee and double elbow joint is a very popular trick but it doesn't work with rigify at least not out of the box so this thigh bone holds the rigify type for the leg the leg is slightly interesting because it has this additional heel bone so it's not just a chain of bones but again do not try to change this uh structure do not try to insert bones and so on and the first spine bone holds the basic spine rig type and so on so we'll learn how these work a little bit later in the course but for now the main thing that I want to point out is that the rigify type for the face is in this additional face bone which we didn't have to align it is just the parent of all of the other face bones so here we have faces superface and until blender 3 the face was a single rig type which is exactly what you see here after blender 3 they created new rig types which can be combined to create a face rig and they called it a modular face system so right now we still have the old face if I go to the Armature tab I can actually generate this rig and it will generate the old face if you like the old face you can use it but we are going to try to use the new one and to do that you have to to press the upgrade face rig button and then confirm and additional bones were created but what is more if I select this lip bone for example and go to the Bone tab we now have rig types within the face bones and that makes the face more modular you can actually create your own faces which is quite Advanced I'm thinking of making an advanced course about that so the main thing to understand is that you should align these bones that you get by default and then press the upgrade face R button to convert your face rig to the new system once you convert it you cannot go back to the old one so if you need to make any changes you can do it but again go to edit mode and always follow this rule to never disconnect bones so if you need to adjust this position box select and move everything as a single unit if you follow this rule you can still make edits to your face RG and speaking of edits there is actually one more thing that I need to fix the eye bone wasn't placed correctly the eye requires special attention so let's go to object mode select the eye object isolate it go to edit mode and ALT click to select this Edge in the middle of the eye then press shift s cursor to select it and that will place the 3D cursor in the center of the eye sometimes you may have half an eye some something like this so regardless you should imagine the full I and place the 3D cursor in the center of the full eye now go out of local mode select your met rig edit mode select the I bone the whole I bone shift s selection to cursor and that will snap this bone exactly in the middle of the eye then with individual orig I'll scale it down to be about as big as the ey and now we are actually ready to generate let's press the generator button and we got an error mouth Corner counts differ um so the errors are not easy to understand but if we just undo this is exactly the problem that I anticipated the slips are disconnected so what you can do is select one of the ends and under item set the head x value to zero so I could switch to vertex snapping select one of these bones and snap them I'll go to local mode and then snap them to this additional bone that I have and it still seems to be a little bit off so let's box select over this area here and select all of these bone ends switch to bounding box center press s and then press zero on the NAD and that will snap all of them at the same position and I'll do the same over here at the upper lip back to object mode go out of local mode try to generate and it was successful so I could try to edit such problems out of the video and make the tutorial flow nicer but seeing his problems in action is actually quite a good thing in my opinion so I'm I'm leaving it in the video with the rig generated I now want to apply weights my character is split into separate meshes and some of them such as the eyes teeth and tongue do not react well to automatic weights so I'm going to hide them left eyeball right eyeball teeth and I'll also hide the Met rig and I'll try to use Auto weights on everything else so select the generated rig to make it active and then box select over the ible meshes that way the generated rig is active and everything else is selected then contrl p and choose automatic weights once it is done I'll select my rig go to pose mode and move the rig around just to test if autoing worked more or less as expected as your characters get more and more complex there is a higher and higher chance that automatic weights won't work if after automatic weights your mesh doesn't move with the rig that means that automatic weights failed there will be a warning at the bottom of blender's interface saying bone heat waiting blah blah blah blah so I have a separate video all about this problem I'm trying to make this course as self-contained as possible but this is a very important and somewhat complex problem you will encounter it sooner or later but when you do just watch the video and you'll know how to solve it so in this case Auto waiting worked but it is not perfect now notice this deformation when I lower the arm this is hideous and it needs to be fixed and the only way to fix this is to use weight painting by the way if we had kept this breast bone that I personally deleted this problem would have been less noticeable but weight painting is very important many people think of rigging as creating the rig the ik and so on but weight painting is also an essential part of the process so here is a crash course first with the aracha selected go to the aracha T tab bone Collections and scroll all the way down and find the DF collection and unhide it if I enable x-ray you'll see these additional bones and if I switch to pose mode they are green these are your deforming bones they actually move and deform the mesh and everything else is an user interface that controls these deforming bones for weight painting go to object mode shift select the mesh that you want to weight paint this order is important and then go to Weight paint mode now you can alt click on the forming bones and that will display a heat map showing how much the selected bone is affecting the mesh red means High influence green is about 50% and blue is zero light blue is a low value like 0.1 0.2 and so on I can also click on control bones and move them in this mode so I can still control my rig while weight painting so I want to fix this area here which is mostly controlled by the upper arm the chest bone maybe the next chest bone as well and maybe a little bit by the shoulder as well if you go to Tool you'll find some settings for weight painting and one of the most important ones which you should enable right away is under options auton normalize auton normalize is useful because as you can see some of the areas of influence between the bones over up when you enable auton normalize that automatically balances the weights as you paint so if I paint some weights for the chest it will subtract them from the arm and vice versa another important setting is under symmetry if your mesh is actually symmetrical you should enable mirror vertex groups and the X option here here and if it's not symmetrical then disable both of them I'll try to enable them and see what happens then you want to reduce your strength to something like 0.1 or 0.15 with that I'm ready to paint I have the chest selected if I just click in this area it will start adding weights and as I said that will also subtract the weights from the influence of the armb bone now even though I have these symmetry settings enabled the influence that appears on the other side looks weird which means that my mesh is not perfectly symmetrical this is something else that you may have to realize and live with a lot of meshes are not really symmetrical and you will have to paint both sides of the mesh it is not as bad as it sounds so let's disable symmetry settings and then I can paint all the way across creating something like um tank top pattern for this upper bone so now I'm painting positive weights if I want to subtract weights I can control and click and that will reduce the influence here I'm going to paint it back and if I shift and click that will blur the weights which is also very useful now I can test the deformation again and you'll see that it's a lot better it's not as ugly and soft as before but still I think the upper arm is affecting too much of the body so I'm going to move the arm away again because it is hard to paint when it's close to the body alt click on the arm bone increase the strength by the way by pressing f i can control the size of my brush and then I can control click on the body and I want to subtract all influence of the arm from this lower part of the body it just doesn't make sense for the upper arm to affect these areas also on the back here under the weight painting options you can enable zero weights active this is very useful it will show fully zero weights as black and very low values will be in this dark blue so now I'm finding it impossible to remove these areas here so I have to switch to the Ed brush I'm not sure y but the Ed brush if I control click I'll be able to fully remove these influences this is not essential because these values are very low but it is good practice Let's test the theformation again I'll alt click on the ik control and by the way this pink color means that I have selected a non-deforming bones which doesn't have any influence on the mesh so it's not something that you need to worry about now if I tested information it is quite a lot better uh maybe I can alt click on this bone and smooth these weights just under the arm and then remove some so this is starting to look quite a lot better it can be improved and it's all about adding and removing weights from adjacent bones it is not difficult it is just time consuming here here I think I assigned weights to this button to the arm bone so let's go back to weight paint mode alt click on the spine bone and trying to paint this button actually I'll undo set my strength to one and just click on it and it's almost done I can enable vertex selection here alt a to deselect everything and press L over the button to only select it and that will limit what I can paint to the selected vertices now I can just keep clicking and assign full influence to this button so vertx selection in weight painting is another Advanced technique so again weight painting is part of the rigging process do not underestimate it and do not try to rush it so to fix the weight painting in other areas of the character it's more of the same move the rig notice any problems and weight paint let move try adding and removing influence from other bones and so on now let's focus on the face automatic weights generally do a surprisingly good job on weight painting the face automatically if I try to open the mouth by rotating this widget here you'll see that it mostly works if I go to Weight paint mode if I select the rig shift select the character go to Weight paint mode and all click this headbone you'll see that the head doesn't have much influence on the face in fact in fact it has none which is great this is more or less what you want you can paint some more weights here so that so that the headbone fully influences the skull of the character all the way to the hairline do not affect the ears too much though but other than that if I click on the face bones you'll see they affect the actual face but if you notice any issues in the deformation of the face it is the same process paint and blur weights back and forth between nearby bones that's all there is to it it just takes time one thing I will cover explicitly though is the deformation of the eyelids they are always problematic here is what the automatic deformation looks like and so to improve it I'll go to the mesh and go to edit mode select this vertex here in the center of the upper lid and press contrl and plus on the numpad to expand the selection and select the hole of the upper eyelid and press shift H then go to the rig pose mode and select all bones of the upper lid and also these intermediate bones between the eyelid and the brow and also shift select this eyelid control here and press shift H then select the amateur shift select the mesh and go to Weight paint mode and now we are in this isolated mode which will make weight painting this area a lot easier if all vertices were visible it is very common to paint weights on the lower lid which is not desirable so now I can just all click this bone and paint some weights on it then this one and paint some weights this one paint some weights paint some weights then I can enable wireframe and enable one of these bones above the eyelid and then shift click to blur the weights a little bit otherwise the lid bones pull too much on these vertices here so this is one of the purposes of these bones here to make the closing of the eye a little bit more natural so I'm mostly smoothing weights here here we still have some zigzag pattern it's kind of weird but I found that if I paint some weights lightly in this area for the outer bone it tends to fix this and then also here so it makes sense to paint weights for these inner bones but really what solves the problem is painting for the outer bone I'm not sure why but yeah now it's looking quite smooth now I'm going to select the IR and shift select the eyelashes which weren't weight painted at all I think automatic weights failed and so I'll go to Weight paint mode select a bone and paint you can also again go to edit mode and select all of these vertices press contrl L and then shift H to hide anything that is not selected and then go to Weight paint mod this way and that will isolate the upper eyelashes so now I just have to paint and as soon as I I paint because the bones are not in the default position the eyelashes will jump to the position of the bones now it's just a matter of um painting back and forth to smooth the weights or you can alt shift and click on the bones to select all of them and then go to weights smooth and choose selected POS bones and increase the iterations and that is basically smooth the weights between these four bones so now this is looking quite good and this is exactly what you would do for the lower lid and also if you have to on the other side of the mesh next I'm going to assign weights to the eyes teeth and tongue and you'll see how having them as separate objects makes our lives very easy I'll unhide the object select them I'll hide the Met rig and I can even select them here in the outliner and then control click on the rig and let's go to pause mode and press alt H it's not essential but I'm going to want to use these bones so I am unhiding them now in object mode with the object selected in the rig active press contrl p and this time choose empty groups empty groups does almost the same as automatic weights except that it doesn't assign any weights but if I select this I here and go to data properties you'll see that it has vertex groups for all the forming bones now if I go to edit mode select all vertices of this eye and look for my ey vertex groups and just in case you applied automatic weights to your eye you can go to this triangle here and remove from all groups this will clear any vertex groups on your I vertices is and this is the left eye so I'm going to highlight the DFI DOL ignore the master and IRS for now make sure weight is one and click assign we can do the exact same thing for the other eye edit mode select all vertices find i. R and assign I can do the same for the top teeth edit mode select all vertices I can isolate here to see what I'm doing and search for teeth highlight teeth. t t stands for top and I'll click assign now it is slightly more complicated with the lower teeth I'll isolate them because the tongue is connected to the teeth so go to edit mode select a Vertex at the tip of the tongue and press control+ to expand this selection until most of the the tongue is covered so you can also press C to select vertices with this circle tool so I'm going to want something like this and then I'll press contrl I to invert the selection and basically select the teeth highlight T.B and press assign then I'm going to press h to hide these vertices and then select a vertx here to highlight it and then press a to select all other vertices then go out of local mode select the rig go to POS mode and find and select the tongue bones actually before that I'm going to select this jaw and press alt R to reset the rotation okay now select the tongue bones shift H hide the face hide the top teeth select the rig only the tongue bones are visible now shift select the bottom teeth go to Weight paint mode make sure that all tongue bones are selected if they're not you can alt click and then shift alt and click to add bones to the selection and then enable vertex selection all vertices should be selected if they're not press a to select them and then go to weights assign automatic from Bones this is the exact same thing as applying automatic weights but this way we are limiting the effect of automatic weights only to the selected bones and only on the selected vertices I'll disable vertex selection and then alt click on the bones and you'll see they influence the tongue now and press alt H and I can smooth the weights by shift and clicking here for this last bone and this may create a smoother transition for the tongue okay now I'll go to object mode press alt and H to unhide everything for my rig go to pose mode press alt and H and now if I open the jaw and let's hide the deformation bones for a second enable material preview and disable W frame and you'll see how opening the jaw is affecting the teeth and the tongue and if I select this widget inside the mouth which is the tongue control you'll see how I can control it by moving and rotating it also if I enable x-ray here there is this control which actually controls the bottom teeth you won't be using this much in a realistic character but for cartoony ones it can be useful and here we have the same for the top teeth so you can kind of adjust them here when I move the teeth I can see a little bit of an effect on the um skin of the character so let's enable the EF bones shift select the character go to Weight paint mode alt click on the tee bones and I have to press alt H to unhide the character and this light blue color means that the teeth have some influence on the skin so just controll and click and paint it out and let's see if the yeah bottom teeth also affect the Skin So controll and click and paint it out the tongue seems fine and also there is a problem with the chw affecting the color of the character so select the rig I'll hide the another rig and shift select the shirt go to Weight paint mode alt click on this jaw bone increase the strength of your brush and then control click here to paint out any influence under advance front faces only is probably enabled for you if you disable it you may be able to paint or remove the weights easier and check all of the bones in this area this one also seems to affect the color so paint it out and same on the other side these bones on the chin also seem to affect it okay this is looking good now now there there is no effect on the color and while I'm here if I rotate the head you'll see that the color clips into itself so select the first neck bone reduce the strength and paint positive weights very lightly I'll reduce it even more and very lightly paint in this area I can disable overlays and that will enable me to see things better and just paint and the color will start to reveal itself okay okay now I'm really done with the weight painting for this tutorial you should keep weight painting until everything looks good but for the sake of the tutorial it's kind of pointless it's just a lot of clicking that doesn't teach you anything well done this rig should be working now the legs arms and body work exactly the same way as in the simple human met rig we already covered that in the previous video you still have your ik and FK but now we also have fingers you have these green controls for the fingers which you can move individually but we also have these special finger controls which when rotated rotate the whole finger and if scaled they bend the whole finger this is something that you may not be able to guess if someone didn't specifically teach you so there we go I can select multiple of these controls switch to individual Origins and just scale them and that will bend all of the fingers and also rotate them and very quickly establish a basic fist this here is a control for the palm of the hand and it's meant to be used very very slightly and in a subtle manner if you rotate it too much you get this which is weird um it's just meant to give a little bit of a boost to fist poses and such and that's it for the fingers now let's look at the face I'll hide the deformation bones I think the face controls are fairly self-evident this is the Joe control and you can open the Joe with it you can also rotate it sideways you can even move it then we have this eye control and the eyes will follow it we have a big nose control mostly for cartoony effects also big eye control and this mouth control which can do really cool stuff like this but other than that we have these dots all over the skin of the face and we just move them and that will affect the skin near this control point oh we also have ear controls looks like the ear is still affecting the shirt but you should know how to fix that by now now let me point out some problems that you may experience with this rig one of the main weaknesses is the mouth and jaw if I open the jaw you won't get a nice expression out of the box usually you will have to tweak these mouth Corners a little bit to make the pose a little bit more natural if the jaw is really weird one of the main things that you should try to fix is the position or the pivot point of the Jael so if I in hiide the Met rig and isolate it after upgrading the rig the pivot point of the jaw is this here this is the jaw bone and moving this point will control the pivot point of the jaw so you can try moving it a little bit generating the rig and seeing what kind of effect that produces but in my case I think that is not the main problem also if I try to move the mouth controls I find it kind of difficult to create let's say a smile that is not creepy for the eyes the eyes Target control is really small and really close to the eyes I don't like this and I'll show you how to fix it and another problem that you may see here is that you have this really nice deformation of the eyelids as the eyes rotate but if I move the eyes up and let me hide the eyelashes because they're not fully painted but if I move the eyes up you see how the lower eyelids deform a little bit too much you can improve this by reducing the eyelids follow option to around three for both eyes however the problem with this is that when you regenerate the rig this setting will be reset to one so I'll show you a more permanent solution and another problem is if I open the Joel and start moving this corner of the mouth this part of the chin often gets distorted really badly and this has to do with the Bendy bones that I reused also scaling this control bone at the corner creates a crease at the mouth which can be nice but at the same time it also scales the lips which I don't want so I'll go back to the Met rig and tweak some settings I'll go to edit mode and let's isolate I'll select the eye bone make sure I'm in individual ual Origins and X is enabled here and scale up the eye bone this will affect the size and distance of the eye Target also in pose mode under bone rigify type I'm going to reduce the Z follow option to around three this will take care of the cartoony deformation of the eyelids when the eyes move around then on the jaw you can set bottom lip influence to 0.9 so I believe this will fix the mouth and jaw deformations a little bit then select one of the inner mouth bones and then shift select the remaining three so all four and for rigify options I remove this spherical fallof I set this setting to point4 and remove x y and Zed scale I'll only leave the ease option now I only change the setting for the active bone rigify has a special operator to copy properties go to the rigify menu here and choose copy only parameters and now if I look at my other bones you'll see that they're set up exactly the same way as the active one okay and finally select this bone here and set bbone segment to one I told you that I didn't like this deformation that I get here and that should fix it same on the other side and by the way you can also generate from this menu here you don't have to go to the IR tab now you'll see that this eye target is larger and farther away from the eyes if you want it even farther you can make the eye bones in the Met rig even bigger here are these individual Eye controls eye targets look a little bit off so go back to the Met rig Armature tab go to the advanced settings of rify and enable override widget meshes and regenerate and that will take care of the eye target it will look as it is supposed to now now let's hide the Met rig and move the eye target around and you'll see that the eyelids are still deforming but a lot less cartoonishly now if I open the jaw the mouth should behave a little bit better although it is very subtle but I think the mouth controls behave a lot better now even though I still find them hard to work with and hard to make really nice mouth Expressions it is possible but you need to tweak a lot of controls rather than just using a single control scaling this control down now will create a crease in the mouth but it won't scale the lips and scaling up will make the mouth Edge softer would you be interested in learning how to add a jacket to this character this is a very very common question so I covered it in a bonus lesson which you can watch only on CG dive Academy all lessons including the bonuses will become completely free around the end of January 2024 before that you'll have to pay a small fee of $3.99 to get the course in Early Access you can also become a subscriber for just $5.99 a month which gives you access to all of the content on the site if you like what I do this this is a great way to support CG dive and get a lot of exclusive content aside from the jacket lesson there is currently one more bonus lesson and I may add even more in the future so check out academy. CG di.com because you won't see these bonus lessons on YouTube that's it for this video If you manage to complete this exercise then really great job keep it up and in the next session we'll be rigging this good boy here and we'll be talking more about rigging quadruped with rigify

Channel: CGDive (Blender Rigging Tuts)

Views: 15,000

Keywords: blender3d, b3d, rigging

Id: dXElhdXgFD8

Length: 59min 2sec (3542 seconds)

Published: Fri Jan 05 2024