>> Hello, everybody. In this tutorial, I'm
going to be taking you through the face board for
the MetaHuman creators. So when you first open
up one of these scenes, it might be a
little overwhelming to see the amount of
controls you're faced with. And so I'm just going
to break it down into different sections. And hopefully it'll
make it a little clearer to understand exactly
what control does what and where it lies. It'll make things a
little bit easier. You'll understand
it a bit better. And so I'm going to start
with one of the main controls you'll be using a
lot, which is the Jaw control, this control
here, in this yellow box, underneath this face shape. That's another good thing
to kind of bear in mind. The face is laid out in a way
that these kind of reflect where the controls will
be moving the face. So you can imagine this would
be the mouth and the lips and corners and things. We've got the nose
in the center. We've got the eyes and
the eyebrows above it. This is just to try
and help visually aid you to decide
where you need to be looking for certain controls. But anyway, we'll get back
to the jaw, down here. So this one moves in
the TY, so up and down. And left and right in the TX. Swing it around. And you can see it's got
a lot of secondary motion, coming from the
ears, and the jaw, and all the rest of
that sort of thing. So you don't have to worry
about mixing controls to get a nice normal jaw open. The ones to the right of
it, this one here, this is the Jaw Forward and Back. So this is going to push
the jaw back into the face or pull it forward like this. All these controls can be used
together in varying degrees. They're all designed
to be mixed. And the ones to the
left and right, this is a Jaw Clench control. So you see, at the
side of the jaw, it's kind of clenching the
teeth together and creating this kind of a tense look
in the side of the face. This control should really only
be used when the jaw is shut. Because it's an
impact of the teeth clenching together to create
this kind of muscle tension around here. You wouldn't use this
control when the jaw's open. It's just not how a face works. So I would reserve that
for when the teeth are clenching together. This one down here is
a Jaw Open Extreme, which again is another one
which I wouldn't really use this control unless
the jaw is already at the maximum distance. Because this one here then
gives you some extra range. If you need a really big
scream, or a super-shocked face, or something like that,
and you're just not getting enough
range from this one, you have the Jaw Open Extreme. And it actually has
some different effects on the cheeks around here. You can see it kind of pushes
them out and pulls the ears back, kind of just increases the
extreme shape of the Jaw Open. OK, that's pretty much all
there is to say about the jaw. I'm going to move on to
the Corner controls next. So these going to be things
that are going to move the corners up, out, and down. And we're going to
start with the Corner Pull, which are these two here. And if you look at the
lines and the trajectories of the controls and
the direction they go, it kind of gives you an idea
of where the corners are going to be going. So in this we're
going up and diagonal. So it's a wide and
lifting control. And it gives you a classic
kind of smile shape. Sorry. I seem to have left a little
bit of Jaw Forward on there. I'll bring that back to zero. So yeah, we've got a big, nice,
wide smile with this control here. So moving them together
gives you a symmetrical one. But they can be
used asymmetrically. So you want like a bit
of a crooked smile, you can use these in any
variation you'd like. Moving in from this is
the Sharp Corner Pull. This one is a more
vertical smile. So it's going to go more
straight up the face, not as wide, and it
doesn't affect as much of the cheeks and the outside
as the Corner Pull did. So this is a Sharp Corner
Pull, more of a sharp smile. And it's going to affect
the nasal labial line a bit more, this line down
here, running down the nose. And it's going to bunch the
cheeks up a little more, as opposed to the Corner Pull,
which had a much wider cheek effect, and lifted them up
around the eyes and the cheeks around here. Moving down, we've
got the Dimpler. So these dimple controls,
they move out wide. So you can see, by
the line that, it's going to pull the corners wide. And it also pulls them
back into the face, into this kind of dimpling. So it's going to be activating
tension in the cheeks here. If she had dimples, it
would be creating dimples. And it's kind of
like that fake smile where you don't really bring
in the rest of your cheeks to create this kind of smile. It's really deadpan, like
you didn't really mean it. You don't find a joke funny. That kind of smile. The one just below this is the
Corner Depress, which is like-- it's a frowny kind of control. So when you're unhappy
with something, you bring these down. And you get that
kind of unhappy face. Again, all of these can
be used asymmetrically. And then moving down still,
we have the Stretch control. So this, again, by the
direction of the lines, it's going to move
them down but it's also going to move them wide. So it's going to pull the
corners out to the sides as well as down. And it creates tension
all around the cheeks down here, like that. And all of these Corner
controls can be used together. And ones that work
really well together, if you want like a
nice, big grimace, you can use the Corner Pull
and the Stretch, all together. And you get this really big
kind of extreme, tense grin. And you can have it
to varying degrees. If you don't want so
much of the Corner Pull, you can bring those down. And you can see it's
very fluid in the motion, increasing these all together. They're all designed to
work very well together. And the ones that I
would say avoid using-- Sharp Corner Pull and Corner
Depress, so these four. So the Sharp Corner Pull,
by the angle of the line, we're going up the face, which
is very vertical up movement. And these are going to
pull the corners down. These are quite
conflicting controls. So these aren't
really designed-- the face doesn't really work in
that way, where these two would be coming on in high values. It's always expected
that there will be some crossover during
speech, because we don't always just
turn one muscle off and then turn the next one on. So there will be some
kind of crossover. But it would be very
unlikely, if not impossible, to have a maximum Sharp Corner
Pull with a maximum Corner Depress, because these two are
just going to kind of force the face into this kind of
strange, unnatural-looking shape. And it's not really a way
the face usually moves. But again, the rig can do
that if you need it to. OK, so that's the
Corner controls. So I'm going to move on
to the Lip controls next. So at the top, coming back here,
this is the Upper Lip Raise. So moving these up
does what you think. It's going to lift that lip up. And this is going to
affect the nose as well. So you get kind of a
sneering effect from these. And they sit there at the top. And the ones below, the opposite
side, is the Lower Lip Depress. And that's going to
pull the lower lip down. And it parts the lips like this. It's also got an
effect on the chin. So it's the muscle dragging
that lower lip down. And we have some extra
controls down here, which is the Chin Raise. So this is a muscle where
the lower lip is pushing up. And it's going to raise the
upper lip with it, by impact. So you see that? The pressure is
coming from below. It's not a lifting
motion from the top lip. There's no muscle activation
on the side of the nose like there was with
the Upper Lip Raise. This is pure impact from the
lower lip pushing the upper lip up. So by that logic, it
shouldn't really be used-- the Upper Lip Chin Raise
shouldn't be used by itself. Because this is an
unnatural movement. You can't just lift
your upper lip like this without engaging
any kind of muscle. But the lower lip
can raise by itself. So for example, if I wanted
to open the jaw a little and then use Chin
Raise to close it, that's something the
human face can do. But we can't use the Upper
Chin Raise by itself. It would always be
an impact from this. OK, and the very
last one on the lips is the Lips-Together control. So this one here,
when you bring it on, it might look like
nothing's happening. You're thinking, OK, this
control doesn't work. But this control
is only designed to be used when the jaw is open. So this is going to
keep the lips together no matter where the jaw is. So without that on, if I open
the jaw and take this off, it's going to open
those lips again. So no matter where you
pull the jaw around, it's going to keep
those lips sealed. You get some nice chewing
motion going on there. So that's over here. And that's pretty much all
the major Lip Height controls, I would say. I'm going to move on to,
now, Shaping controls. So these will be used a lot. These are the ones
down here in this box. And these are going to be used
a lot during speech, for things like "ch" and "sh" phonemes. You're going to be using
a lot of funnel, rolling the lips out, like "ch, ch." And that can be used in all
four corners independently. So if you just need a
little bit of funnel, you're going to be like
an Elvis lip, raise this. Come on, you. Turn you off. So that's the Funnel control. That's going to roll the
lips out and towards you. The Purse control,
next to it, this is going to narrow
the lips like so, give you a little pursey lips
there, good for W shapes, any tight O shapes
if the jaw's open. If you were using these
together, let's say. You can get O shapes like this. And the one next to it--
let's close the jaw again-- this is the Towards control. So this is going to
push the lips out, like this, like a puckering
kind of pouty thing. All three of these, the
Funnel, Purse, and Towards, they're all designed
to be used together. So that you can
have varying degrees of any of these used together. They work in all
sorts of combinations. And so you can run them
all on if you want to, get a very big kissy shape. So they're very powerful
controls, these ones. And you'll be using them a lot. And equally, they can be used
with any of these as well. So nothing needs to
be used in isolation. It's all designed
to be used together. So that's the Shape control
down here, in the O section. I'm going to move down
the face, into these kind of Tension controls here. So these are going to
be when you have, like, lips pressing together. I'll go into that one first. That makes sense. And this is the impact
of the lips pressing down on one another, so when you
tense your lips together This is another control that
shouldn't really be used if the lips aren't touching. Because again, it's
an impact control. So it's the pressure
and force of both of your lips pressing together. You shouldn't really be able to
do that if your lips are apart. You get this kind
of strange shape. It's not natural to do that. But if, for example,
the lips were closed and you were still
pressing, that's fine. There's impact there. We can use that. The one to the left of
it is the Lips Bite. This rolls the lips
in and over the teeth. This is going to roll them. And again, if the jaw's
open-- a lot of these work well when the jaw's open. So it rolls them over
the top of the teeth, in on themselves, like
that, covering the teeth. And then this one over on the
right is the Lips Tighten. And this is kind of just like
a general tension in the lips. This can be used in all
kinds of different shapes if you just need to add tension. It's not really caused by
lips pressing together. You can tense your lips
when they're apart as well. And so that's the Lips
Tighten control over here. And all of these
controls, these ones can be used in all four corners. The Lips Press can be
used left and right, but only both together. Because like I mentioned
before, these two are linked because
they can't be used unless the lips are together. So there's no need to have
a separation between top and bottom. And the Lips Bite can
also be used in the four different corners,
depending on where you need to roll your lips in. And one extra-powerful
control I wanted to get into before I
move on to the Tweakers is the Muzzle control. So this one here,
right in the center, this is going to swing
the mouth around. So this is great for adding
asym to any of your shapes, or if you need to
change the height but you don't want really
a disruptive change, you can change the lip
heights by moving up and down. So any combination
of shapes, you can add a little bit muzzle to. It's very natural
to have this kind of moving quite constantly. You'll have varying degrees
of left and right a lot of the time. And yeah, this is this one,
over here in the middle. And I'm going to go into
the Cheeks area now. So we've done the mouth. That's kind of the
majority of the Mouth major controls on this board. I will be getting
to the Tweaker board later, because they're more
kind of bespoke controls for that fine sort
of finesse detail. These are the major
controls over here. So off to the sides
of the face here, we have the cheek Suck/Blow. So this is going to puff out
the cheeks or suck them in. So you're using that big,
puffy cheeks or sucking them in as if they're-- you know,
she's sucking her cheeks against her teeth. The Lips Blow, which
is the one down here. It says Lips Blow
at the top of it. This one puffs out
just the lips area. So it's more frontal. The area's, like, front-loaded. Instead of being pushed
back at the cheek area, it's more front-loaded
at the lips. It's good for adding
pops to M/B/Ps. If you want to "puh, puh,
puh," that kind of thing, you can use Lips Blow. It's nice for that. And it also works really well
with the Suck/Blow together. So if I was to puff
the cheeks out, and then if the lips
were then to puff out, you just completely relaxed,
and just left all the air to be building around
the lips as well. You can add these together. And it creates a
nice combined shape. So that's all of the
air-related controls. I'm going to move over
to the Tweaker board now. So this one over here, this
is for some extra-fine detail, like I said before. So for example, this one on
the left, this is Thickness. I'm not sure if you can read
that on this screen grab. But it says Thickness
at the top here. And this is going to increase
the thickness horizontally. So it's going to move
the lips towards or back against the teeth. So this is like pulling--
when you move them together, it's flattening them
against the teeth, really reducing the amount
of volume in the lips. And vise versa, if you
were to do the other way, it's going to increase
the volume of the lips, push them out. Really, really thickens them up. This is a
non-destructive control. So it doesn't change the
lip height or anything. So if I was to have
some Lip Raise on, and I just wanted to
change the thickness, and I was like-- actually,
no, the upper lips, changing volume here,
you'll raise this. You can do that. And you can see it
doesn't change where the lip sits on the teeth. So if you watch this bottom
line, you can use this. And it's going to stay
where you have it. So it's a very
non-destructive control. In from this is
the Roll control. So this is a little bit like the
Bite, but it's not as powerful. And it's more isolated
to the lips themselves instead of a full mouth shape. So it's kind of localized
just to the lips. And again, you can use
that in all four corners if you need to, like that. To the side-- this one's
going to work better if I have the jaw open as well-- we have a Corner Sharpener. So this is going to
pinch the corners. If you need to create maybe like
a tighter shape in the corners, you can pull this
together, pinch them. For, like, O shapes,
sometimes you just need a little bit more
tension in the corners there. You can use the Corner
Sharpener for that. And the opposite direction
is going to open them wider. It's quite good sometimes if
you have a big, cry-ey face. Say if I wanted
to-- like before, when I showed you the shape with
the Corner Pull and Stretch. If you want to put these
on big, but you just want that extra bit of kind
of shaping in the corners to widen them out. That's the Corner Sharpen here. And then, in from that, we
have the Push-Pull controls. This is to move the whole
mouth, in the four corners, towards or back
against the teeth. But it doesn't change
the volume of the lips. It just moves the
actual distance towards or away from the teeth. That's most of the Tweakers
addressed over here. There are some extra
ones which we probably wouldn't find too much use for. Some ones that move
the teeth around. But again, we won't really use
them in speech or anything. Your teeth definitely
do not move while you talk, not
within the jaw anyway. But like for certain
shapes, perhaps you were pushing something
to a really big extreme, and you found some
clipping or something because the rig was-- you can
tweak it just little bits, if you need to, to
get certain shapes. But if you just wanted to change
the base height of the teeth, you could do that from
those controls there. You won't find yourself
using that very much. But the option is
there if you need it. Moving up is these
ones called Lip Shift. So on the corners here, these
are very isolated corner movements. So this is again not to
be used as a main shaper. This is more of a tweaker. Again, if you have a
very, very bespoke need to have a certain-shaped
angle of corner, say like the corner
pulls up, but you want it slightly turned
down in the edges, you can come over to the
Lip Shift area around here and change the corners
to however you'd like to. And in the middle, we've got
a Lip Shift left and right. So this is going to move
the upper and lower lip left and right. This is not the same
as the Muzzle either. So the Muzzle does
the whole mouth. And it twists around the face. Again, this is a tweaker. Should be used for
very specific reasons. And you can change the
upper and lower as you wish. And then another
tweaker that I didn't talk about that is actually
sitting on the main board is the Mouth Sticky. Because you will be
using that a lot. But it is a tweaker because
it's high-level detail. And this is, for example,
when your mouth opens and your lips have
been stuck together. You know, when you have dry
lips, and your lips have stuck, and then you get that kind
of sticky peel as they open. So the Mouth Sticky
area is where you'd create your kind of peels. You can use these ones
on the left and right. The ones in the
middle here, they do like a zipper-style peel. So it's going to come
across from the edge and move out wide. So as you'd open, you
could turn it off. And you get a sticky
peel like this. That's kind of a quicker
way to get around it. I find the best way to
get a really nice detail one is to use these ten. So we have five on the
upper and five on the lower. And they move from the outside
to the inside of the lips. So you can see it's just
pinching a very specific area in the corners here. And it gives you more
finesse over exactly how much you want on, right the way
to the middle if you need it. So if you want a really
distinct asymmetrical peel, if one part of the
lips open first, you could use them like this. Or sometimes you'd
get parts where just the very middle of the lip-- I've seen it where just
certain parts stick. But you don't need it from
the middle or, for example, like this has opened up but
the inside is stuck still. You get what I mean. Let me just turn these off. So that's your
Stickies over there. Moving down the face--
so that's pretty much all of the mouth-related
controls I talked about so far. And then moving down to
the very bottom down here, we have some neck controls. So these ones here in the
Neck Stretch, moving these is going to create tension
in the muscles running up and down the neck, which
work very well with the Stretch control. So this is the Neck Stretch. And it works very well
with the Mouth Stretch. Because when we stretch
our mouth out wide, we also get that kind
of impact on the neck. Now, they're not linked
together in this single control. Because again, it gives
you higher fidelity over exactly how much you want. But yeah, they work
very well together. The ones to the side of
those are the mastoid. So this control-- kind of
like strengthening the neck. These ones will be used a
lot for kind of head movement more related. So the muscle that runs up and
down that connects the head. When you rotate your head
around, these kind of mastoids start acting. And then we'll go
into the side here. So this one is
the Inhale/Exhale. So when we lift and drop, it's
like when we're breathing. Sort of a big inhale and
then exhale, you kind of see the neck
inflate and deflate. The one just in from this
one is the Digastric, which just moves a little
bit under the chin. And it works really
well with tongue. So if you try and pull
your tongue back and down into your mouth, you can feel-- underneath your chin,
you'll feel a little lump kind of grow. And that one is down here. So if you kind of connect
it to tongue movement, it can really help make
speech look very believable. Because you can see it's not
just from tongue and mouth, it's kind of affecting
the whole neck as well. In that same vein, the
Throat Up/Down control. This is a female character. So the Adam's Apple
is not as pronounced. But this is basically
the Adam's Apple control. Moving that up and down,
which we do a lot for speech, it's usually pitch-oriented. When we talk high,
the throat will go up. Talk low, it kind of comes down. And the one at the very
bottom is the Swallow control. So this is if you do a big gulp. And it's kind of all
built into one motion. So from the left to
the right, from 0 to 1, it does a full swallow motion. And it does the same back. So it's kind of repeated from
halfway point to the end. And you get a gulp, like that. OK, that's the neck
controls there. I'm going to show you the
tongue now since we just talked about the tongue. So I'm going to open
the mouth for this. And inside here, there
is a tongue control. It's a little dark in the mouth. I'll stick it out
so you can see. So there's the tongue, peeping
out there of the shadows. And we have varying
different types of controls to control different
parts of the tongue. The one on the left here is kind
of like the main or full-body tongue movement. The one just in from
this, in this box, is kind of a more central. So it's kind of moving from
the middle of the tongue. And the one on the
end is the very tip. So it's just going to flick
up that little tip there. And they all move in
left, right, up, and down. You can get all kinds
of different shapes with this thing. It's really fun. Obviously you can [INAUDIBLE]
it if you need to. But yes, it's nice and wiggly. It's a good-looking tongue. Pop that tongue back
in the mouth now. We're done with him. And that's the Tongue control. And that's everything
lower-face-related. So I'm going to move up
towards the nose now. So we have the Nose control
here, right in the center. This moves up and down in
the TY, get a nose scrunch, like this. And it impacts the brows,
pulls all the creases in around the inside
of the eyes there. And it moves in the TX as
well, for a nose flare. So when you kind of flare your
nose, you can do it in the TX. And you can do
them asymmetrically if you need to as well. You can decouple. You see the brow movement coming
in from the nose flare there. You can decouple
that if you want. It's quite natural for
that to happen in motion. But I mean,
stylistically, if you just didn't want the
brows to come down, you can turn these
controls off here, which are up near the
eyebrows, but kind of like tying the
nose in this angle. So if I turn them off, we'll
see now, when I grab the nose, it's not going to
affect the brows. So it's just isolated
to the nose now. And you can do varying degrees. So you can do halfway if you
just didn't want it as strong. Sorry. I did miss that click. So it's going to
move them a bit, but not as much as maximum. You get the idea. And over on the Tweaker
board, so there's an extra level to
the nose over here, which is the Nasal Labial. So this is going to
increase the creasing down the side of the nose
and mouth area, down here. And now I think it's time
to move on to the eyes. So moving up the
face as we were, the ones just down here
is the Squint control. So this is going to increase
the height of the lower lids. If you move them up, it's
kind of squinting the eyes up, like this. It narrows them. Next to those is
the Cheek Raise. It's similar. It does raise the
eyelids as well. But it actually is caused
by the cheeks pushing up. So there's a bigger impact
around the outside of the brows and around the crow's-feet area. It's pushing up and having
a large effect on the whole of the upper sides of the face. It can be used together,
as most of this rig can. So you can have Squint and
Cheek Pull on together. And the ones here, just next
to the eyes, is the Blink. So if we move them down,
it's going to blink. If you move them up, it's
going to widen the eyes. So you get your
nice blinks there. Again, they're not just
isolated to the eyelids. It has motion around the
eyebrows and the cheek areas. And these ones here
above this, this is like a Tweaker control
for when the eyes are closed. This is called Lid Press. So sometimes you might
notice it in people, when they have
their eyes closed, they seem to do these
kind of fluttery blinks while their eyes
are still closed. It's like a lid
pressing together. But it's not actually
opening and closing, it's just increasing in tension. So your lids are
pressing together. And I'm going to move
on to the Eye Direction. So right in the center is
the Eye Direction control on the face board. So when we move this, it's going
to move both eyes together. And it's got nice
soft eye approach. So it's going to move those lids
there's no counterbalancing. You don't have to reposition
your eyelids every time the eye moves. Because that's already
built into the rig. And that's going to work
when your eyes are shut. It's going to keep all
that nice organic movement as you move the eyes
around underneath the lids. A bit of REM sleeping. If you do so wish to make your
actor cross-eyed, you can, by using the left and
right eye independently. Which then, if you
do add those in, you can still drive them
together with the center control, like so. If someone has just
got a lazy eye, perhaps, you can use
that stylistic choice. It's up to you. There's some Tweaker
controls above these for the pupil dilation. So if you've just come
into a very dark room and you need wide eyes-- or vice versa, it's very bright,
it's going to narrow the eyes-- they're there. This is a Convergence
control here. So this is going to slightly
give you a more centered look, as if you were looking at a
pencil in front of your face or something. And that's the Eye Direction. That's the Eye Direction
on the face board. There is a different
option, which can be very, very useful
when working in scenes, if you need to track an
object or if you just need a worldspace
Look At control, we can turn this switch on down
here, down in the switchboard. If we turn that on,
it's going to swap over from the onboard face control
to this kind of global Look At control here. So we can see now that
the switch is flipped, this control no longer
affects the eyes. So kind of switching
the inputs and it puts it onto this one here. So this big red box
around the outside, if we move this
around, it's going to make the eyes follow
wherever this one is. So this control lives
in World Space, which is extremely useful if
you have a scene set setup and you needed to
track an object that's moving around a scene or a
person that's walking around and you don't want to
have to kind of eyeball it from the
controls, you can see exactly where the
eyes are pointed and what they're going
to be looking at, especially with these kind
of laser beams coming out of the eyes here. There's no question about
where the actor is looking. It's very, very useful for being
accurate with your direction. There's these also these
two inner circles here, which move the eyes as well. But they can be
moved independently. So if you need one eye tracking
something [INAUDIBLE] If that's what you want, you can do it. And the best use that I find
for these center controls is to use them for kind
of subtle eye darts. So for example, when
we're talking to someone and looking at them in the face. We don't tend to stare them like
stare intently and don't move. We have all these kind of
subtle eye darts that go on. But perhaps they're
walking around and you want to maintain
your tracking of that person you've locked this onto their
face as they walk around. But you want to
keep the eyes alive and have these kind
of subtle darts, you can do that with these
little ones in the middle. All the while the the overall
direction is the same. So you can move these
and then move them on top to get some extra sort of
things flicking from eye to eye perhaps as the
other person talks or maybe down to the
mouth but you still want to be tracking the face. It's really, really
powerful for that. It will help keep
your characters looking nice and alive. And we also have the
convergence option down here, which is the same as the
convergence on the face board. But when you turn
it on, it gives you kind of this centered focus
point right in the middle. So it's kind of bringing
the eyes together and into the center, which is
good for anything that's going to close up the characters. For example, if a little
flies buzzing around her face, and she's tracking it. And it's going to feel
like it's really close and like on the tip
of a nose almost. It's really good just
to get that extra focus. And when you turn
it off she kind of goes back into the distance. So that's there. If you need to, you
can move that down. And that's all there is
really about the actual Look At control. This switch down here on
the bottom can be animated. So you can flicked between
the onboard face control and the Look At control
just whenever you like. So it will maintain
any data or underneath anything you've
animated and then it doesn't get deleted or removed. It keeps it just kind
of changes the override of what's controlling the eyes. So you can animate them both,
and then flip between the two, depending on what
your needs are. If you need to be super
accurate and track something I would use the Look At. If you need to be,
for example, following some footage that
you've recorded, it's maybe going to
be easier to use this. But it's there, the
option is there for you, whatever your needs might be. I'm going to move
on to the brows. So the face, at the very top,
we have the Brow control. So at the very top, we've
got the Brow Raises. This is going to lift the
eyebrows up in full control. So you got the outer brow,
the inner brow, inner brow, outer brow. If you want an eyebrow that's
going to say, "say what?" you can just raise one. Or if you need to
be very worried, you can raise these and
bring the outers down. Gives you a kind
of worried look. If you want to increase
that, we can go down here and get the Brow Down control. This is going to
pull the brows down. So these ones lift,
that one lowers. They can be used together
for different effects. So you can see
there with them up. You can see it's going
to give you a worry. With them down, it's
going to give you angry. And if you want to
increase the anger further, you've got the
Brow Laterals here, which bring the eyebrows
in in the center. And it's going to increase
the tension in the middle there, like so. And the very last thing
I want to talk about is this last tweaker
over here on the right, which is a full upper-face
Squeeze control. So using this is
going to really-- it's like a full
upper-face control. So it moves the brows, the
cheeks, all the surrounding area. And this is really
great if you have a very tight, squeezed face. So for example,
if your eyes shut and you're scrunching
everything down, you can just max this out. And you get a lot of tension all
around the cheeks and eyebrows, all in one control. So that's nice to
increase if you need a super-extreme tense face. You can use it with Cheek Raise. Increase it further. And that's the whole rig. I'm going to just
briefly show you through some examples of how
to make certain expressions, just to give you an idea of
what kind of combinations I'd use in certain environments. So I'm just going to start off
with a super-angry rage face. So I'm just going to drop
the jaw a little bit. I'm going to increase
some Upper-Lip Raise to show some teeth. Increase some stretching. Get some tension
in the lower lip. Oh, I've still got the
tongue sticking out. Let me pull that back in. Bring in some Corner Pull
to activate the cheek area. Drop the lower lip down. Show some more teeth. And if you want to increase
some anger on the upper face, you'd bring up that nose, start
bringing in tension there. Again, bring in all this
anger in the whole face. And it's just kind of additive. So we can just keep
bringing in things that we need if you
find things are lacking. Might want some more tension
around the sides of the nose. So I'm going to go for
some Nasal Labial, deepen that crease there. Corners is a bit lower, perhaps. So I'm going to bring
in some Corner Depress. Or perhaps she's
gritting her teeth, and I want lots of clench. So I'm going to
activate the muscles on the side of the face. You see all this
anger coming in now. To increase it even further,
start bringing in some neck. And you see all this tension
is starting to build, just adding these
controls together. And you can get some really
intense-looking faces quite quickly with a few controls. Obviously you can
dive in further and really make this
super intricate. But just to show you how
things could be transformed. So I'm going to turn
this into disgusted. So if she's just really
displeased with something. She's just seen
something really icky. And she doesn't like it. Maybe bringing in
some of the Squint here, perhaps not as
much of the Stretch. A bit more Corner Depress. Maybe some asymmetry
would be nice. She's really not happy
with whatever she's seeing. That's gross over there. I don't like that. Don't want the neck on though. Or perhaps I want to turn
this into super-scared so she's going to be
fearing for her life now. So I'm going to alleviate some
of that tension in the brows. Start bringing them
up in the middle. Maybe you want to open
the eyes really wide, show the rear coming through. The nose up-- nose up tends
to be a more angry thing. Nose down, you get the kind of
scared thing coming through. Bring in some Cheek
Raise with this. Hopefully you're keeping up
with what I'm doing here. So just kind of
tweaking these poses and just exploring some
expressions with you, just to kind of show you how
the rig can be worked together. For example, a happy
smile is always good. So if I take off
this and go back to the smile, because the
smile is a complex one. And it's always tricky to
really nail down and know which controls you need to hit. I'm just going to
zero out everything. Bear with me one second
while I just zero out. I might do it manually. Just center this back in there. OK, I'm going to
make a happy face. So start with Corner Pull,
bringing these corners nice out and wide. If you're thinking, well,
that doesn't look very happy, it's because we don't just
smile with our mouths. It's got to go up the face. So we need the Cheek
Raise being activated, soften the eyes
off a little bit. Get a bit of squint going,
smiling with the eyes. This is already starting to
look a little bit happier. Maybe want to drop
down the lower lip a little bit, show
some lower teeth. Raise the upper lip a touch. Maybe she's laughing. Going to drop that down. It's coming together. Oh, I've still got Clench on. That's not going
to help the smile. Maybe a slight lift
in the mid-brow is-- you see how it's
just softening it up? Just these little touches. And now I've got a happy face. Hopefully this has been useful. Sorry if I've
waffled on too much. But yeah, that's the rig. Thank you for watching. OK, goodbye everyone.
