Add transcription for: week01 05 intial joint placement and naming pt2.wav

transcriptions/week01 05 intial joint placement and naming pt2_transcription.json

@@ -0,0 +1,8 @@
+{
+  "text": " If we take this joint and now we want to bring it over to the other side We also have a couple of different ways how to do how to do that one way would be obviously to use the skeleton mirror joint function to mirror it over to the other side Which we will be using for the arms and legs and other parts of the body But what you can also do if you have just a single joint like this here at the moment We know that this joint is at is you know under the walls so there are no parents above it. So that means that these values that we get here are in world space. So it's basically moved, you know, in x minus 3.34 units in y is moved 153 units and in set is moved 7.77 units. So the x translation from the origin right from this axis is minus 3.34 in this direction. So minus x. So if we duplicate this joint now, and on this duplicated joint we just basically removed it minus, then that will put it in positive from the origin or from this axis towards the other side. So that works really well if your character is symmetrical of course. If it's not, then that won't work, but then also your mirror joints also wouldn't work, then you'd have to fit them manually on both sides. So this is another thing that I can also say I would highly recommend making your model symmetrical, working with symmetrical models, because it will make your life a lot easier. Because then you only have to kind of, for a lot of things, you only have to work on one side and can bring things over to the other side with mirroring or flipping or whatever. So for example, weight maps or joint positions and so on and so forth. So I would always work with the symmetrical model and the symmetrical pose. I'll save you a lot of work down the line. Okay, so here we have our two eye joints, so we can actually parent them now to the head. So we have that, and let's create feet we already have. Actually here kind of made a mistake, or not really a mistake, but I created this one joint here you know separately and then I've just parented under that. So therefore because I parented it separately it created it at the origin or in these in terms of x and the other ones are because they were a child of you know that end joint of the leg and then I just continue from there that's why they're already in the right position. Now we should be able to just take this and kind of like zero out the translation. Let's see if that works. Nope, it doesn't work. Then we have to work in a different way. So let's probably go ahead and create these foot joins again. Actually what we could, let's create them again. It leads us to... And now I'll actually go ahead and this is what I usually do and exactly for that reason I kind of put them onto the layer 2 here. I think they're already on there. And then I just create a separate hierarchy. Kind of completely independent, but I can use snapping now. I can snap to this joint with that V. And then start a new joint hierarchy from there. create my ball joint somewhere around here and then my tool rule joint here and create a new joint back here at the heel heel rule and then parent it to the foot now it's still the same problem but now we should be able to sear this out here we go and now we can take the Take the heel joint, parent it to the start of the foot, and then we can take this whole thing and kind of move it over. Here we go. That's what I wanted to do. There are probably other ways of doing that. Now we can actually snap it if we want to. It doesn't need to be 100% on the same location, but the closer it is, the better it will be later on. So let's actually snap it to this joint. So now here we will have two joints. We will have the root of the foot and then we'll have the end of the leg. Okay. And then we'll create some finger joints here. That's what's still missing. Turn off isolates and act it. Finger joints I would start drawing from the top. For finger joints it's not so important that they're in like a perfect, you know, straight line. Like for example what we talked about with arms and legs. It's more important that straight line is more important if you're intending to create IK handles inverse kinematic for fingers I would just go with you know simple FK so we don't need them and Then we have to look at the model where we need to place these joints usually, you know Depending on the model it kind of suggests where these rotation points should be especially in a human It's kind of like simple because we can just look at our own fingers our own hand and kind of model suggests where where the knuckles should be, you know, or these finger digits, so probably the first one would probably be somewhere around here in this volume, right? And the second one would probably be here. And then the next one here, let's just check out the bioframe here too. Probably here, and then one here, and then an end joint here, and so on and so forth. So if we go through, kind of can see, these three lines here are together. Okay, so I'll start drawing in some drawings and if we're not happy with them, then we can recreate them. So maybe here, I think these are the knuckles probably. So I'll start creating one here. And here we have this line already predefined on the model. So we can use that as our middle line guidance. So probably the next one should be here. Again, I kind of know that already just by looking at the model and kind of figuring out where is it from the top view. So here we have these three lines together and here we have the three lines together. I think that's where the joints need to go. Someone here. And we can also kind of toggle between shaded mode and wireframe mode. It's a 4 and 5. I used that a lot. Toggle kind of where I want to place them. here, next one and then the end one at the end. I'll do the same thing for the other fingers here too, so probably first joint here, then the second one I would say here, and then the next one here, and last one there. Next finger, here, here, here and here. Okay, the next finger, pinky here. And now we have to check, it's 100% clear. So we have kind of one line and we have one line and one line and one line, so it would be two in between like on the digit itself like here's a root two lines and then third line that's I think where it should what should be so two lines the root two lines and then the third line that's where it should go so here and then I think it sees three lines which is to make sure yep those three and then And there is one for the nail. So those three in the middle. And now we can take those. Actually, let's draw the thumb here real quick too. For the thumb, we want to make sure that we have the root. It's also kind of three digits. So we need a root. that it's kind of like the first digit here, okay? And then there's a second digit and a third digit, so we wanna draw our root somewhere here in the center of this mass, which should be rotating, right? If you're looking at your own thumb again, like how it can rotate, then it suggests that it's kind of like in this volume somewhere, probably somewhere around here. And looking from the front, or from the top rather, it would probably be somewhere around here if we see how it is modeled. The model usually suggests where to draw the joints, if it's a good model, that is. OK, so probably somewhere around here. The next one. Probably here, and then the next one here. Let's try to see if we can find those again. I would say maybe here. And then the next one kind of here, the last one at the end. OK, so now that we've created those again from the top, they're all going to be on the ground. So now we can pick our root joins again. One, two, three, four, five. and just translate them up. From the side view here. Now for fingers it's less important I feel that they're perfectly straight. Like what we talked about with the arm, you know, that we want it straight. Again, because we're not going to create any, you know, IK or complicated things in there, It's okay if they're rotated down a little bit or more relaxed. They don't need to be so straight. I have it here. Now we can take these individual fingers and modify them that they go into the mass of the finger or into the volume. What we can also do is we can show x-ray that helps at all. Sometimes I find it useful but sometimes it's also more confusing then it actually helps. Here might be okay. We can also turn our polyselection off here. Select surface objects. If we turn this off, then we cannot actually select the object. And one thing that I forgot to mention earlier, which is usually the first thing that I do, I don't know why I didn't do it just now, now, but I put all my geometry on layer. So let's do it now. Let's select all of our joints that we've created so far, group them all together. This is going to be our joints group. And then all of our geometry, which we have here, we don't need that layer anymore. We just needed it temporarily for making the joints, you know, we could snap to the joints but not select. Let's delete that one. And then let's go in here and make our geo selectable again. Let's hide our joints group for a second and select all of our geometry that we have here. I'm purpose not going into the outline or in selecting the top group or so. I want to make sure that I have all the geometry selected. all the individual pieces here that we have. And then I'll create a new layer, create layer from selected. And I'll call this geo-layer, or display layer or something like that. But geo-layer, because this is going to be for our geometry. And what that will now give me is a quick way of toggling on and off the geometry. But also, more importantly, is we can set this to reference here that it's non-selectable. then we can actually work on our rig here. Let's get all this stuff here and group it into hair, hair group, and we can call this model group. And then this would eventually become our rig group. Okay, I can already call it that. And then we can parent it under the character So that we also already get into the habit of kind of like cleaning everything up. That we really only have, you know, one group here for the per character. Which is kind of also important that you don't have like a lot of things here in your hierarchy. So that when the animators are referencing in that scene, you know, and as you know, then with referencing, then you get all these namespaces. If you've worked with referencing before, which is something that animators usually do, they just reference the character X in and then they just save their animation in that reference scene or on that referenced character. And so then if you have a lot of different things, you know, groups and things like that, then they all get a namespace and if they have a lot of characters, that means that that Outliner is getting really, really long over time. So I would recommend just having one kind of line or one Uber group per asset or per character. And also another thing that I would recommend is in your character scene or in your rig scene not have, you know, basically there should only be the model in there, maybe the hair if the character is hair and then the rig, but there shouldn't be any like lights or cameras or things like that. Just to keep it, you know, clean and nice. Okay, so now let's show back our rig, our joints here, and see what we're missing. So now we want to place these joints a little bit better. That's where we left off. So maybe this could come down a little bit. Now we'll bring them into the center of the volume here. This one is probably okay. This one could probably come about down a little bit more. And then the last one is probably fine again, we already placed that. Now for the thumb, and the same thing kind of applies to the fingers too. For the thumb we actually have to kind of cheat it a little bit now. So first we place the first joint, it could probably be somewhere around here. Thinking maybe the joint needs to be a little bit further in, but I'll leave it for now and see how it behaves later on. If we have to make adjustments, then we can always delete it and create a new one. But which is a benefit of if you're working with these broken hierarchies, then you don't have to worry about destroying your rake or breaking anything because you can really only work on these individual pieces one thing at a time. But here for these middle joints, usually I would not recommend taking the middle joints kind of translating them. Because that is going to mess up your rotation axis. I can show that in a second. But again, if you're not, I wouldn't do that for arms or legs for sure. Probably also wouldn't do it for spine necessarily. It's probably okay, but for arms and legs I would definitely avoid it. For fingers we can actually do it because we have to then just make sure that we fix the rotation axis later on. So I'll just translate this down, translate this down making sure it's kind of in the center and then the end joint here as well. Okay, something like that. So now what I meant by rotation order is our rotation axis and you're probably aware of that if you've done rigging before. Now since we translated this down before, let me quickly undo, before in the beginning you know when you're creating your joints, when you're drawing your joints usually you You can rotate, you can twist the joint around itself. This one, and that one can twist around itself, and that one can all the twist around itself. But if you now go ahead and you start moving those joints now, and you know you try to rotate it, you can already kind of see in translation mode, this is kind of your axis, but the joint is facing in an opposite or in a different way. I'm sorry, I think this is wrong. Actually, this is our axis here. have to be in local mode or object mode, I think, object mode. So if you're trying to twist, you know, you can't. Okay, you can bend it up and down, left and right. That still works, but twisting around itself doesn't really work anymore because, you know, we took this joint and translated it down. There is a mode in Maya, and I think I believe it's the default, which is called automatically orient joints. If you have that on, then whenever you move your joint, it will automatically orient itself. So you could probably see that just now, like if you pay attention to that joint, what I was doing, if I'm moving it down and I let go, then this joint is orienting itself in a different way. But the problem with that is most of the time it's probably not going to be the axis that you actually want. Because here you can see now the primary axis that's facing to the child is the x axis. But now at the moment I start moving that around, now we have a different x axis, right? x axis is not pointing to the side and we have should be our green axis, the y axis now is our twist all of a sudden here. While we go here, now we have twisting is y. Okay, it does work that it's twisting around itself, but it's no longer x like it was here on this joint for example. So that all got kind of scrambled up now and that's kind of the reason why most of the time the first thing I do is when I go into the translation tool, I make sure that I turn this automatically or in joins off. We can make it work that it's still x by using this section down here. So we kind of set our primary and secondary axes and secondary axes world orientation here, which is kind of like the same settings that we would get if we go to skeleton orient joint. You probably have used this tool before, right? So it's kind of like the same thing that we set our primary axes. So here as you can see at the moment the primary axis is set to Y, so this is why it's changing if we were to set our primary axis to x, the one we had before, if I undo here. So here is our primary axis x, so that's what we would set here. And then we would set our secondary axis, for example, one of the other two, so for example y. So our secondary axis, I want to make sure that it's the same as the world y facing up. So we set it just to y and y, and then we hit apply. Actually, we don't have to hit Apply, but now if we move this now, so pay attention to what this axis is now, and now if we move it down, now we'll still be the same, okay, that we had before. So now we still have our twist axis being Y. But the problem with that is now, although it works, you kind of have to set these settings differently for whatever joint you're rotating for whatever X's you want to have. So it's kind of tedious working with this. So therefore, most of the time what I do is I just turn this off and actually a lot of rigors that I know are turning this off by default so that the axis is not changing. It just stays what it was before and then we just go in and manually fix the axis with the orient join tool later on. So we take a Passet, orienting our joins in the end. So let's do that, let's undo and let's, with this being turned off, we'll just translate this down, translate this down. So for now we just care about the placement of these joins. So something like that probably. Okay, let's see what we have here. I think we have everything that we need for the time being. Let's start with those joints and we can always drop in more later if we need them.",
+  "segments": [
+    {
+      "text": " If we take this joint and now we want to bring it over to the other side We also have a couple of different ways how to do how to do that one way would be obviously to use the skeleton mirror joint function to mirror it over to the other side Which we will be using for the arms and legs and other parts of the body But what you can also do if you have just a single joint like this here at the moment We know that this joint is at is you know under the walls so there are no parents above it. So that means that these values that we get here are in world space. So it's basically moved, you know, in x minus 3.34 units in y is moved 153 units and in set is moved 7.77 units. So the x translation from the origin right from this axis is minus 3.34 in this direction. So minus x. So if we duplicate this joint now, and on this duplicated joint we just basically removed it minus, then that will put it in positive from the origin or from this axis towards the other side. So that works really well if your character is symmetrical of course. If it's not, then that won't work, but then also your mirror joints also wouldn't work, then you'd have to fit them manually on both sides. So this is another thing that I can also say I would highly recommend making your model symmetrical, working with symmetrical models, because it will make your life a lot easier. Because then you only have to kind of, for a lot of things, you only have to work on one side and can bring things over to the other side with mirroring or flipping or whatever. So for example, weight maps or joint positions and so on and so forth. So I would always work with the symmetrical model and the symmetrical pose. I'll save you a lot of work down the line. Okay, so here we have our two eye joints, so we can actually parent them now to the head. So we have that, and let's create feet we already have. Actually here kind of made a mistake, or not really a mistake, but I created this one joint here you know separately and then I've just parented under that. So therefore because I parented it separately it created it at the origin or in these in terms of x and the other ones are because they were a child of you know that end joint of the leg and then I just continue from there that's why they're already in the right position. Now we should be able to just take this and kind of like zero out the translation. Let's see if that works. Nope, it doesn't work. Then we have to work in a different way. So let's probably go ahead and create these foot joins again. Actually what we could, let's create them again. It leads us to... And now I'll actually go ahead and this is what I usually do and exactly for that reason I kind of put them onto the layer 2 here. I think they're already on there. And then I just create a separate hierarchy. Kind of completely independent, but I can use snapping now. I can snap to this joint with that V. And then start a new joint hierarchy from there. create my ball joint somewhere around here and then my tool rule joint here and create a new joint back here at the heel heel rule and then parent it to the foot now it's still the same problem but now we should be able to sear this out here we go and now we can take the Take the heel joint, parent it to the start of the foot, and then we can take this whole thing and kind of move it over. Here we go. That's what I wanted to do. There are probably other ways of doing that. Now we can actually snap it if we want to. It doesn't need to be 100% on the same location, but the closer it is, the better it will be later on. So let's actually snap it to this joint. So now here we will have two joints. We will have the root of the foot and then we'll have the end of the leg. Okay. And then we'll create some finger joints here. That's what's still missing. Turn off isolates and act it. Finger joints I would start drawing from the top. For finger joints it's not so important that they're in like a perfect, you know, straight line. Like for example what we talked about with arms and legs. It's more important that straight line is more important if you're intending to create IK handles inverse kinematic for fingers I would just go with you know simple FK so we don't need them and Then we have to look at the model where we need to place these joints usually, you know Depending on the model it kind of suggests where these rotation points should be especially in a human It's kind of like simple because we can just look at our own fingers our own hand and kind of model suggests where where the knuckles should be, you know, or these finger digits, so probably the first one would probably be somewhere around here in this volume, right? And the second one would probably be here. And then the next one here, let's just check out the bioframe here too. Probably here, and then one here, and then an end joint here, and so on and so forth. So if we go through, kind of can see, these three lines here are together. Okay, so I'll start drawing in some drawings and if we're not happy with them, then we can recreate them. So maybe here, I think these are the knuckles probably. So I'll start creating one here. And here we have this line already predefined on the model. So we can use that as our middle line guidance. So probably the next one should be here. Again, I kind of know that already just by looking at the model and kind of figuring out where is it from the top view. So here we have these three lines together and here we have the three lines together. I think that's where the joints need to go. Someone here. And we can also kind of toggle between shaded mode and wireframe mode. It's a 4 and 5. I used that a lot. Toggle kind of where I want to place them. here, next one and then the end one at the end. I'll do the same thing for the other fingers here too, so probably first joint here, then the second one I would say here, and then the next one here, and last one there. Next finger, here, here, here and here. Okay, the next finger, pinky here. And now we have to check, it's 100% clear. So we have kind of one line and we have one line and one line and one line, so it would be two in between like on the digit itself like here's a root two lines and then third line that's I think where it should what should be so two lines the root two lines and then the third line that's where it should go so here and then I think it sees three lines which is to make sure yep those three and then And there is one for the nail. So those three in the middle. And now we can take those. Actually, let's draw the thumb here real quick too. For the thumb, we want to make sure that we have the root. It's also kind of three digits. So we need a root. that it's kind of like the first digit here, okay? And then there's a second digit and a third digit, so we wanna draw our root somewhere here in the center of this mass, which should be rotating, right? If you're looking at your own thumb again, like how it can rotate, then it suggests that it's kind of like in this volume somewhere, probably somewhere around here. And looking from the front, or from the top rather, it would probably be somewhere around here if we see how it is modeled. The model usually suggests where to draw the joints, if it's a good model, that is. OK, so probably somewhere around here. The next one. Probably here, and then the next one here. Let's try to see if we can find those again. I would say maybe here. And then the next one kind of here, the last one at the end. OK, so now that we've created those again from the top, they're all going to be on the ground. So now we can pick our root joins again. One, two, three, four, five. and just translate them up. From the side view here. Now for fingers it's less important I feel that they're perfectly straight. Like what we talked about with the arm, you know, that we want it straight. Again, because we're not going to create any, you know, IK or complicated things in there, It's okay if they're rotated down a little bit or more relaxed. They don't need to be so straight. I have it here. Now we can take these individual fingers and modify them that they go into the mass of the finger or into the volume. What we can also do is we can show x-ray that helps at all. Sometimes I find it useful but sometimes it's also more confusing then it actually helps. Here might be okay. We can also turn our polyselection off here. Select surface objects. If we turn this off, then we cannot actually select the object. And one thing that I forgot to mention earlier, which is usually the first thing that I do, I don't know why I didn't do it just now, now, but I put all my geometry on layer. So let's do it now. Let's select all of our joints that we've created so far, group them all together. This is going to be our joints group. And then all of our geometry, which we have here, we don't need that layer anymore. We just needed it temporarily for making the joints, you know, we could snap to the joints but not select. Let's delete that one. And then let's go in here and make our geo selectable again. Let's hide our joints group for a second and select all of our geometry that we have here. I'm purpose not going into the outline or in selecting the top group or so. I want to make sure that I have all the geometry selected. all the individual pieces here that we have. And then I'll create a new layer, create layer from selected. And I'll call this geo-layer, or display layer or something like that. But geo-layer, because this is going to be for our geometry. And what that will now give me is a quick way of toggling on and off the geometry. But also, more importantly, is we can set this to reference here that it's non-selectable. then we can actually work on our rig here. Let's get all this stuff here and group it into hair, hair group, and we can call this model group. And then this would eventually become our rig group. Okay, I can already call it that. And then we can parent it under the character So that we also already get into the habit of kind of like cleaning everything up. That we really only have, you know, one group here for the per character. Which is kind of also important that you don't have like a lot of things here in your hierarchy. So that when the animators are referencing in that scene, you know, and as you know, then with referencing, then you get all these namespaces. If you've worked with referencing before, which is something that animators usually do, they just reference the character X in and then they just save their animation in that reference scene or on that referenced character. And so then if you have a lot of different things, you know, groups and things like that, then they all get a namespace and if they have a lot of characters, that means that that Outliner is getting really, really long over time. So I would recommend just having one kind of line or one Uber group per asset or per character. And also another thing that I would recommend is in your character scene or in your rig scene not have, you know, basically there should only be the model in there, maybe the hair if the character is hair and then the rig, but there shouldn't be any like lights or cameras or things like that. Just to keep it, you know, clean and nice. Okay, so now let's show back our rig, our joints here, and see what we're missing. So now we want to place these joints a little bit better. That's where we left off. So maybe this could come down a little bit. Now we'll bring them into the center of the volume here. This one is probably okay. This one could probably come about down a little bit more. And then the last one is probably fine again, we already placed that. Now for the thumb, and the same thing kind of applies to the fingers too. For the thumb we actually have to kind of cheat it a little bit now. So first we place the first joint, it could probably be somewhere around here. Thinking maybe the joint needs to be a little bit further in, but I'll leave it for now and see how it behaves later on. If we have to make adjustments, then we can always delete it and create a new one. But which is a benefit of if you're working with these broken hierarchies, then you don't have to worry about destroying your rake or breaking anything because you can really only work on these individual pieces one thing at a time. But here for these middle joints, usually I would not recommend taking the middle joints kind of translating them. Because that is going to mess up your rotation axis. I can show that in a second. But again, if you're not, I wouldn't do that for arms or legs for sure. Probably also wouldn't do it for spine necessarily. It's probably okay, but for arms and legs I would definitely avoid it. For fingers we can actually do it because we have to then just make sure that we fix the rotation axis later on. So I'll just translate this down, translate this down making sure it's kind of in the center and then the end joint here as well. Okay, something like that. So now what I meant by rotation order is our rotation axis and you're probably aware of that if you've done rigging before. Now since we translated this down before, let me quickly undo, before in the beginning you know when you're creating your joints, when you're drawing your joints usually you You can rotate, you can twist the joint around itself. This one, and that one can twist around itself, and that one can all the twist around itself. But if you now go ahead and you start moving those joints now, and you know you try to rotate it, you can already kind of see in translation mode, this is kind of your axis, but the joint is facing in an opposite or in a different way. I'm sorry, I think this is wrong. Actually, this is our axis here. have to be in local mode or object mode, I think, object mode. So if you're trying to twist, you know, you can't. Okay, you can bend it up and down, left and right. That still works, but twisting around itself doesn't really work anymore because, you know, we took this joint and translated it down. There is a mode in Maya, and I think I believe it's the default, which is called automatically orient joints. If you have that on, then whenever you move your joint, it will automatically orient itself. So you could probably see that just now, like if you pay attention to that joint, what I was doing, if I'm moving it down and I let go, then this joint is orienting itself in a different way. But the problem with that is most of the time it's probably not going to be the axis that you actually want. Because here you can see now the primary axis that's facing to the child is the x axis. But now at the moment I start moving that around, now we have a different x axis, right? x axis is not pointing to the side and we have should be our green axis, the y axis now is our twist all of a sudden here. While we go here, now we have twisting is y. Okay, it does work that it's twisting around itself, but it's no longer x like it was here on this joint for example. So that all got kind of scrambled up now and that's kind of the reason why most of the time the first thing I do is when I go into the translation tool, I make sure that I turn this automatically or in joins off. We can make it work that it's still x by using this section down here. So we kind of set our primary and secondary axes and secondary axes world orientation here, which is kind of like the same settings that we would get if we go to skeleton orient joint. You probably have used this tool before, right? So it's kind of like the same thing that we set our primary axes. So here as you can see at the moment the primary axis is set to Y, so this is why it's changing if we were to set our primary axis to x, the one we had before, if I undo here. So here is our primary axis x, so that's what we would set here. And then we would set our secondary axis, for example, one of the other two, so for example y. So our secondary axis, I want to make sure that it's the same as the world y facing up. So we set it just to y and y, and then we hit apply. Actually, we don't have to hit Apply, but now if we move this now, so pay attention to what this axis is now, and now if we move it down, now we'll still be the same, okay, that we had before. So now we still have our twist axis being Y. But the problem with that is now, although it works, you kind of have to set these settings differently for whatever joint you're rotating for whatever X's you want to have. So it's kind of tedious working with this. So therefore, most of the time what I do is I just turn this off and actually a lot of rigors that I know are turning this off by default so that the axis is not changing. It just stays what it was before and then we just go in and manually fix the axis with the orient join tool later on. So we take a Passet, orienting our joins in the end. So let's do that, let's undo and let's, with this being turned off, we'll just translate this down, translate this down. So for now we just care about the placement of these joins. So something like that probably. Okay, let's see what we have here. I think we have everything that we need for the time being. Let's start with those joints and we can always drop in more later if we need them."
+    }
+  ]
+}