Now that we have the limbs redrawn, let's create the IC handles that we have learned about in previous
lesson.
So let's go over here to the IC handle tool.
We can also get it from skeleton crate I can handle.
And we want to click the first joint and then the second joint that are going to be the two endpoints,
basically, so we can ignore the elbow here in this case.
And once we do that, you can see and I can handle is created in the outliner and let's just rename
that so that we can keep track of it.
So now I think I can handle selected we can actually manipulate these joints pretty quickly and it's
pretty cool, except for the fact that, you know, there's no rotation here because the rotation is
not hooked up to anything.
And we also don't have any curves to control this.
So we need to create those in a later lesson.
Well, let's move on and do the same thing for the rest of these limbs.
Real quick.
Don't see what happens when I use the IC handle and I get close to the shoulder here, you can see that
it's maintaining its relationship up until the point that I get pretty close to the shoulder and it
doesn't know which way to point the elbow.
So that's why we need pull vectors.
So let's create a pull vector now for the limbs.
Let's use curves.
You can use anything you want.
You could use the locator.
You can also use curves.
And for this case, let's draw our own.
So I'm going to actually use the poly modeling cone here.
I'm I click that and I'm just going to reduce down the number of subdivisions so that it is more angular
and it has it's more like a pyramid.
So that created I'm going to slow it out.
So that's all we can see and maybe flatten it down just a little bit.
Now I'm going to select the Curves epi curve tool and I'm going to go to the tool settings and make
sure that it's set to linear so that there are straight lines and I'm going to hold down V and I'm actually
just going to change the background so we can see the gray shaded here a little better.
Mohle down V and click in different locations of this and it's not showing up because we had it soloed
some on some of that.
So you can actually see it being created.
I know it's being created because I've done this before, but it's just good to see because on this
too we need to kind of maybe backtrack a little bit and go over different parts of the model a couple
of different times to make sure that we cover all of these edges.
So I just want to make sure that I'm not going on any diagonals as well.
So I'm just going to go through this and create this curve.
I'm going to enter now that that's done and I can delete the polygon now we're left with this kind of
curve that is one solid piece and we can use for all of our pull vectors.
And a pull vector is basically going to be a constraint that tells that I can't handle which way to
point.
So let's rotate this forward to say kind of like an arrow.
This is the direction to be pointing from.
And just for fun, I'm going to move the pivot point to the tip of this small hole down DSV and middle
mouse tracks, snap that and I'm going to hide the polygons here so we can just get the skeleton and
I'm going to rename this curve tool left.
Arm Peevey Khan, that means left arm pull vector control.
OK, so I'm going to snap this holding down V to the elbow, then I'm just going to drag this back a
certain distance maybe.
Yeah, 20, something like that.
Now I'm going to zero this out.
This is a very important step because we want this to be the zero worldspace.
We don't want it to have any other values because when we zero this out, we want it to get back to
the same point.
So we need to go to modify Free's transformation's and click that.
Now we have all these nice zeroed out things.
So if we move it over here and we click and drag there and type in zero, it'll get back to where we
want it to be cool.
So lets with the selected select the IRC handle and then let's go to constrain pull vector and click
that.
Now you can see that the pull vector actually twisted the arm just a little bit, and that happens because
we don't have it exactly in line with where this needs to be.
So we can actually just leave this at the elbow because we know for sure it's going to not rotate if
it's lined up with the exact kind of middle there.
So let's try that one more time with a pull vector left there.
So we'll go to constrain and pull vector.
And now you can see that the armed and flip or anything like that.
So we can leave that there and then now hit zero and it'll rotate a little bit.
But that's OK.
So let's just leave that at the front before while we're still getting everything lined up basically
for the skinning process.
So we'll move this back when we're done scanning the geometry to the joints.
Also now now that we have this, let's just demonstrate what it's actually doing.
So when I use this and I get the elbow in here or really anywhere, if I just have the elbow bent a
little bit, it's going to point in the direction of this pull vector.
So it's a great way to control what's happening with the elbow.
Cool.
OK, cool.
So let's grab this and duplicate it out and do this for the rest of the joints.
And I just want to say real quick too, I'm going to zero this out only in the Z direction, so I don't
want to go back to where it's going.
I just want to go back to Z.
I'm going to freeze transformation's from here and then I'm going to snap it back to the elbow, as
we did before, so that we know that, you know, it's going to go back when we when we zeroed out later.
So I'm going to shift like this and go through that and I'm gonna do the same thing for the knees.
And I'll see in the next lesson where we will continue creating the controls for these icky handles.
Thanks for watching.