General overview of AdvancedSkeleton

hello and welcome to another advanced Contin video in this video we're gonna take a look at the latest version of a trance column and we'll go through it right from the beginning of downloading installation rigging up a body and we're gonna be using this model and we're gonna look at rigging up the face and at the end we'll also take a look at game engine export now for this video we're gonna be using this wonderful model which have been modeled by a John amar Pelayo and they'll be linked in the description below when you can go and take a look at some more of John Moores artwork so let's start at the very beginning so if you want to use that one's going and you have not done so before the first thing to do is to download the software you can do this from the Animation Studios website or from our Facebook page [Music] then once the download is complete you'll be having this zip file that needs to be extracted now depending on which zip program you got installed probably be able to right-click on the file and get a unzip option in the menus now once that has been unzip do we get this advanced kellton 5 folder and at this point we can move this to the destination location where you would like to keep your script for now I'm gonna put it in the Maya scripts folder once the folder is in the location where you like to keep it open the folder and you'll find these files now to install at Moscone it's a simple process you just grab the installed Mel file and drag it into Maya now before I do this I'm just gonna check a couple things I'll go into Maya and make sure I selected the Shelf that I would like the tools turn up on now currently I got a modeling shelf here and that's not what I'd like so I might choose another shelf or in fact we can just create a brand new shelf I now just call this advanced so I've got a new empty shelf I'll go back grab the installed Mel file drag and drop it into one of the viewports in Maya and these four icons appear on the shelf so now that we have advanced kiln installed let's go ahead and start it up I'm first time you start an Oscar that's gonna look something like this now my preference is to dock the interface onto the side so we'll do that here in the About section click on the top button now since we're already in the About section what else recommend is to run a check for updates now this connects to the animation studios website and in this case you see a we actually found an update so the one we downloaded and installed was 5 4 3 0 but it has detected that there is a 5 4 5 0 available so let's go ahead and run the update [Music] so the update is complete and we can see that the current version is now five four five zero now here I'll show you another thing we can do since we now have about five four three and four five in the system we can roll between the two version by right-clicking on this current version number so if we here choose five four three zero it has now rolled back to five four three so we'll go ahead and just roll back to that latest version again and we're back on five four five zero and if you have a curious what are the changes between the different versions you can download the version history information with this button alright so let's go ahead and get started with our character now what I recommend is that you're keeping some separate files and using referencing so keeping your model in one file and reference that into the rig file and once the rig is complete save that out as the rig file and then reference that into yet another file which is your animation file now more information about this recommended workflow you can find here in the pre section on the Help button next to the reference bottle this talks about the referencing of a model into rig and the benefits that that has and if we go out to the publish section there's a Help button next to the publish button now this talks about the benefits of using referencing of the rig into animation files so this is our model file now the first thing I want to do here is run the model check tool and it says here we just select what we want to check and run the checker now this quickly detects that there are some asymmetrical object here but these are actually internal this is part of the hair now note that advanced kellton does not require your model to be symmetrical and this symmetry check tool is mainly just to help you identify any non intentional asymmetry that could later on in the face setup process calls are unintentional asymmetrical blend shapes so we're gonna go ahead and create our rig file which we can do here make a new scene and then reference in the model into this rig file so as we use this reference button here it referenced the model in and it also assigned it to a layer for us called hi now before we proceed an import a biped fit skeleton and filling into this character I'd like to just quickly blank out the scene and mention some of the advanced gelatin basical principles now advanced Kelton can basically take any set of joints and build a rig from it so we got the idea of a fit skeleton that then gets used to build the advanced code now the fit scale can be any joint chain so let's go ahead and bring up Maya's joint tool and let's just plot in some random joints now if we select the first of the joints and hit build advanced kill'em we're gonna get a rig from this let's just scale down some of these control curves and we here have a basic I don't scale and rig now let's take a look what that looks like in the outliner so the basic hierarchy of any advanced cutting rig is a single top node once we expand that we get a first controller called main and also a group where it's recommended that you parent in all your geometry under now if you open the main controller we'll see that we get a split between motion system and deformation system now we can go ahead and hide the motion system and take a look that the deformation system is a single deforming joint chain now keeping this as a separate simple structure helps with things when it comes to binding to tweaking and also for any export to external applications now within the motion system will find further splits into everything FK everything I queso on and so forth now we won't dig any deeper this point we'll leave it with that basic introduction to the hierarchy now here's another fundamental ID of advanced : and that is and you can at any time hit toggle fit advanced that takes us back to the Fitz cabin if we go back take a look in the outliner you'll see that this toggle switches the visibility between the full rig which consists of a motion system and a deformation system and it toggles into the fits column so what we can at this point do is manipulate and change the original source of the rig okay the fit skill we can move it you can duplicate parts of it and you can even go ahead and add more joints and now to update the written to the new fit template we'll just go ahead and hit rebuild advanced gun now let's go ahead and do that one more time where we toggle back to the fit skeleton and we're going ahead and plot in some more joints this time let's branch this joints off to the side and if we now hit rebuild we'll see that we're getting symmetry now so that anything in the fit skeleton that branches off to the side does get mirrored by the advance column now this is of course possible to override if you want and there's a whole separate tutorial videos that just talks about the topic of asymmetrical characters now let's go ahead and try something else for our very simple rig here and that is to go ahead and add some definitions to these joints so anything I cave relators is done by joint labels so if we wanted this thing sticking out here to act like a I K arm we could just go ahead and add the label of a shoulder to this joint and at the hand label to this joint and if we now rebuild you see that we get these BlueCross controllers here that has attributes that lets us switch over to I K now let's again switch specters it's Kevin so all I case are defined by these joint labels now there's a complete list of what you can build in the help image here now in addition to joint labels we can add attributes to these joints and that lets us add a variety of different behaviors now the list of what we can add is in this particularly help image so let's just test around by adding a global to this joint and hit rebuild now what that has done is added a new attribute in here called global and if we turn that attribute value to ten we'll see that as we rotate parts of the Reg these joints are now maintaining their orientation okay before returning to our character let's take a look at one more of the advanced skeleton fundamental principles will do a new scene and will plot out a very simple fit skull and then build the advanced killer and now we'll toggle back to the fits coming in and take a look at the values of one of the fits count joints now we can see that the rotations are all zero but at the same time it does have some rotation so what's happening here if we look at the attribute editor is that the rotation of the joint are actually applied as joint orient values now this is quite handy as it leaves the orientation at zero which is exactly what we want for a completed rig is for all the controllers to have values of zero so back at the fit scale we change the fits kilt and joins a applying some rotation this now has rotation of value but if we rebuild the control is still at zero and if we go back to this Kelton the thick joint is also rotating at zero now what happens is that it takes any rotational values and moves it over to joint orient values so what I'd like to show you is that you don't have to rebuild in order for this effect to take place instead of rebuild you can just hit the update now button so I'll demonstrate by rotating the joint we have some rotation values if I hit update now the rotation values are back to zero and now in addition to that you can hit the fit mode with a heads-up display here showing that we are in fit mode and what essentially happens now is that any changes you make it runs the process so as soon as you apply any rotation once you let go of the manipulator the rotation values are back to zero now another useful thing here in the fit display section is we can turn on the joint orient now that displays the joint orientation values here over in the channel box so we don't need to use the attribute editor and we can see that as soon as we are making any changes all the joints update to keep those rotations at zero just as it would during the build process then one more thing I'd like to mention before we proceed with our character is that any joint chain that you create as a fit skeleton you can save out as a template now this is exactly what you're looking at here when you're browsing at the template drop-down menu these are just fit skeletons that have been saved out now if you save your template in a particular folder or in their advanced skeleton files under fit skeletons any file you save in here will appear in this drop down menu so if you find that you are using a particular template that you made by yourself that you use a lot you can save it in there and thereby easily access and it for import through the menu all right let's so let's go back to rigging up our clary character and for this we're gonna be using the biped fit column template [Music] okay once we completed fitting the biped fit scale template to the model we'll go ahead and hit the build upon scale button and next we would usually go ahead and modify some of these curves scaling him up and down a bit to nicely encompass the geometry but before we doing that what I'm gonna do is under the build advanced coding process and show you how we can set what's gonna be the initial size of those curves and that we can set with this fit skill in geometry here we'll see some simple geometric shapes generated for each of the fit skeleton joints we'll go ahead and set the size of each joints with these fat parameters so once we set this fit geometry to better correlate with the thickness of the limbs of the geometry on our character we'll now go ahead and hit build advanced Colton and the control curves will now be benefited by default now we're going to tweak some of these individually to make him fit even better and the tweaking of the control curves are done by manipulating the Seavey's alright so there's one thing I'd like to mention at this point and that is how to determine the direction for the knees and elbows now this is a frequently asked questions and I'll show you how this is set by the Fitz Kevin now we'll say for this character we're ended up with knees pointing straight forwards which may or may not be what you want for your character but to see what determines this direction let's go ahead and turn off the visibility of geometry and switch back to the fit skeleton now when the knee like in this case is nearly straight it can be hard to determine which direction it's gonna be moving if however the knee by default was something more extreme like this we could not be used to tell that it's gonna be rotating in this direction but as it is nearly straight it's hard to tell the direction and you might up with a slight negative bend in the knee which means it's gonna bend in the road reverse direction which is not what you want so to help identify the exact direction the needs gonna end up in we'll go into the fit section under display and turn on the checkbox called pole vector now this shows us the exact direction the knee will be bending now if we wanted to make any changes on the position of the name we can hit update now and see the corresponding change in the direction of the red pole vector plane or as we were showing before we can use fit mode to get instant feedback so the turn on fit mode and if we now make any changes to the placement of the knee we can see that we are getting the instant update of the pollak to play and now another thing that can be useful is to select the knee itself and since we got the joint Orion checkbox on over here in the channel box we can see the actual values of the John orientation and we can see that this knee is bent about 20 degrees in the C axis by default and to determine the plane the knee is gonna be pinning on we would select the hip and if we wish to have this precisely aiming forwards we just punch in the values which is gonna be minus 180 0 and 180 and then we'll just rotate it slightly forwards alright so back to our character the next thing we're gonna do here is we're gonna do the skinning and add one skeleton provides a few options for doing this the one I you like to use most is the one called the form option number two which is skinning by something called the skin cage and before we do this I'll show you what's going on here as you can see the controls are becoming visible and invisible I'm just using a hot key on the keyboard now this is a very useful function as you very often want to see just the deformation a skeleton or other times you want to see the whole rig I'll show you how to set up that hotkey that's done by opening any of these selectors or Pickers and just go to display set hotkey we'll get our confirmed box and that describes exactly how the hotkey works and what keys it's going to be set to by default on how to change that hotkey so I'm using the hotkey to display only the deformations countin and now I'll create the skin cage so what that does it's procedurally generating a polygonal cage that is based upon the joints in the deformations curtain then it creates this profile curves that are easy to grab and scale and adjust to fit to the geometry now we can see that by default it actually fits quite well and that's got to do with what we did in the original fit skeleton we use that fit geometry the skin cage is based upon that as well so now we're getting a decently fitted cage by default but we will go ahead and tweak it a bit further to make it match even better now there's actually a set of green skin curves and another set of the red in-between curves now the green curves are the main curves and the red curves are kind of following the green curve so as a recommended work for I would start out with the green curves and using the scale and translate to get these roughly into place and as you can see the red ones are gonna stay in between the green ones and then only go ahead and use the red ones after placing the green ones if you want to add some further tweaks likewise I recommend to do all just moving and scaling the whole controller to start with and then later on go in and select individual Seavey's if need be to get an even benefit [Music] all right at this point we're gonna go ahead and mirror the tweaks that will be done on the right side on the to the left side so we'll use the mirror right to left next I'm gonna turn off the display of the skin cage go back to showing our geometry then I'm gonna select the various geometry pieces and hit copy weights now at this point I would normally go through and apply a bit of rotation to each one of the limbs and take a closer look at the deformations and improve upon where it is needed some improvement now related then I'll show you there's a new tool in the tools section called the animation tester then here we can go ahead and apply some test animation to every rotation angle of every control so let's go ahead and do that so that has now applied a test animation and as we scrub through the timeline we can see that every limb is rotating now this can be handy way so you just slide the time slider to test the deformation and it allows you to simultaneously make selections where you want to change certain components waiting and just crop the time slider to see how it deforms now by default this applies some test animation to every limb but we'll show you how we can work with only a single controller so first remote test animation now if we wanted to only test the elbow and we only wanted to test the rotation in this direction and we only wanted to test the rotation by this much we'll just leave that right there and choose the tick box only select control and hit apply now if we scrub the timer you'll see we only have animation that applies that amount of rotation on that axis for that control so next we're gonna go ahead and do the face setup so let's go into the face section and start with the pre sub section now the first thing is to create the face fit node now this thing needs to be scaled and fitted according to this picture so we're gonna move it up to start just under the chin and then we're gonna scale it so that the top curve lines up with the top of the head and then we're gonna go ahead and define some of the geometry so for phase it's gonna be this object so what happened here is that do I the tool has detected that there are vertices on the face that are not weighted to the head joint now in some cases this is not intentional and could cause some problems in the face setup in which case you want to weight the face to the head joint and in other cases it might be that you have the weighting just as you'd like which is weighted to the head joint but also partially weighted to some of the neck joints now in this case I have not been carefully weighting the head joint so I'm just gonna go ahead and weight these vertices straight to the head joint automatically now next we're gonna define what is all head and by that it means all the pieces of geometry that makes up the head so for this character that's gonna be the skin here it's gonna also be the eyes and this lenses that are outer part of the eye also the Tate eyelash eyebrows and also gonna be the hair so these objects we're gonna define as the old head now this will pop up for any objects that do not already have a skin cluster so it's gonna make a new skin the cluster for them then I'm gonna choose what is the right eye now this of course refers to the character's right eye not the eye on the right side from our point of view so that's going to be the character's right now and along with that selection we're also gonna select the right lens so there's two objects for the eye hair is the eye object and the lens object that's the right and there's gonna be at the left one next we got upper teeth which this object and lower teeth is the subject now this character in particular does not have any tongue geometry so we're gonna leave that field blank next is the face a filling process we're starting off with the eyeball and for some of these elements there could be like visually distracting to look ads there's a little hide button next to it so even though we have created now the eyeball we can hide it here next it says select edge loops before making these fit selections so we'll switch over to wireframe on shaded to make it easier to pick the edge loops and we're gonna go ahead and pick this as our outer eyelid now let's just hide that hair to get a better look at the character now in this case you can see that the outer eyelid is split into two different colors there's a green and yellow part now for this character this ended up quite nicely in splitting at a good point now that might not be the case for all characters so you might end up with the split somewhere that is not very suitable so to show you how we can determine exactly where this split is gonna happen what I'll do is we're gonna delete this but we're gonna keep the same edge loop so what I'll do is right click on the button I say re select now if we switch over to wireframe you can see that then has reselected the edge loop that we used to define our outer eyelid then I'm gonna click on that check box that's gonna delete the fit eyelid now we're back to having our edge loop selection and we're ready to hit the button but this time we'll do select of multi with keeping this edge loop selected we're gonna in addition select a particular point say that point right there and if we now hit eyelid outer you'll see it has once again created an upper and lower part of that loop but it's now starting at the specified vertex point anyhow that was just to show you that that is possible I'm now gonna go back to what we had because that worked just fine for this character and we'll move on to the other selections here the next is gonna be eyelid main you can hide that eyelash for now so we can easily see what we're gonna use this domain now for the main eyes recommend selecting the loop that is closest from the top this essentially delived where the upper part is gonna touch the lower part upon a blink so that's the looper after here so with that selection we'll hit create eyelid mate next is the eyelid inner and as we can see from the help image a we need to kind of get on the inside of the lid to get this selection so there is that little assist button here and I'm gonna click that will kind of peel the lid open for us and that lets us get in there and select that particular edge loop that we're after we're just gonna be this one and one say that's our eyelid inner a little peel assistance it's gonna go away and we're gonna be left with this object that represents the eyelid now if we don't want to see this in the scene we can go ahead and say hide then next definition is going to be the lip outer then the lip main which again I suggest selecting the loop from where the upper part is going to touch the lower part first when the lips closed so for this character is gonna be that particular edge lip right there and again to get the inner loop there is a assist function that peels open the lips and we'll go with that loop and that has also left us with a object that represents the lips which we can hide next as it says here we're gonna do a one vertex selection as we are defining these next points so the next point gonna be eyebrow inner I'm gonna select a point that is under this item proteomics right here so I'm just gonna hide that for now and use this point as the eyebrow in up and moving on to the eyebrow outer which is gonna be done here now if you're unsure about the placement of these fit elements you can use these little help images to give you an idea or another way to get an idea for the placement is to open another Maya session then open advanced skeleton and in the demo section and choose one of the demo characters and then go into the face section and under the build sub section hit toggle fit advanced now this is gonna show the face fitting for this particular demo character so that is another way where you can get an ID for the face fit placements now back to our character we're gonna continue and do eyebrow middle next now the next one is a bit different than the others this is gonna be the forehead and this is si we're gonna select these three key points now these are the vertices now the first one's gonna be here which is lining up with that split for the eye lid so from this edge we're gonna walk over to the center we're just gonna be here so that's our first point the second point it's gonna line up so we'll take that all the way up to about there the third point is gonna be over here on the side and with these three points selected will hit the forehead button now this is showing the area that's gonna be deformed by the eyebrow controllers now as we did the other ones we're gonna go ahead and hide that one then we're gonna move on and select the vertices for the remaining fit placements [Music] and once the face fitting is completely we could go ahead into the next section and hit build advanced phase that will build the entire face but for this demonstration we'll use the next section which is the step builder we're just going to build the face step by step and allowing for some tweaking and improvements along the way so let's go through the steps one by one [Music] [Music] so once all the face build steps are done next thing we're gonna do is attach the eyebrows so we'll go to the eyebrow section and for this character we're gonna use the skin weights to face function and test that it's working and next we'll go ahead and attach the eyelashes here in the eyelash section so before the attachment will see that if we are to blink these lashes do not follow at all so let's go ahead select the geometry and hit attach and will now see that the eyelash are following the eyelid [Music] now at this point we have a completed face setup and then I'll show you how we are to do tweaks if that is needed and what we'll do is take a look at this section called layers now if we select the face geometry itself we'll see that it's the formation consists of a skin cluster and a Blanche shape now this blend shape is essentially blending in various systems or layers of the face now here we are referring to these skin layers that help image here shows you what the various layers that are available so let's test it out and start with taking a look at eyelid layer now this is the layer that only deals with the eyelids so if we for example go ahead and do some blinking and then we'll also do something else like the opening the jaw we can see that in this layer we're not seeing any of the jopen only the blinking if we switch over to the jaw layer we'll see that on this deformation layer we'll see the jaw open but none of the blinking and if we then use the top button switch back to their normal layer we'll see the combination of the two deformations so let's reset the post which you can do here with a go to build post button and if you were to needing tweaking or any parts of the face say for example you wanted to tweak the way the jaw deforms you would just go ahead open the job switch to the jaw layer and then you can go ahead and paint whites now one of the benefits for using layers is that balancing the weights become a bit more easy as you're dealing with a fairly limited number of influence so for example the jaw here you only dealing with weighting between the jaw and the head joint and switching over to the cheek layer we'll see that we're only dealing with the weighting or between the cheek joints and the face likewise we can take a look at the regions layer and then up midlow layer which does the broadest so deformation deforming the entire up mid and lower part of the face now in the latest section there's also a function here if you wanted to create your own layers so there are various benefits to using this type of deformation layers now one thing that does not work very well with defamation layers is exporting this kind of into external applications such as game engines now if you were to export they set up the skin layers would not be included now one thing to note here is that the controller's over in the side box here then you can move around and get various expressions are essentially set up so that they drive some of the controllers over here now for example moving down the eyebrow control here we can set the amount of influence that that's gonna have on the eyebrow region controller now since these box controllers are essentially only driving their own phase controllers there's somewhat of a limit on hum fine detail you can control for your expressions now if you wanted to have complete explicit control over every vertex you are might want to go to it blend shapes and in the blend shapes section here we do have a function that will convert each of the attributes of the box controllers into individual blend shape targets so let's go ahead and run this and now if we take a closer look at the blend shape node as we're manipulating the control box controls you can see that this is dialing in and out various blend shapes and now we have a very exact way of altering these expressions and by editing the blend shape targets and the way to do that is in the Edit blend shape section what you can do is you just go to the target you want to edit for example moving this controller all the way down this is a blend shape target and to extract the target you just hit create blend shape target button now we can at this point just go ahead and make any adjustments that we want now well Renee a handy tip is that as you can see we're adjusting the target for the right side eyebrow now the left side is over here and being automatically updated but there's something we can do at this point that can be quite useful and that is to turn on the left target as well so here we're seeing the result or how the - left and right target is going to come together and we can watch that result in real time as we are cutting the right to only target so this is a handy way of making sure you are sculpting targets that are gonna mix well together when you are blending in both left and right side once you finished sculpting your target you just hit the delete target button and the targets are gone and all the blend ship information is stored in here in the blend shape node now there's a function here called the blend shape wizard now this just lets you step through one by one all the targets that the control box sets which could be a handy way to go through each and every of the targets and making sure that they all look good now there's another thing you can do in here if you wanted to hand this file off to a model or to tweak all the targets but he might not have the tool to extract the targets what you can do is extract all the targets as individual objects and that's done with the extract all targets button at the scene you could say that and hand off to a model owner and he can go through each and every one of the targets and I just and make sure that they are working well now the last function here is a delta martial arts now this will just go through each and every one of the targets and apply a delta mesh with the set factor in here so if you wanted to submit an out each and every one of the targets now there's another section here called new blend shapes now this is if you wanted to create your own new blend shapes so let's just demonstrate it by making a new one now you can give this an attribute name let's call it angry and you can give it a controller name and it creates a new controller or you can specify to use one of the existing controls so for now let's just apply it to the existing eyebrow controller so you can see that we now have the eyebrow controller here with the angry attribute and by default it's on at ten so we can go ahead and sculpt our Angry shape and that might just look something like that on the eye right coming down and we can see that we now have this eyebrow cone down and we can go in here and dial the blend shape in and out for the left or the right side or both sides at the same time now the last subsection here is a cluster control that's just an easy way for you to go ahead and add additional own face controllers so let's just test it out start off with creating a soft mud say for example we wanted a controller right next to the eye in here we can increase the radius and we'll test the controller so for example scaling down a controller like this will give us a bit of a squint so once we're happy with this awesomo controller we'll just say create a control from that soft one and give it a name and it's created their own face controller for us on the left and right side now let's for minute step back into the blend shapes section now there are two ways to convert to blend shapes here now you can read more about the details in the help images here but the basics of it is that the first convert to blend shape is converting these box controllers to drive the using blend shapes now a main reason for doing so is to get increased control over the details of the facial expressions now there's another convert to blend shapes a called convert to blend shapes only now the reason you might want to run this is to simplify the set up to allow for export to external applications such as game engines so we currently have it converted to blend shapes meaning that these controllers are now dialing in and out various blend shapes but there's still a lot of complex setup going on under the hood here that makes it unsuitable to export the game engines so let's do a test with this character and exporting it and before doing so we'll go ahead and run the convert to blend shapes only function and we'll see that the on phase controls are now gone and the deformation setup is only a single skinned cluster with a single blend shape so what we can do right now you can do a tests and export the character as a FBX file and to make it just a little bit more interesting we can quickly apply some animation and to do that we'll just use the walk designer tool and we'll apply just a little bit of quick facial animation as well to show that that's working [Music] [Music] now that'll do for a simple test let's go ahead and export this as an FBX now as it mentions in here under the Edit blend shapes converter to blend shapes only help image there's some particular options that is recommended when you're gonna head to export your FBX now the first thing is gonna be the selection to make before export now it's recommended that you go ahead and select deformation system now that is the single joint China that deforms the entire character and second is to select the geometry group and then we'll go ahead to go into the file export selections options I will choose FBX and we'll save this out and under animation we want to tick the animation check box and we also want to tick the bake animation check box and make sure the range is the correct range that we want to export and we want to include skins and blend shapes so let's do the export and then we'll fire up unreal alright so here we have just D standard the third person example blueprint and we'll go ahead and make a new folder for our import boogie rename rig tests and we'll import the FBX file now in the import options what I've found to work well is to apply ninety degree of rotation in X and that's it just hit input all so let's go ahead and open the character now what I found that by default when you go ahead into animation you play the animation you get the body animation but not the face animation now it seems to make that work is if you go into mesh scroll down to the check box that says import morph targets you simply turn it off and turn it on again now if you go back to animation you can see that the face animation is playing as well what we can do now is we can drag and drop our character into the scene and we'll set the animation mode to play the animation asset and we'll choose the animation that came with this input and go ahead hit play and then we can see that we have our girl character or imported into unreal with her animation cycle body setup and phaser all right now let's go back into Maya now the last thing I'd like to mention in here is that I have now saved this character out as one of the new demo characters so if you want to take a look and download and play with this character for yourself just go to your advanced code and in the demo section just go ahead and run the check online for demo updates and you'll find that this new character called Clary is now available and you can go ahead and download it that's it for this time I hope you have enjoyed this video and I'll see you next time [Music]

Channel: AdvancedSkeleton

Views: 135,721

Keywords: Maya, 3D, animation, character, pixar, 3danimation, rigging, cartoon, face, facesetup, facerigging, auto, game, gameengine, unity, unreal, 3dgame

Id: mTB9Yh_sWKc

Length: 44min 6sec (2646 seconds)

Published: Sat May 12 2018