Introducing Animation Rigging for 2019.3 - Unite Copenhagen

[Music] hey everyone welcome to unite Copenhagen thank you very much for coming out I'm here to present animation rigging and talk about the new features available in 19.3 so really glad you could make it out today I want to introduce a little bit about myself I'm a technical artist at unity working here for about two years and my specialization is rigging before this I come from game companies including Bungie in Seattle working on the Halo and destiny games it's a little bit loud here thanks and as a rigging artist I'm very happy to present this stuff because the truth about rigging is as it currently is practiced for making games and interactive media of any kind is that it's just really complicated stuff it requires specialists who spend all their time learning these programs a lot of them outside of game engines and building often a lot of custom tools and scripts to make artist workflows that are efficient enough for what productions need these days so I'm super happy to be working here at unity where we can solve these problems inside the engine and provide what you need for making big games and really any type of interactive media so that's where I'm coming from I'm based here in Copenhagen I'm on the graphics team and I also work a lot with the Montreal Animation developers so it's nice to connect these two parts of our organization and really make sure we're providing a seamless set of artists workflows so here we go I want to briefly introduce what the animation rigging package is in case people haven't heard yet what this allows you to do is take your skeletal animations for your game and apply these rigged constraints which are very elemental constraints like position constraint rotation aim constrained and inverse kinematics is also a constraint and what that allows you to do is modify your animations during gameplay this is what we often call runtime rigging because this is a rigging that happens during gameplay and this allows you to do things like world interactions if you're connecting with a prop maybe you need to hold props of different sizes and shapes and you don't want to have specially made animations for every single one you can make one base animation and then modify it using these constraints to get the precision that you need and the quality and a variety for your games without increasing memory too much so this they let you do the world interactions is one example another example is deformation rigging to get higher quality deformation on your skeleton if you want to have bones that act in response to other parts of the skeleton to do deformation fix up this is one of the use cases and as well we offer some physics based constraints within this set of tools that allows you to get dynamic secondary animation on your characters at a much more performant rate for playback on gameplay where you might have a lot of these on your characters across a lot of characters in your game so this is what we first released in 19.1 and this is announced around GDC earlier this year and we're currently in preview so our package just came out and whoa well really important message what we mean by preview is please be aware that things will change moving to new versions but this is for the very important reason that you get to be involved and we're taking this at the pace where we can still incorporate your feedback and hear what really works inside of studios to make sure that we're supporting that as fully as we can so please stay in touch with us we have forums and there's a link at the end of this presentation where you can get involved with the conversation next in 19.2 we started releasing a series of features that are building up towards animation authoring so that right inside of the unity editor you can keyframe these constraints just like you would in an external program like MotionBuilder Maya or blend for authoring new animation clips so there's certain advantages to doing this right inside of the engine and in 19.3 which is now in public beta you can test out how these work with timeline so this opens up even more artists were closed for multitrack layered animation authoring and timeline of course is what often gets used for creating cinematics for games it's very multi-purpose tool but it's really nice now that you can modify animations with rate constraints inside of timeline okay and animation rigging is a package so it can be installed in your unity project through package manager it's a simple one-click installation just make sure that you're have preview packages showing in order to see this on the list this is also where you can find links to our documentation and samples so that there's the documentation link for online it links straight from package manager as well as installing the samples in your project with this one button click so these samples are great what we have is a scene for each constraint that shows how that they're set up and you can inspect it and see and interact with it yourself we have one scene for each constraint so as I was learning this package this was enough for me to understand how this works without really needing to read much documentation maybe that's the type of learner I am where I want to see it working and pick it apart and really see sometimes I would get deep into setting something up and say how does this mentor go and look at it okay great and then these are these are really nice so these come with the package and they're just right from package manager that you can install them so here's what it looks like when it's all set up on a character you need to start with some existing animations we don't yet have tools for building skeletons or skin weights that would be a next step but we have once you've imported that from your favorite external program of choice then you can use these rig constraints so notice how on the top of the character we have rig builder and below that we have rigs and the game objects that are underneath as a child the ones that have a rigged game object are considered a rig and everything below that are the constraints so right here where the blue is circling these game objects have components on them that are the constraints and they will evaluate in hierarchical order using depth-first traversal so this is really nice and inter interactive as an artist working with the scene it just makes sense because we're used to hierarchies and how the order would work in terms of animation the same thing here you can drag and drop and change which order they evaluate and it have even works during runtime if you have the game playing you can try reordering these things to see what the result looks like so it's really nice and interactive you get an immediate update ok here's what the rig builder component looks like and notice the rig layers list this is so cool that you can have multiple rigs ok this is kind of gets me excited because this is where we're going beyond the capabilities of programs I'm used to using outside of unity where you as a rigging artist you can set up as many of these as you want and you might want to set some of them up for a game play that have very specific use for example this sword rig is the sword aim rig it may be part of gameplay that I only want to turn on during when the character is attacking with sword and you can do that from your gameplay code you enable the weight value of this rig and it now becomes active and when you're done you can turn it off so you're only using the overhead during the time when it's needed and you can create more specialized rigs that do exactly what you want it's completely up to you and they will evaluate in this order and result in the pose that happens at the very end notice that the very final rig is a deform break so as a rigging artist what I'm doing there is some correction on the skeleton to get the shoulders and hips and rotate it into a nice position that looks better for my skin weights deformations so I in this I always want that to be the final step because whatever the ika has done to change the pose at the very end I want the arm shoulder and hip bones to go to the right spot and I get complete control over that here during this low the rig layers list it controls of how they will evaluate each weight each rig has a weight value so it can blend it halfway and each constraint has a weight value too so you can individually manage each and every one of these universally using this way value so this gives you a lot of flexibility and this is a general-purpose sandbox that we're presenting so that people can construct their own specialized rigs we know that gaming productions are diverse and there is no one solution we could come that will work for all so instead we're giving you the tools to build your own specialized needs so it's pretty cool how do that we will build to higher-level constructs of something like a character biped and a quadruped ed and this will all come along nicely with this good framework that we're building so here's what it looks like to add a rig constraint below the rig I'm adding a new game object you can name it whatever you want and I've named it right arm I K and I'm going to add a constraint the - bone ika constraint so all we need to do now is assign the bones for the root mid and tip and some effectors for the start the target and hint now when I hit play I can interact with this in the animation plays and the constraint evaluates to that effector position so I can precisely control the position of the hand all right so for this year at SIGGRAPH we did a workshop there's an hour and a half long tutorial where people can follow along and build a complex full body character rig so don't worry if you missed it this is all on github you can download from this link and inside of the package at the project's root folder we have a PDF that goes through the instructions exactly like we gave the workshop so this is step by step how to build what we feel is a pretty useful character rig and this can be used for some motion authoring workflows in this example so here's what we mean by that we took this ninja character and just took a single idle animation which received on the left and then we modified it on copies of the character where the rig has some poses and some animated offsets to create a completely different look and feel so here's some more varieties that we made and each look completely different but each are using the same single idle animation so I'll show you a video of what this looks like there we have a single animation and it's just an idle animation and over here this guy is a copy of him that has another layer notice it's the same base layer animation I've had it a override layer and on this one it's only the rig effectors that have poses and keyframes so for example he's holding this staff target I will have an object on the ground that aims no matter where it moves it will be contacting the ground mm-hmm and the hand is animated so as I grab the keyframes for the animation the iak target you can see it update in real time and if I keep that change it will be saved to the clip so during gameplay animators can create new animations this is so direct and so useful here's another example with a two-handed prop so I've completely changed the pose I've had him hold on to this sword with both hands and here's another one I feel like this is how the ninjas regained their energy after running through the megacity is eating some spicy ramen broth it was really fun to just try out well here's a completely new shape of pose I can make and I'm editing the keyframes in real time so you can add a lot of variety to your games I'm imagine if this is like a village you come back after mission some NPC friendly characters are out here idling around we haven't saved a lot of memory for our animations by repurposing the same idle animation this guy shows how the weight value is useful where the I Kate argot can be turned on and off and if I want him to hold on to the pole then we turn the Heike weight value on otherwise it'll go to the animated position and hang freely like this his friend up here is playing just static rigged constraint poses there's no keyframes here and I just have a parent constraint going to his head so his left hand will always keep his position right above his brow like this so this one comes for free with no extra keyframe animation yes so these are just some of the examples you can try out and we'd love to see how people get creative and do hold new things with them this is all available in the github download including the sample of megacity that's all running in the lightweight render pipeline which in 19.3 is turned into the universal render pipeline so when we're assembling a large rig like a whole character we think it's a good idea to organize in terms of regions because all of these individual parts position constraints ika constraints there's a lot of them so we can group them for organization using things like this the arms the legs the spine and there's a couple advantages to organizing this way and it's up to you how you want to organize your scene these are just some advice from us for some more flexibility so for the arm we're gonna keep it simple and just use this to bone I cake constraint and this is good enough for our purposes here we also have rig effectors so these are the visual boxes that colors that you can see you can choose from the provided shapes we have a box a ball locator a circle a square but you can use any mesh that you want if you want to have custom created meshes that fit exactly on your character then you can have an even more efficient user interface for animators this is all possible you can select mesh straight from this this menu on the side and here's what this looks like once again so I have the I K active right now and as I grab and move it around we're gonna get the hand to go exactly to the position of this target and with the weight value we can turn it on and off as we want including blending it has an intermediate value between 0 and 1 this is so useful for a game play and you can make smooth transitions into your into your active poses like this using the weight value and blending a little of interpolation so for the leg we're gonna do something very similar and we use the two bone ika constraint to keep the leg anchored to the ground but what's also useful for the leg is contacting the ground at different positions so for this we're able to create remote pivots using the multi ref constraint so notice the extra spheres that are at the toe ball and heel these are targets that you can switch to remotely and translate and rotate this main transform from an offset position and once you've built a complex structure like this it's nice to save that work if you want to apply it again so easily for the right leg we want to make a copy for the left leg the way you do this is just drag and drop the top-level game object to the project folder and it makes a prefab you'll notice it turned blue in the hierarchy and then you can drag a new copy rename things reconnect the bones from the other side and you have the left leg so it's very nice way for sharing functionality and this will work on completely different skeletons as well you don't have to have the same names or the same orientations as long as it will work with the constraints then you can share it across your library of different skeletons this is really cool how this looks we we see interacting with it here imagine an animators walk at creating a walk cycle if you're lifting off the ground you might start from the main pivot but as you come to contact with the toe it's really nice to rotate from this offset position so you switch the driver and now it controls from this point so there's less counter animation and this really helps animators work more efficiently there's so many uses for this this is also how I'm using the hips to get an independent hip rotation just using the multi referential constraint yes really easy to change it from this menu while you're working and then get the position you want this can be applied across the body if you wanted to use it on the hands then you could for climbing for lifting off the fingers to get some really precise animation controls okay and for this fine region I have put together what I feel is a pretty nice efficient rig for creating these poses it includes a center of gravity that controls the whole spine a hips with independant rotation and that is just using the multi referential constraint that I just showed and the hips the the spine and neck are using two copies of this new constraint that we made so one of the design goals of the animation ringing package is that it is an open-source package that is extensible by developers so all of the c-sharp that comes with this package is open and available to you you can take a look inside and see how we've implemented constraints and we encourage you to write your own constraints we've taken care of the internal internal work with the animation stream and a c-sharp job system to give you access to the animation stream and to be able to write multi-threaded code so we do have a second presentation tomorrow by our developer Sven Santa ma who has been working on the same project - and his presentation is more focused for developers if you would like to learn more about how to extend the package in c-sharp then I recommend checking out his talk this is also available inside the cigarette presentation so this constraint that we made is called the twist chain and it's really really cool how this works there's a top and a bottom rotation control and all the joints all the bones in the middle will interpolate based on this fall-off curve so as a rigging artist I can define how sharp the fall-off is and get the level of control that I want so if I'm applying this for example to the spine I might want to have more flexibility in the lower spine and where the ribcage is up here it can become a little bit more stiff but still get some slight rotation towards the top and it works no matter if you have a three bone spine a five bone spine in but you're making a squirrel and you have a ten bone spine that's that all works just fine and I'm using the same thing for the head and neck and for this one I get one rotation control for the head and just a little bit of fall-off on the neck so this is all up to you to choose how to use and you can configure these exactly how you want and also it's worthwhile seeing how we can make variations of this spine rig so this is a version of the spine called the override rig and this is the one I used in the video to create animation variants where we see the animation playing underneath and this plays as an offset so that lets me pose the spine but still get all of the stay alive motion for breathing and kind of shifting around in an idle state how I did this was to create a duplicate hierarchy of the spine bones that's what's controlled by the twist chain and then in turn this one controls the real spine using a multi ID transform constraint so the override transform constraint has major potential and it is very very useful we've seen people get very creative with this and do things like create whole different animations and you can save a lot of memory this way and also time for content creators let's say you have only a limited number of animators available and you want to get more variety then you can use these to more quickly create variations of your animations so I'll show you what this looks like we have two copies here the one on the left is a direct drive rig so this might be what an animator uses if they're creating a brand new animation from scratch you're gonna get precise control the rig effectors are going to move the skeleton exactly where you posed it and the animators can then set keyframes let's take a look at this spine so we have a top and bottom control right here we'll rotate that and it blends halfway through so the middle spine automat rotates and the head gets a little bit of neck rotation too as we can see so this this version on the right side we have the override rigged so that duplicates spine that's colored orange is driving the radial spine that is a blue using an override transform constraint so now I get the whole stay alive motion and the whole hips and chest follow and drift around naturally but the hands are using direct control because I want to connect to props and for that we need precise registration exactly where the transform4 of the target is positioned yeah so we might imagine that these are two copies of the rig that we can use at different times one of them during gameplay and the other during authoring time when an artist is creating new content okay come on now like tits shift gears a little bit because most of this was about run time rigging and instead talk about animation authoring so I'm super excited about this feature because it I feel it will bring so much more efficiency to game production teams and when animators are working to fulfill a vision of a game designer that might have a lot of iteration where the game designer tries something and says we're close but we're not there yet let's change the animations okay if it's easy for the animators to change and to support that then they can iterate faster and the designer will get closer to what they feel is really the fun gameplay that going for and after about seven and a half of these iterations the theory is that you'll get two really really fun gameplay and it's often that's how much it takes so it has to be quick otherwise you run out of time you have to make compromises so there are certain places where it makes so much sense to do this iteration right inside of the engine so in 19.2 our major release was number one the Regan factors so you can grab and select them as an artist and the animation window this is the main interface for animation authoring this is where we have the dope sheet and curve editor where you can control the position of the rig effectors and animate them in 19.3 we're opening up timeline so many new powerful workflows here for animation authoring which I can show an example so here's one example this animation was made entirely within unity from scratch by our animator Jason Robertson who joined the bellevue team recently as a technical animator so he has keyframed this right inside of the editor and using tools like the animation window there's places where I feel this is the the most efficient way to do the job and for example if you need to see what the animators state machine is solving at that particular moment you can pause the game and you'll get exactly what it looks like or for example if you want to interface with cloth physics or lighting or shading if some of the work you're doing is relative to the environment you can see the other props other characters maybe a vehicle that is writing and you get exact one-to-one what you see is what you get sometimes now my work at previous companies was often about getting the whole thing back into a DCC authoring program outside of the engine and then it's a lot of extra wasted effort and you might worry if it's not exact enough what if when a designer has come and changed something in the meantime you don't see the update so these are some of the cases where it makes so much sense to be working right inside the editor you know I'd like to say that it opens the door to non specialists to do animation let's say a game designer sees a problem with an animation they can just go right there and fix it right on the spot and I have to go bother a bunch of other people do a bunch of external work import wait a couple days now it is direct so more people can have access to this that was previously only for specialists timeline is going to make it super powerful for these animators to create their new content so this is where like I said before timeline is mostly thought of for cinematics where you have multiple characters cameras props and events happening and you can sequence them that's still true you can still do that and you can now use the break constraints to modify animations but we can now open up a new artist workflow and this is for single off single clip authoring so if I'm an animator who wants to take the the walk animation and blend it with a Crouch animation and then pull out my gun and shoot animation and author a new one so I now have a new thing that walks in crouches and shoots then we can now enable these animators to work this way so you can take existing animations re-sequence them into new order you know let's say you're authoring a custom cinematic animation or maybe this is needed for a particular part of gameplay with a very specific action that's happening animators can now do this all right within unity so here is in manipulating keyframes we see a live update in the scene view you can save this whole timeline as your authoring so that you can come back to your source content and create a new final skeletal animation this was made by our animator John Sebastian from Montreal who is a technical animator working directly with the team of engineers on the animation team in Montreal so he also produced a blog post recently that goes into depth about some of these advanced prop interactions I recommend that you can google search the Unity blog and it is one of the recent blog posts within the last month or so and yes super exciting I will let you know that we have even more great stuff for animation authoring coming in 2020 dot one with the target release time of around the time of GDC next year and our goal here is to look at what people need in their core set of workflows as animator to really empower them speed them up and we have some some cool tricks that I want to leave as a surprise but as you can see I think they're gonna really speed up your efficiency as a team of animation okay so that's what I have for our presentation here are some resources we have two microphones at the back if people have questions we can definitely hang around for that alright time to the microphone is if you have questions here we go question for you yes first of all great job I love especially loved the authoring component of it it's really nice that it runs at one time a lot of the tools remind me a little bit of character animation toolkit from Three's to your max which is nice to see with foot controls but right now when I'm using when I'm using I case solutions for VR I am primarily using a root motion you know those guys if I know okay asset store yeah and I kind of love that package and it's really really works for me but I also love some of the capabilities that this has will this play nice with each other yes they will play nice with each other if you're using those it will just evaluate in the order which evaluates like I believe he is final like a that will come after this but there are certain advantages that we have here and what we're doing is we're working up to the full feature set that tools like those have those have certain things at the time that are we may not have yet but we're gonna grow our abilities over time one thing I can say which is an advantage of this package is that these are built in the c-sharp labels api which you can learn about more tomorrow from sven who's going to dive deep into the underpinnings of the animation system but what that basically means from more of a technical artists point of view is your scripts no longer have to evaluate and laid out date instead they're sent out as animation jobs that are multi-threaded so for each animator you have a new thread and they work in conjunction with animation stream so that this happens before they're pushed out to game objects so it's more optimal it's more deeply integrated with the animation package what we also did is release the entire thing open source with c-sharp so you can extend this to your functionality that you need so yeah thanks for that and I think we do like these packages on asset store as well as good inspirations and if there are particular things you like about that I'd love to hear so that we can be sure to provide that as well thank you very much thank you hi and thank you for the presentation and iPhone one question how would you think the package works with scalable controller X and Ike a scalable controllers and what do you mean by that and so we have like one skeleton for several different characters but they are skilled in size because not all characters have the same length so this is what we call a scalable control rig so I do know of one bug related to scale which I'm unhappy about which we want to get fixed as soon as we can some of the constraints won't have the the right position with scale to be honest please be aware of that this is one of the known issues with the preview package but we're very aware of the need for games to get variety like this using scale so I think it's on our list of things that would be needed before we come out of preview for sure yeah all right thank you sure and there's another one I wanted to mention on top of the other question about using this for VR these are definitely the kinds of utilities you can use to make avatar hands connecting to a v controller or a oculus controller and to get registration with the environment for example if you want to attach the hand to a target and even the fingers with eye Kate you could get exact finger registration like with the new knuckles controllers that know which k'nuckles is which finger is pressed you could use that if you want to contact precisely with the world so just to give you some ideas how this could be used okay was there anything else I can answer for you no thank you this is all okay thanks um hi my question is about like saving and loading or maybe even importing and exporting if I like spent the time and do a real character ik I don't want to like do it again for the next project right and especially if you you talked about like the workflow animating with timelines using animation layers is there any way to like we use it or even get it out of unity because yeah reusing assets always something of great importance yes okay good question and as a former rigging technical artist on game Productions I completely understand that we want to try and build once and reuse as many times as we want so I think I have two versions of answers for you and I want to go back to this slide so there's there's two answers like oops not this one one more back where's this one okay all right so two answers one of them is about sharing functionality inside of unity so like let's say you've made a really nice rig for this one character but you have a bunch of other characters that you want to use prefabs are your best friend the nested prefabs workflows are just amazing for what we need to do here and it's kind of great how that works where you set up one prefab variant immediately on your character that has the imported skeleton models and skin weights and then as a variant you add rig's so the rig can be one of them might be animation control rig for animation authoring and then there you create a whole bunch of regions like we described these each can be prefabs so they're nested prefabs the entire rig is one and then sub prefabs you have one for the right leg that's copied for the left leg so that actually works really really well that I've found for sharing not only on the same character but completely different characters different orientations of skeleton different names so that's the answer number one prefabs works really really well the next answer is for sharing functionality outside of unity so we intentionally designed this package to solve the needs of gameplay first so runtime breaking as the most important base set of workflows and authoring on top of that so for this purpose we did not try and create parity within a given external program like Maya for example why because there is not just my out there there is blender there's motion builder there's 3d studio max there's cinema 4d there's Houdini there's you the list goes on and on and they each have ultimately different math libraries for how their solution their evaluations work so the truth I believe would be you can't actually create meaningful parody on the control rig level outside of a given app now that's a big debate that's worth having I've been involved with this for a long time including a really lively conversation at SIGGRAPH at the rigging roundtable where we ultimately came to yes everyone wants to do this but no no one can figure out how so I think while we're still searching for that Holy Grail that's fine I do have this answer you can export skeletal animation so if you're able to create rigs that author a new skeleton clip that you make a new clip here you can export that back to your external program as skeleton animation as long as you have tools like working on mocap where you would take a control rig and have it be driven by a skeletal animation then you can get this animation backing and work on it within your own tools and your own rigs so that's the answer and I think that's some things like deform joints like twist bones those ones we would love to have the same on both sides and that's where you can open up the c-sharp and see how we've implemented it and created a rough equivalent on your DCC package so if there's any follow-up questions that let me know and we can talk afterwards as well if you'd like ok great thanks yeah thank you okay my question is we actually well not me specifically but my team tried to use this I guess few weeks ago and we like working right now on where real early prototype of something and yeah and for that we don't want to create a whole set of animations ourselves and most of the stuffs that we can find uses go home I know it import type as as I understand this system is not support does not support home I know it oh yes so currently there is no support for things like human eye k but there is no reason why you couldn't develop a constrain that does something like that so I think it would be possible given on the ability to develop your own constraints but that's a nice suggestion so thanks for that and I think if there are certain standards across the industry like this that we are aware of we would eventually like to provide some compatibility with them by the way human eye caves very useful inside of Maya if you want to transfer this motion between different skeletons that you can then say I've made one on character and unity that we can use humanoid to retarget between a humanoid in unity but externally you can do it with tools like that that already exist okay thank you thanks my first of all amazing awesome bolts Thank you very my question is kind of a touching base with the previous ones more follow-up since you know the humanoid skeleton is not a prerequisite to set it up and you don't have the translation from you know positions to a knee rotation tour whatever and sharing animations on the asset store you actually should share them in the humanoid animation system to retarget two different models is that not going to be possible with that setup then oh how is that going to change this does work with human right so just like you said you can take all of the existing animations on asset store and share them with your character with humanoid and these rig constraints will evaluate as a final step and also the humanoid system with animator does have its own ik' that works too you can still use that but this will just be the final step that then moves it where these effectors are positioning it yeah thank you see mm-hmm I got one more question no two more great thank you for your talk and the tools looking X okay my question is another one to do with scale if is there plans in the future to enable scale constraints with aim to have say stretchy joints or yeah yes very good question and animators always want this this is important for the details especially of like a cartoon style so what I can say is there's two answers in current unity you can do this using leaf nodes so if you want to make stretchy bones like say an arm where you can just move and Bend like a rubber hose animation as much as you want then what you do is you have the three main bones and then you can have leaf nodes so they off of this for the upper arm segment and the leaf nodes go like this and then with your control rig you drive the position and non-uniform scale and rotation individually through these bones and these bones are what are skinned to the geometry so that works and it's been used in projects like baymax dreams and Sherman these are two of our internally produced in one of the baymax dreams by Disney they used the leaf node approach that works and the next answer is that in the new animation system dots animation we're building a new unity transform which contains the full precompute transform matrix stack that you will see in things like my adjoint transform that allow for things like freezing transformations so you have a non zero offset pose that you need for rigging and stuff like scale compensate to get that squashy stretchy that animators want so we're building this at the root of the new system so we can make sure to account for it in the future it's really exciting thank you thanks yes and that's an opt-in system so you only need to use it extra expense if you want to and if you want to keep your games nice and efficient you don't have to use it okay thank you another question over here yeah hi what actually he stole stole a part of my question was about a cartoony stuff so all the demos that I always seen like you know with Unreal and unity and you know it's pretty exciting that everyone is trying to implement a real time break inside the engine but usually is always like a realistic animation so is there any plan to have a like a specific package in the future for cartoony rigging with remote systems stretchy stuff but you know like it's more specialized specialized package so it will be more optimized and not so customer stuff and connections instead so let me see if I understand correctly question is about whether it be a package to support cartoon animation with all of the squashing stretchy needs like this right yeah so I think like ideal world we want to support this in this package proper meant much of it won't come along until dots animation is fully implemented so we're have a target of GGC time 2020 dot one next year for dots animation in his first release and then at that pay we are beginning to really lay this foundation for the more advanced rigging because you're right that cartoon animation is the true test of a rigging system if you can do all of those squashy stretchy things that cartoon animation needs that's probably the hardest goal so we would like to solve that in the same package is the answer yeah just a quick one so the last one so for facial region you want to implement some specific stuff like a facial rigging system including templates and you know some kind of pretty fab please find facial ring okay for facial rigging so these utilities would work as well on facial animation and I think that there's a couple more things that we would need for facial animation as well one of them would be a post based information so you have a single control that moves and dries any number of other controls so that is on our roadmap that's also going to be part of the new dots animation system and I think the other one is you can get clever with these utilities and probably go a long ways towards what you need to do with facial animation as well okay thank you thanks okay and we're about out of time thanks very much everyone have a great rest of the day [Applause] you [Music]

Channel: Unity

Views: 34,509

Keywords: Unity3d, Unity, Unity Technologies, Games, Game Development, Game Dev, Game Engine

Id: 9IBhQMYYYWs

Length: 45min 43sec (2743 seconds)

Published: Mon Oct 14 2019