on Jay and Silent back with another
character setup video this time we're
talking about creating joints and
skinning the character space now a setup
is an extremely complicated topic so
this video is just covering the basics
of bone layout and initial skinning i'll
start off by creating a duplicate of my
characters had I just hit on its own
layer here then we'll start to joint
creation process so I'll just use my
create giant tool and then i'm going to
place it at the base of the neck
this is going to be my route and I'll
duplicate that control d to create a
bone for the head and bone for the jaw
the head bone sits right with a jaw and
the skull mate the jostens a little bit
in front of it and you'll see as I'm
working I'm constantly naming my new
joints next I want to tackle creating
joints around the mouth and instead of
creating new joints are just duplicate
the joints that I had that will be a
little bit easier i'll adjust the radius
to make them a little bit smaller
because we're going to need to place a
lot of these on the face having a
smaller radius will make it easier to be
with now I'll place these in a ring that
roughly follow the topology of the last
line on the face here now mainly the
same as I did in the body video I'll
start down without underscore and then
I'll name them based on the feature that
they're going to control so in this case
last line and then on name them based on
the position and finally I put them on
their own layer and a sign of color to
that layer is going to make it easier to
keep track of them and mental repeat
this process
I'll duplicate one of my joints this
time I put it on its own layer to begin
with and i'll choose a different color
for it
that'll just make it easier to keep
track of all these duplicates once I've
chosen a color are duplicate these
they're going to sit between the last
line in the lips and i'm going to place
them near the edge rings that i have
surrounding the mouth these joints will
control the area that sits between the
last line in the lips and up next are
the lips themselves I'll just duplicate
a joint decrease the joint radius again
and I'll put it on its own lips layer
with its own individual color and I'll
duplicate
that so that I have a ring about joint
sitting in the middle of the lips and
circling them like so i'll take a moment
here to name all of my joints joints
that's it on the center line of the face
get a C underscore in the front instead
of an L or an R and it really doesn't
matter what naming scheme you choose you
just want to make sure that the groups
of bones are named appropriately based
on the feature of the face and then
given a suffix that kind of locate them
around that feature what I name them is
an important what is important is that
you choose this scheme that when you're
using the paint skin way to the
component editor later we'll make things
easy for you to understand
next I'll create a series of bones that
will control the cheeks so once again
i'll start by duplicating an existing
joint and after i duplicated that joint
i will name it appropriately and then
place it on its own layer with its own
color this will make it much easier to
keep track of these groups of joints
that we're going to have now i'll resize
these joints because they're going to
have a little bit of a bigger influence
on the face so i'll make the radius a
little bit bigger and then I'll
duplicate them and follow along the
shape of the cheekbone and I'm basically
sitting these directly on the edge
intersections on the characters face the
upper three will control the shape of
the cheekbone the lower to will control
the shape of the cheek as the jaw opens
and closes next to the area around the
eyes the eyes are an area that are
fairly dense with joints of duplicate a
joint with a smaller radius and
opposition rings of joint around the eye
in a concentric fashion this outer set
of joints will allow us to create
squinting motions and to adjust the
opening and closing of the eyes and
you'll note that i'm placing a joint
each on the corner after the exact same
thing on the inside lid of the eye
sitting these on those edges directly
this will allow me to control the shape
of the eyelid and again
taking pains to name every joint as i
created next is the brow region of
people Kate a relatively large joint
i'll put it on its own layer and office
place these on the verts that's it
directly above the brow we're going to
have three of these and then I'll place
one in the center again centerline
joints get to see underscore in front of
them
I'll place another centerline joint on
the bridge of the nose and the third one
will sit on the balls of snows and since
I'm in the region i'll add another joint
that will sit on the nostril itself that
will control the flaring of the nostril
and then I'll turn my attention back to
the forehead after that another series
of joints sitting in the upper forehead
area and they roughly correspond to add
rows that i have in that upper forehead
area now because we need to create
joints in our orthographic views we've
been placing them in our front you
camera up to this point and when i zoom
out i can see that the joints are not
sitting on the face sitting in the
middle of the head
obviously I have to move them forward so
that they correspond to the part of the
anatomy that the joint was created to
move to do this i'm using my move tool
in concert with my point snap
functionality so i'm holding down the V
key and I'm moving each joint forward to
the corresponding vertex that it's its
nearest to and you'll see that when i'm
dragging these joints forward I'm
dragging them solely using the z-axis
arrow so you can see that i'm pulling on
the z-axis what would be the blue vector
and that means that they're only going
to move in the one direction that only
going to move forward in space and I
just need to make sure that when i'm
dragging them forward I'm placing my
mouse cursor close enough to the point
for example on the lips so that when
they snap forward there in the right
location once I snap them forward then i
can look at them in the side view and in
the perspective view and just
fine-tuning the positioning to make sure
that every joint is where it's supposed
to be
you'll see that for the finer details
features on the face like the lips and
the eye area
I spend a lot of time zoomed-in in both
the perspective view and decide you to
ensure that I'm getting optimal
placement to these joints are end result
will cover half of the characters face
with joints and will note that there are
indeed a lot of joints we want to take
advantage of Maya's mirror joint feature
so that we don't have to create all of
them for the opposite side so i'm going
to create a duplicate adjoint I can
duplicate any of the joint from the face
and I'll just put that joint somewhere
in the inside recesses of the cheekbone
so it's sitting inside the face and I
will parent all of the joint sitting on
the left side of the face to this helper
joint so i just select them and
shift-click that helper join and hit p
apparent them once that's done i'll
select that helper joint and then select
my head joint and parent it now I've got
this nice joint chain that will allow me
to use my mirror joints tool it's also
important to note that those centerline
face joints are not parented not a
mirror joints i'll select that helper
joint go to my rigging drop-down go to
skeleton and go to the options mirror
joint on a search for El underscore and
replace with our underscore and that
will effectively mirror all the joints
on the opposite side and now it looks
like we're ready to start the skinning
process however before we do there's one
more thing we need to take care of once
we're done with our Anatomy tweaks will
make our joint visible again and then
select our mesh and do an edit delete by
type history and this is all been
building up to adding a mesh smooth to
our mesh so i'm going to select the mesh
and hit one to go to understand move
mode and then shift right click and just
do the actual mesh smooth and one
subdivision should be enough if we add
more our mesh is probably going to be
too dense to allow for easy skin waiting
now the reason that we subdivided at all
is because a denser mesh is going to
animate a little bit better with all
these joint influences that we've
created
when i'm finally satisfied with the mesh
then I'll begin the skinning process so
i'll select all of my joints and
shift-click on the head and go to my
reading drop down and then the skin menu
and we're going to the options of buying
skin and I want to make sure that my
method except geodesic voxel and I can
pretty much leave everything else the
same as is once the head is skinned I'll
turn on my pink skin weeks tool and
check my waiting and we'll see areas
like the cheek have waiting but there's
still an awful lot of joints that have
no influence on the head at all
and what's happening is we're still
getting outside influence from a few of
the joints like the jaw joint and the
back of the head joint and actually
unfortunately the only way to fix this
is to start painting things manually so
we're going to paint our skin weights
much in the same way that we did in the
previous skinning and waiting video i
want to make sure my brushes set to add
i'll choose a low opacity and then I'll
just right click on my influences and
start adding influences the jaw is a
good place to start I'll start adding
waiting and you'll see that the waiting
is relatively hard all along the bottom
of the jaw bone then i can select the
head and the head joint is going to fill
up most of the waiting on the head so
pretty much anything that's not the face
or the neck is going to be waited to
that head joint and then the neck will
start very hot at the bottom and it will
blend between the jaw in the head as we
go up you'll see here this is also where
i first used by mirror skin weight stool
so I paint the head neck and jaw and
then on mirror over once it looks like
it's all filled in then I can start
painting on my primary influences which
are the bones of the face themselves
take note that i'm also rotating the jaw
around in order to test the skin waiting
a lot of our paint skin weights process
involves moving joints around so that we
can see whether or not are waiting is
working well here when I rotate the head
I'll see that all of the joints of the
head move except for the face when I
parents all of my face joints back to
the head now when I rotate to get a good
defamation that's pretty predictable
I can unpaired those I'm just testing
waiting at this point so I'll start
right clicking and selecting influence
to view the influence that each joint is
having on the face and I'm just looking
to see that it's roughly affecting the
verts in the area around each joy and
now I'll start blocking out the
influences that I want to use so i'll
select each joint and i'll use my ad
influence with a low opacity and what
I'll do is I'll just make sure that all
of the verts directly surrounding each
joint are relatively heavily weighted to
the joint that they correspond to so i
end up with hot spots where there is a
hot light waiting in the center and then
it fades off around it and I want to do
this for each face joint once i have
everything completely blocked in
then I can worry about actually going in
and testing my skin waiting now the lip
joints where I'm going to really start
to focus first i'll make sure that each
verte on the lips is waited almost
entirely to the corresponding joint and
then i can switch back and forth between
each of these influences and by holding
down the shift key i can smooth
influences between the joints the I
region is another area that has the same
challenges there's a lot of joints in a
lot of birth so i'll select each joint
individually and I'll heavily wait
diverse around it to that joy only once
all of the verse have been 100% whey to
the joint then when i go back and start
selecting other joints and blending
between them when I'm satisfied with the
I region then moves on to the prowl
joints that are surrounding the I region
and will see that these are generally a
little bit more correct simply because
the joints are spread out more and the
verts in each region can be assigned a
little bit more precisely by maya ok now
it's time to start testing my waiting
and to do that we basically have to
start moving the characters face around
so I'm going to turn on my time and my
reign sliders going to make sure that
auto key frame is turned on and i'm
going to start creating poses that allow
me to test the waiting and the character
skin this is an iterative process we're
going to create multiple poses for the
same
it will toggle back and forth between
them testing the waiting at each step
for brevity's sake we're just going to
tackle the angry face in this video if
you want to see the other phases you can
check out the extended cut so i'll start
by blocking things out by grabbing the
outside corner of the mouth joints and
just pulling those out and then I'll
grab my individual lift joints and pull
those up and out so that were revealing
the teeth and we have to remember to
preserve the volume of our muscle shape
so as the mouth opens as a little back
and away from the teeth we lose mass so
I'm pushing them back into the teeth to
indicate that kind of stretching once I
blocked out the major movement with the
lips then I'll start working on the
joints that surround them out so again
I'll pull them out word and I'll also
pull them back so they're moving into
the head and that will indicate that
we're losing volume as you muscles are
stretching and pulling against the skull
the joints that run along the last line
are going to be especially important
here so I'm pushing the joints of the
mouth up but the ones that sit on the
last line that yellow ones are on the
outside edges
I'm not pulling those back as much and
this allows me to get a nice overlap
like we see right there it starts to
really highlight that laughs for this
will be a big characteristic of creating
kind of smearing angry face right now
our face doesn't look angry so much as
it does uncomfortable so we need to
start exaggerating features to really
sell the emotion that we're trying to
create this usually means taking joints
and pushing them further and further in
the direction that we've already started
to go in so with the lips I'm pulling
those back further and I'm pushing them
out farther so that that's near for the
lips is exaggerated beyond what it was
this will help us create more not
necessarily believable ocean but an
emotion that actually reads stepping
back to evaluate suppose I can see that
the upper lid isn't quite right and so
I'll pull some of the outer corner
joints back even further
and especially the outside of the lips
needs to come back to create more that
sense attention and to remove some of
that extra volume and let's keep in mind
the reason that we're creating these
faces
we're still testing out the skin waiting
our character this particular post
stresses the cheek a lot more so I'll
adjust the waiting in those areas and
the first thing that I look for is
uneven blending now that i'm using the
joints in the cheek a lot more need to
make sure that they blend smoothly into
the joints of the face so the last line
and in your mouth area we need to make
sure that all of those are blending
smoothly
otherwise we're going to get big gaps
like we see there that'll cause problems
we deform disposed also put a lot of
stress onto the lips so i'll adjust my
lip joint and I'll evaluate to see are
the lips moving in sync with the joints
and in this case it looks like i'm not
getting enough movement in the upper
mounts expected teeth to be buried a
little bit more based on the extreme
pose of the joints so after go in and
add skin waiting so the diverse follow
the extreme movement of the joints a lot
more closely while I'm painting skin
weights
I'm evaluating it to see our my birth
moving as on painting awaiting and
ideally the vert should be moving in the
direction that I expect them to be
moving in this case i would expect the
lips to move up and how if as on
painting skin waiting they do not move
in that direction and I know that
whatever waiting on painting is probably
not what I need to be doing in this case
because the joints around the mouth
moving so extremely i can add some of
the outside lip waiting to those joints
that will help create more extreme
movement and pull them out back a little
bit more the way that i'm expected so
again this is an iterative process every
time we make a new pose we're going to
end up checking each set of joints to
make sure that the defamation that we're
getting is working the way we expected
to
ok so the pose is getting better but it
still looks a lot more like discomfort
as a post anger
that's because we're only adjusting the
joints of the mouth time to start adding
some I've move it into this remove the
upper cheeks upwards into the eye area
this will add a little bit of a winking
effect and then I can start work on the
eyes themselves the outermost row of the
lower eyes remove those up a little bit
as well that'll help with that squint
effect and mana can grab the actual
eyelid Joyce on the bottom eyelid and
move those upwards as well I'll grab
those and I'll move them up to create
that squint effect i also want to look
at them in a slide camera to make sure
that they're actually covering the
eyeball itself and then I'll move that
row under the eyelid as well and this is
going to create the compression effect
that will make the face start to look
like it's clinking scrub back and forth
to test opposed and by looking at the
topology I can see them getting the good
sense of compression in the face it
feels like the muscles are squishing up
but at the same time keeping a
consistent amount of mass since that's
working well I can start with the
browser so i'll begin with the bottom
row and i'll just move these down all
about the same amount maybe a little bit
more in the center and then the second
row high up on the forehead on the nose
down as well it'll get a v-shape in both
cases so we're going to pull the face
down a lot more in the center family
will toward the outside edges the role
of joint sitting between the brown the
eyelids is gonna be pretty important for
helping to create the compression that
will expect to see when the brows pulled
down in an angry shape the joints to
control the upper eyelid will also come
down like and select all those at once
and then move them down and forward in
the side view and the more I narrow the
i angry or it's going to seem we do want
to try and create as extreme opposed as
possible
the goal is to really push the limits of
our mesh and our joints skipping ahead
will see that the eye area is much more
compressed now and I want to feel happy
with the shape of it then i'll switch
over and start painting skin way
when I wait the eyebrow area i want that
waiting to be generally pretty soft so
I'll hold down the shift key and smooth
the weight in the region around the
eyebrow joint and you'll see that the
influence for each one of those eyebrows
joints extends pretty far around the
joint itself and that includes going
into the upper eyelid area the upper
eyelid area is also going to be
problematic as will see that a lot of
the verts in that area aren't waited to
the corresponding joints so this is one
of those areas where Maya simply isn't
able to correctly place these joints and
we're going to have to do a lot of
manual correction
fortunately the waiting in eyelid area
is fairly straightforward we want to
wait divert around each bone pretty much
one hundred percent to the bone that
their closest to and then at the edges
on the road verts between joints we can
just hold down the shift key to smooth
waiting and in that way we'll get a nice
defamation the eyelids that allow us to
open and close the eyes pretty easily
now the same way that i smooth the
waiting on the joint for the eyebrow
i'll be smoothing the weighting of the
joints around the eyes so in between the
brows and at the bridge of the nose of
the adjusting waiting there and
especially the joints of the upper cheek
going to tweak the influences there as
well as the eyebrow influences to make
sure that we're getting enough
flexibility when those joints move so we
see this is a really iterative process
we have to create oppose tweak the
position of the joints tweak the skin
waiting and then create another pose and
do the same tweaks and go back and
adjust the first pose based on the
changes we made to the second pose so
this video only covers the basics if you
want to see in depth creation for each
of the emotion faces like a smile and a
surprise etc you can check out the
extended cut for those veto and of
course this is only half of the process
we still have to create face shapes to
allow for talking and on top of that we
have to create the control rig so we
don't have to
pose all of these individual bones in
every single frame that we want to
animate so those will be tackled in a
future video until then thanks for
watching I'm James Taylor
For more infomation >> my first game play video - Duration: 5:20. 
For more infomation >> Pavel Datsyuk photo in video / the magic man / Datsyuk jersey +wiki - Duration: 3:40. 
For more infomation >> how to video convert in Audio - Duration: 6:29. 
Không có nhận xét nào:
Đăng nhận xét