Demonstration57: The FaceSetup

hello and welcome to another advanced skeleton video in this video we are going to take another look at the face setup in advanced garden and for this we will again be using the call looking fairy character which has been modeled by patrick evard so in maya here we have the fairy in this file the body has been completely rigged and the face has been completely rigged but what we'll do as we're going to look at how to do rig up the face is the first thing we're going to do is to remove this face rig and the way to remove a face rig from a advanced character is to open advanced button you're going to face section under build you can first hit the button it says toggle fit advanced that toggles over to the fit section of the face setup and then that enables another button here called delete advanced that will completely eliminate and delete the advanced face setup leaving is only with the original fitting now if you wanted to remove the fitting as well that can be done by just selecting the object called face group and hit delete so here we are we got a rig that has a body rig completed so let's go ahead and do this face it up from the beginning we'll start with the uh pre-section so the first thing that's got to be done is the pre-section has got to be completed by defining various objects and the very first one is called mask and if at any time you're unsure of what event these selections should be you can click on the little question mark button next to the original button that should open a help image with some further explanation what to do so we can see here for mask and the help image tells us to select poly phases that will be deformed by the face setup so let's go ahead and do that this is most easy to do from the side view and we'll go over to face type selection and use the lasso selection tool now for us for how much of the face to include i recommend imagining what part of the face will be deformed by the face setup so we know we're going to have eyebrow controllers that's going to lift up the eyebrows which is affecting the forehead so we definitely want to include some of the forehead here likewise we're going to go right back up until the ear as the jaw deforms up until there and the jaw itself as it opens it affects down towards the neck so we'll go down towards the neck a bit and here we go we got a selection now just for the sake of keeping this tidy i'll add these additional faces so get more of a clean line where the boundaries are now with these faces selected we'll just go ahead and click the button that says mask now it might take a few seconds to complete this operation depending on the density of your model one thing i do highly recommend is that before starting the phase setup is to ensure that you are not using poly smoothing now a quick way to do that is select the top note of your model and then you hit the one key on your keyboard to make sure nothing is poly smoothed know many times that uh users like to hit that tree button on the keyboard to make a more nice appearing smooth model which can be great for many purposes but in terms of the face rigging it's gonna run the process much faster if you make sure select the model and hit one on the keyboard all right before we move to the next one i'll show you that each one of these buttons has a particular function that if you ever wonder what was the selection used for the original definition is you can re-select so if i was wondering what were the faces that were used for the mask i can right click on the mask button and hit reselect and we can see that these are the faces that were defined as mask next it says what is the face object so that's gonna be the main object that is the face in this case it's this object which is the whole body that's fine so with that selected we press the face button next it says all head and if you're not sure what it means you can click on the help button it'll tell you here that it needs a selection that is all the objects that will be affected by the face setup so we can see there that that would not just be this face object but obviously also the eyes the eyelashes the eyebrows also this headband here would be affected as the eyebrows get lifted and the hair as well particularly if we were to add a head head squash to this face setup we would also need to affect the hair so with all that selected i just quickly hit wireframe to make sure there's nothing left in here and we can see that we did leave out the teeth and the tongue in this case so i'll use the outliner to make sure i get the teeth and the tongue as well and there we go these actually there is one more object in here that is not selected and that's this tier line object there we go these are the objects that will be affected by the face setup so with this selected we'll hit the all head button next is the right eye and this is a common place where it is easy to mistake the right and the left eye it can easily be thought of that you look at the right side of the screen here and select this eye and define that as the right eye because it's on the right side of the screen but that is not correct it is this eye that's going to be the right eye so it is the character's right eye again if you're not sure the help image here clearly identifies that it's the character's right eye that is meant to be chosen here so with that object selected we click right eye likewise there's our left eye all right now we're moving on to optional additional surfaces so not all characters will be using all of these uh optional definitions so we'll just use the ones that apply for now i'll hide the face i can easily see what's under here and we can see that we do have upper date so we'll choose that and hit up it we do have lowered it there's also a tongue we also have separate eyebrow objects so we'll define that and we have eyelash objects in this case there's two objects one which represents both upper lashes another one that's both low lashes so these two objects selected and extras can be any kind of extra stuff in the example image here it shows that it's got b it can be extra stuff we do have an extra object here which is uh this object tear line which gives us that nice shiny glint just near the lower eyelash so with that selected we'll define that as an extra object i'll go ahead and unhide the phase next we have a button called model check now this will have a look at the model and make sure it is firstly a clean model meaning it doesn't have a variety of non-default transformation values like for example all the translations and rotations should be at zero the scale should be at one the pivot points should be in the center of the world and a variety of other things that should be default now this can be at times a bit hard to get right this will look for any such issues so we'll go ahead and run it and in this case there are no big warnings coming up it just tells us the model is symmetrical now just to show you what it would look like if you were having some issues we can uh quickly introduce uh for example a problem let's move the pivot point of this model to no longer be in the center of the scene if we now hit model check you can see straight away we get a information box coming up here and it tells us this object has these values for the rotate and scale pivots which are non-default values and can cause issues it is recommended to run the model cleaner tool before the rigging so that's what that looks like i'll go ahead and undo that to take it back to the original place if your model is asymmetrical it can either be a purposely designed issue to have a non-symmetrical phase in which case you can use the non-symmetrical phase function to rig a non-symmetric phase however if it's non-symmetrical by accident then i strongly recommend to resolve that issue to make the model symmetrical rather than proceeding with the non-symmetrical phase setup because that is going to take you longer is you need to define a lot of points on both the right and left side so if you're having any accidental non-symmetry on your model you're more likely to get good results by fixing the model rather than rigging it as a non-symmetrical face okay onwards the next thing is to choose what rig type to use we got three options here joint based face setup we got blend shape base place it up and we got mixed and the default choice here is going to be joints and that's also the recommended choice to be using i would also strongly recommend avoiding the temptation to just say i want the best of everything therefore i choose mixed because if you choose mixed uh by the way you can open the help image here to read more about this uh and what i mentioned here about the mixed option we can read at the bottom uh the mixed option uses blend shapes as the base but it also keeps on face joints allowing for additional control mixed provides the most flexibility and control but here's the catch if you are using mixed you will get a significantly slower rig to work with and it will also take you longer to get the rig right you need to be working with both driving system and blend shapes and nested deformation so unless you are 100 sure that this is what is required for your production then i would not you be using it next we have some options uh let's quickly run through each one of them first one non-symmetrical when you turn this on and off you can see that the next section actually changes between just being fitting and b fitting for right so with non-symmetrical on you have fitting boat for left and right side of the face the non-symmetrical rigging option here is intended for those characters who are by design asymmetrical such as the demo character napoleon which you can open here this character is quite asymmetrical by this sign so it requires the asymmetrical phase setup and if we uh toggle over to the fitting you can see that most characters will have the fitting only on their right side but this one has the fitting on the left and right side due to the asymmetrical option being used okay next game engine as we can see turning on and off this checkbox is disabling certain sections of uh the uh options here we can open a help image and it'll tell you here exactly what it's disabling and why and it's got to do with compatibility if you are to export your game engines this is making sure you're not using functions such as non-linear deformers and delta much deformers because those will not allow for export to game engines next apple ar kit now this is for the functionalities that allows you to use iphones to directly drive face expressions for more information about this i recommend to go to our youtube channel and looking at the video called demonstration 52 face tracking with ar kit next is advanced now this checkbox opens an additional section here and the main purpose here is to allow for advanced skeleton face setup to be applied to rigs that are not advanced skeleton rigs but any other kind of rig if you are to do that that is just fine the only thing the advanced phase setup is going to need to know is what is the head joint that is currently deforming the head so you just need to select that joint and hit choose head joint it will store that information here and it will automatically detect the skin cluster used on the face and save that information here so that is completing the pre-section next is the fit section so there's a series of things that needs to be defined in here such as where is the eyeball where is the eyelid so on and so forth now there's a few function that all these buttons have in common uh one is you click on the button to create the object so i will click on that it will create the object and the checkbox is turned on to show you that you have now completed this step now other functionalities for each one of these is that you can turn off that checkbox to delete the fitting and another option here is like for example the eyelid needs to be fine by selecting edge loops after they've been fine if you're wondering which ones were the edge loops you used you can right click and say re-select that will give you back the selection that you originally used so since we are next going to do the eyelid hour outer we'll do that and then we'll show you how that button works so if you're unsure what are the objects to be selecting here there's the question mark button that will open up and show you a help image so in this case it shows you that the eyelid outer should be basically a edge loop running around the eyelid which defines the boundary for where the eyelid deformation stops you can double click on the edge to automatically select the complete edge loop now depending on the topology that might not always work if that does not work then you are free to manually one by one select the edges to ensure that you have a complete loop so for for now we'll go ahead and use this and there we go we got our first edge lip definition saved now it's worth observing here that these are actually two objects a green and a yellow one so there's one for the upper part and another one for the lower part now a situation you can run a come across here is that you're unhappy with where the split between the upper and lower is happening in this case it seems to work quite fine but let's say for example i wanted to move this split to become one or two vertices further down one quick way to be doing this is that you can right click on the button you say re-select those edges you then click the check box which will remove the fitting and leave you with the original selection now we'll make a change to the selection so we'll go over to multi that allows you to select multiple types of component and we'll leave all the edge loops selected but this time we'll add select some additional vertices and that will be the definition for the split between upper and lower so for the case of demonstration let's say we wanted the split to occur here on this side and here on the other side now we just hit the button again and you see we get a custom defined split between upper and lower now that was just to show you so what i'll do i'll delete it and just go ahead and use the default split so that's the eyelid outer next we're gonna do the eyelid main the help image shows here that that's gonna be the edge loop running on the inner most inner part basically the part of the eyelid where the upper is going to be come in contact with the lower eyelid so we'll use this edge loop for that and then comes the eyelid inner and help image here shows us that this can be a bit complicated to select this edge loop because it's going to be right on the inside of the model there is an assist button here which we'll use hitting that is going to peel open the eyelid which can look a bit bizarre but it does help us to look inside under the eyelid and select the edge loop right on the inside and then we'll define that as the eyelid inner and at this point we have defined all the tree edge loops that composes of the eyelid so it has created the eyelid object for us if you wanted to take a closer study of how that looks you can go ahead and hide your model and also we'll hit this button that hides the eyeball and you can see how the eyelid a fit object is looking like how it starts on the outside it wraps right around and ends up on the inside i'll turn back on the model the next three steps are very much like the eyelid steps but this time for the lip we see the help image here giving us an idea what to be choosing we'll start with the outer then we'll go to the main and we'll use the assist function to peel open the mouth allowing us to more easily access the inside of the mount and use this loop for the inner and again we'll turn off the visibility of the main object and just inspect that the lips are looking as expected starting on the outside wrapping right around and extending to the inside and they're looking fine next are eyebrow locations and as it says here this time we're not going to select edge loop we're going to select vertices so the first one select one vertex for the eyebrow inner that's going to be around here as we can see matching the help image now if you have the same situation as the very character here you have separate objects that are the eye brows it is not recommended to be using these as the vertex position but rather use vertices that are on the main mesh i'll just pick walk up that's going to give us that vertices that's right under that object there there's going to be our eyebrow inner next eyebrow outer going to be the other end so we'll select i use the arrow keys to select one of the vertices right under that object there now the next one here is eyebrow center now i'll let you know that a very common mistake here is to go ahead and assume that what's meant is a center between the inner and the outer that is not the case so i've seen several users finding picking a vertices around this area and defining that as the eyebrow center that's not correct if you open the help image here you see what's meant eyebrow center is the eyebrow center of the model so what you want is to pick a vertice that's in the center of the model but aligned with the eyebrows so this would be the correct vertices now they are the minimum number of controllers you get for the eyebrow if you want several controllers for further details you can open the optional extra eyebrow section here and you can add as much as three additional eyebrow controllers so for sacred demonstration let's just pick one more for this guy maybe right here in the middle and say that's going to be eyebrow mid one next uh is probably the most trickiest of all these uh fit items and that's because the selection needed for this is three vertices this is going to be the forehead definition opening the help image here is show you that we're going to need to define these three points on the model 2 on the center axis uh and one on the side so we'll leave the help image open to access the one on the top here i'm gonna go ahead and hide both the hair and the headband and firstly i'll start with this one and the nose bridge now ideally that's going to be both in the center of the model also aligned nicely between the split point between the upper and lower eye lid so we're imagining a path running across here until the middle and on the nose bridge and that's going to be a good vertex to choose next one's going to be on top one common mistake here is to not allow enough of this area to be deformed because when the eyebrow layer is moving it's going to need to deform a certain area here so i would not use a point here that is too low as that does not allow for the area to define but instead to go a bit further higher up on the head allowing for a wider area to be default again we'll trace a part running down from this until approximately we meet at the point where that would also align up with where the lower eyelid meets the upper eyelid so we imagine a line running out from here as well and we end up with a put right about there so we got these three points defined let's hit the forehead button and here you can see we end up with a green object and it is allowing for enough area of the forehead here for the eyebrow movement to deform this area next is a series of positions requiring one vertex selected to be defined so jaw pivot now as the help image shows here it's going to be uh kind of near the ear where you can imagine a pivot point for the jaw bone when it opens so for this character i'm going to choose this vertex next jaw corner it's going to be near the jaw pivot but it's going to drop down to where it's where a jaw bone would curve off start moving forward on the face next is called just jaw now this is kind of the tip of the chin you could say or tip of the jawbone so we want this first of all to make sure it's on the center line of the model but also from a side point it would kind of run very low where the jaw corners around towards the neck so for this character i'm going to choose this vertex next is called throat and essentially if you imagine the jaw opening you can imagine that the previous position jaw is where the skin is going to fully follow the jaw and then that waiting is going to fall off towards the neck and throat is going to be the point where it has fully stopped being affected by the jaw so we make sure it's on the center point and we're going to go down a fair bit until say about this point so this is where the deformation would stop when the jaw opens it would be a smooth blend between the tip here jaw and the end here the throat next cheek now we're gonna choose the cheek here now a common issue here is to to go a bit too far out say somewhere around here i'm just going to turn on the soft selection just to indicate an area here now if you go too far out that's not actually how most cheeks work they are much closer to the mouth now the example imagery might not actually show that very well it might be better to do a google image search on cheek we can see that the area that is often deforming the most it's gonna be quite close to the mouth so for this character i'm gonna choose this vertex next is cheekbone that's going to be a bit further up and essentially defines the area with the cheek controller stops having an effect next is cheek razor now this is going to be for a cheek razor controller that allows for a bit of additional squinting muscles that work under the eye so for this character i'm going to choose this vertex here next we have the smile bulge now again we'll jump over to an image search for a smile and the smile bulge is essentially defining that this area that bulges out during a smile now that area is going to start bulging out i'm going to define as starting right here then similarly we have frown bulge which is going to align quite closely to the smile bulge but on the lower side of the map so we're going to have that bulging out be right about there next is the nose which is right at the tip of the nose then nose under it's defining where the nose ends so from the side view it's gonna be right there where the nose meets the upper part of the lip then we got nose corner which for this character i'm gonna define this vertex here so far so good now there are additional extra options here and we'll take a look at what they are so for the nose if you do want to have some fine tuning controls uh right on the nose then you can go ahead and define these extra points which is going to be no side no center and the nostril additional optional controllers if you want to be able to control the tongue which we do want here we can define tongue now the way this works is this no selection needed so you just hit the button for tongue you can see that that creates a series of locators here and between those locators is a red line so what we'll do is we'll go ahead and for now just hide the main face geometry that allows us to more easily see the tongue and then we grab all these tongue locators and make them more nicely run along the length of the tongue so starting right back here and i'll just use the arrow key to select between the different locators now as a typical tongue has some more ability to deform near the tip we will make these locators a bit more close together at the tip and then more further apart as it goes further back and that'll do for the tongue turn back on the visibility of the face mesh next optional pupil and yep we do wish to have controllers to contract and expand both the pupil and the iris note that in reality the iris can contract and expand to reveal more or less of the pupil so in here we do have the option to define the iris and thereby creating a controller that expands the actual iris this is obviously anatomically impossible for all creatures that i know of but we are often making cartoons and we want to have the ability to have that controller as well so let's uh go ahead and define pupil and iris now all we need to do in this case to make sure i select the right area i'm going to turn on the hardware texturing i'm going to go right to the edge that is around the pupil here and define this as the pupil edges and next the iris is kind of running halfway between these two edges but i'll just go ahead and select one of them i'll pick the other one and say that's our irish edge next is a option that says up mid low now if you open the help image it actually in this case it shows you the effect that you get by adding this kind of control and it is a controller that allows you to distort the entire face which is a bit of an unusual controller as it is only used for very cartoony extreme animation cases as the real anatomy does not allow for this kind of deformation but it can be useful like it mentions in here these controls can all be useful for to create various unique characteristics by creating variation characters based upon a single character now what we can do is jump over in another session here again and have a look at chubby how those controllers work so here we have the low face this is the up face and the mid face and you can see we get some comical and extreme different uh results by adjusting these controllers although they are not something that anatomically is correct they can still be funny controllers or useful for variation characters lastly optional here is called smile line now this uh allows you to define the line that is the crease line that appears during smiling now for most characters i would not recommend using this extra step and let's open another character here to have a look why so a character that is using this is napoleon which we can see here if we toggle fit it once you can see that it has those lines defined now having those do help around the bulging creases or bulges around this area here but if you do use this function you're also getting these extra controllers that by themselves might not be very intuitive to use you can see if you move that smile line controller you get a very unnatural behavior so when the controllers move together yes you can get that kind of creasing but the animator does get left with a larger number of controllers here that affect smaller areas so it can be more non-intuitive to work with for example selecting the line controller itself is not something an animator could easily work with as these all these controllers would need to move together to form this kind of a sharp crease now we open another demo character here we can see that this character is not using a small line definition but we're still getting somewhat of a creasing effect when we're applying smile just by the way that the uh the where the formants and this the joints are weighted and obviously this is uh easier to manage from a animated point of view as we have less controllers in this area to work with so for our character here we will not be using smile line and that's it for the fit section next comes times to build now there are two main ways to build a face setup one is the straightforward one called build advanced phase and the next is this other section called build followed by three periods this is the step builder it allows you to execute step by step the face setup instead of trying to execute the whole thing at once since it can take some time and the step builders also have additional functions allowing you to improve on the result that you get for each step so for our character here we will be using the step builder option now before even running the very first step here i would recommend to test the deformation of the head so you would at this point have a body rig of some sort advanced skeleton or other rig so i would test that you can select the head controller and move and the whole face moves with it in this case that's looking good but to show what i mean i'll jump over here and show you what would not be good and that is if you select the head control and move you would see the face being distorted now this is not a good starting point for the face setup that this can happen if you have used the advanced golden skin cage function to be weighting the body the skin cage weight body function works well for the body but not so well for getting proper deformations between at the face and the neck if you had a case like this you would need to go in and use the paint weight tools and make sure that the whole face and all parts of the face do move along when you're moving the head controller so we're here making sure that the head controller moves all the face and all the parts of it so we are ready to start the step builder let's go ahead starting step one prep now that completed without errors and we can see that it has internally duplicated left and right face fitting uh there are some advanced options you could look at here if you wanted to and you can go in and see that we as we have started the build process we have a face build prostress object and within it there are various objects such as this cylinder here which is the attachment orientation cylinder for face control is so you can see it's called phase control orient now you can imagine that all the controls along the face is going to find its nearest point on the cylinder and use its orientations from that so if you ever wanted to change the orientation of any of the controllers you could go in and tweak the shape of the cylinder to have custom orientations next control box that has built the box and you could already at this point if you wanted to change the position and scale if you want to next eyeball so that has built the eyeball and you can test it by selecting the eye controllers over here moving this around should rotate the eyeball and you'll also have the pupil and iris function already set up here next step is the eyelet now you've reached build step you can see there are some sub text underneath that says what you can test along the way so it has to say after running the eyelid step that you can now test the fleshy eye that's done by selecting these controllers and moving them around and we can see that we now get that effect where uh we called fleshy eye where the eyelids are partially affected by the direction of the eyeballs next step i blink and here we see the subject says scrub the time slider to check with a little help image now as the help image here explains there has now been applied a 30 frame long test animation defining the behavior of this function so let's do that we scrub along and you can see here that we're getting blinking of the eye and we can affect the result of this uh by further reading in the helping me just make sure you do any frames frame changes on frame 30. so if we go to frame 30 the last one in the animation here if we wanted to make any changes we can change what's being animated and what's been animated here is the eyelid controllers has been changed the value from blink since 0 to 10. if for any reason we want to change let's say we could one maybe want to overshoot that when the eyelids blink change this number to 15 we can scrub and we can see the new result so that's like way overlapping the two eye blinks now so for our character here the default value of the blink 10 is going to work well but you might have another character where you might want to overshoot this to make sure the top eyelid is the lower eyelid so you can change the animation here so by the time you run the next build step this animation gets changed into becoming the notes to build a rig next eyebrow and we can see that has built the controllers for the eyebrow we can test that we have the major controller we have the minor controllers and we have the driving system controllers over here next we'll run squint again it says scrub the time slider to check so you can see here what the result of the squint is if you want to change it you can just select this controller and see the animation what's making the squint for our character i can see that it would probably make sense that this animated to move a bit further out and maybe even scale down a bit more and again move further out and to test the result we'll just scrub the time slider again and see this is now becoming our new squint behavior so we'll keep that and run the next step lip that has created the lip controllers if you wanted to you can select move them around and see the result we'll go ahead and run the next one lip fall off now here we have a few options to see the behavior it's uh we can again scrub the time slider and see what happens as it the part of the lift gets lifted up here we see that we do this time have a more of a fall of and we can adjust how much it falls off so it has computed computed of your default values for the outside it's gonna run along the surface for four vertices and for the inside two now let's change this to see the effect so if we change that number to 2 and hit test it's going to show you the selection of the new vertices that's going to be the falloff area so you can quickly see that if we change to a bigger number six hit test that's now the new falloff area and if you wanted to use that larger area you would just go ahead and hit update also this works for the inside of the mount and you might need to zoom in and take the camera on the inside if you wanted to change the full of area for the inside next we'll hit lip corner and we can scrub the time slider and see how the lip corner is now deforming as we are changing the shape from a sharp shape to a rounded shape if you're not happy with this result there is a number here you can change and that's essentially is how much to increase the smoothing of the weighting as you're moving from the center of the face towards the corner of the lip for this character that default value has worked out just fine so we'll run the next step smile pull and as we see here it says scrub the time slider to check we scrub the time slider and we can see that the characters lips are being pulled up to form a smile we can select the visible controllers here these are the controllers that are affected in this motion you can see the animation if you want to change it for example uh we go to frame 30 and we move this controller say we want it to even lift a bit higher we want perhaps this to scale up a bit to create more of a puff and also a bit more cheek racing so we have now changed that behavior what that control is going to be driving next front pull and we scrub the timeline we can see that here we don't get ideal results however we're just going to grab that controller here and pull it out a bit now one actually common question at this point is how come i'm not able to select the controller right in the corner of the mod itself here and move that and that's because it has already been defined how to move when you smile and redefining how it moves when you frown if those values were not the direct opposite of the smile you would get very non-intuitive controllers that is the controllers over here that allows you to go up and down to go between twi smile and frown so if that were to dramatically change the direction that the corner was moving you would get a non intuitive results that's why the corner itself is defined by the smile and therefore staying that way but what you can change here is that uh area around that corner how much that's gonna react to the corner by bulging out so we'll keep that as such next narrow pole so you can see how the the mouth gonna look as the mouth is being narrowed and you can see the animation here if you wanted to you can change the animation and thereby defining the behavior next is cheek and we can scrub that and see how much that is being affected it's the cheek control essentially animated to scale up and move out and that my corner control is moved a little bit too just to give a natural kind of secondary reaction to the original cheek puffing out next cheek razor and there's the cheek razor animation i might want to change it just a little bit i wanted to have it even more exaggerated and maybe it scales up a little bit next is jaw weighting and if we scrub the time slider here we can see that's the jaw opening now there's a couple of uh unique options you can tweak here you can tweak the weighting by tweaking curves you see we ended up with uh a couple of curves here that is defining the boundaries for the deformations now this bottom curve here in particular did end up snapping to the wrong point so we're going to improve on that we're going to move this guys a bit just to more closely have these uh skinning boundary curves are running more close to the geometry also the green curve here we're gonna straighten out a bit more to have it run more straight so how these curves relates to the weighting is that you imagine the blue curves is where the weighting is completely no longer affected the green curve is where the weighting is fully weighted to the jaw joint now this red curve is going to align with the lip corner and be the 50 percent waiting curve so now that we have tweaked this to look a bit more clean and much uh lining up with the model we'll just go ahead and hit update and now when we scrub the timeline we can see that we are getting a better cleaner jaw waiting results next step is jaw open now that your weighting was done in the previous step but this step is looking at the secondary motion so we scrub the timeline here we can see that it has now also incorporated the cheek to be sucked in ever so slightly as the jaw opens to give the reduction of the volume that naturally will happen when a jaw opens it also moves two of the lip controllers to get a bit of a nicer rounded lip corner automatically as well as part of the jaw open and again any changes you tweak it to improve on the look make sure to go to frame 30 to make that change if you are accidentally here at any other frame and making that change that's going to give you a strange animation where it moves out before coming to the complete end and also the animation gets completely ignored when it bakes the animation into the notes when running the next next step so uh it's important to remember any changes should be done at frame 30. so let's say we're happy with that result and go ahead to the next step nose uh let's see we get nose controllers here next snarl if you scrub this you can see that this is where the character does a snarling motion this is going to be the effect you get when moving these controllers up which is why these are showing at this point if you wanted to change it you can do so by moving the controllers again make sure you're on frame 30 if you wanted to exaggerate the effect having these guys move even more you can even mix in scale and rotation at this point if you want test your results scrub in the time slider okay that's what we want to keep it that's run the next step tongue that's automatically hidden the main geometry for us just showing the tongue and its controllers so we can very quickly just test that yes it's giving us the controllers and the deformation is looking alright next regions regions are the broader region controls and allows you to move like the entire lip and the entire notes uh also note that region controls by default are not showing just to have a less dense controller showing so the control box here has a bunch of attributes of what type of controllers are showing and these green region controllers are going to be by default off next step i aim it creates this look at controller so it's going to look at this target next step up mid low now that's essentially just not doing anything because we did not define a upward low in the fit section next phonemes which creates the phoneme controller now we're not going to make any changes to these results at this point if you ever wanted to improve on the results of each of the phonemes that's something that you can do after the build is complete in the driving systems section next emotions that's getting some of the basic emotions here like a happy angry sad surprise fear disgust and contempt again if you wanted to tweet these laters you can do so in the driving system section and we'll run the last step finish and there we go we got a complete face it up and a quick way to do a quick test is just open the selector or you can go into the moccap library in here there's a subsection for face and you can import phase test animation and we'll just play that animation so there's plenty of room for tweaking and improvements but it is a starting point for now now for tweaking an improvement the probably what you might be working most on is the driving system so which essentially is defining the behavior you get as you adjusting these control box controllers for example if you want to adjust the behavior you get when you move this controller straight down is you move it straight down and go to the driving systems section which is under the post section and hit edit we can see that that is now again created a 30 frame animation of the animation you get driven by that controller if you wanted to change how it looks you just apply those changes here at frame 30 maybe we wanted it to move even further down if we're happy with that we hit apply and that's how we have redefined the behavior you get when moving this controller down likewise you can edit the result you get by moving in any direction and combination of directions also the custom attributes such as squints can be edited and furthermore you might want to adjust that waiting which you can do by just selecting the objects and go to the paint weight tools you'll see that it has here a long list of all the face joints quick way to getting a specific to specific space joint is for example if you wanted to paint weight for the cheek control you can just select the controller and in the face section under tweaks if you're here use the paint scan way tool function it will open the skin weight tools it will also automatically select the corresponding joint for that controller so you get ready to go ahead start painting very useful function is delta mush uh if you are not doing game engines if you're doing game engine export this function is going to be disabled but if you're using wire this function is possible to use and you can quickly get some improved deformers by doing that so just quickly let's select the main mesh and create delta much you see we get the delta much deformer and moving controllers now you can see we get much smoother deformations as delta mush is a relaxer one thing to keep in mind if you're using this is that when you apply a blink the eyelids is no longer fully blinking that's because relaxation has been applied to the eyelid and you can see that by dialing the envelope in and out when setting the envelope to zero you see the original had the eyelets fully closing but envelope back to one you can see that they no longer fully close a quick fix for that is select eyelid area and then hit zero weight selected this will make sure the delta much deformer is weighted to zero for the eyelid also useful for the lip so select lip area and zero weight that so that uh delta much deformer is not destroying the ability to get precise deformations on these controllers then you can also quickly add your own custom controllers with this section here called custom controllers the way it works is you first you create a soft mod anywhere on the face for example if you wanted a controller here that to move this part of the face for any reason you just create this soft mod and hit the button create a skin control give it a name call this cheek2 since there's already a g-controller and we now have new controller both left and right side that deforms this area and there we go face setup in advanced skeleton that's it for this video i hope you have enjoyed it and i'll see you next time

Channel: AdvancedSkeleton

Views: 8,352

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Id: 2dja2ilVDtY

Length: 55min 37sec (3337 seconds)

Published: Sat Jun 26 2021