In this lesson, we're going to learn about post-paid defamations.
But first, I just want to show you a more typical example of using skin paint weights to affect the
model.
So I'm going to select the joints as we know.
We need to do our custom menu and select the hierarchy of it and then select the geometry and go to
skin, bind skin and just use the default that we had before.
And I'll think for a second.
And now we can take a look at the weights that we get just out of the box.
And for this example, I'm just going to be manipulating the joints themselves instead of the cons.
Or we would do if we were properly rigging this buffer speed.
I'm just going to use the joints so we can see that it's pretty messed up and unusable.
So let's take a look at a pose.
Let me just I'll hit on my keyboard to set a key to make sure that we save the default pose because
we're using the joints.
We don't actually have a zeroed out con that we can use and know that if we go to zero, that it'll
go back to the default pose.
If I were to start manipulating this and then try to get back to default, I wouldn't really know where
that would be because it's not zeroed out.
So that's just gives you an example of why zero out your controllers are important if you ever want
to get back to the default pose.
So let me just scrub for it here and then I will crank this shoulder up.
And you can see, because I have the auto on over here, that it automatically set a key for me because
it was keyed once than any time it's moved on another frame, it'll automatically quit.
So we basically have this range.
I'm just going to drop the timeline down so we can scrub the whole timeline here.
We basically have this range now.
We can work on the skin painting the skin Waite's so with the geometry selected I'm going to go to skin
and go down to the paint.
Skin waits and nothing happens and we have the axe on the brush because we need to go to the tool settings
first to get them.
So now we get back to this familiar scene where we have the black and white and we need to see the shoulder.
So let's scrub down into the name joints and go to the left shoulder.
Now, instead of going back and forth between the rig and the paint, skin waits till now.
All we have to do is just scrub the timeline and we get this range of motion.
If we didn't do this, then it would be a major pain to have to constantly switch between these manipulators,
putting it in position that we want it.
Then go back to the paint skin waits tool, then select the joint, then go to work on it and it would
be a major pain.
So this is a much easier way to deal with that.
Let me just delete that key frame because we don't want that.
I'm just clicking on it and going to delete.
So I'm going to select the paint skin whites tool and the geometry.
I need to have the geometry selected for that to kind of register and I'm going to get back to the shoulder.
So now you can see why it's important to set those couple of keys, those two key frames.
So now we can just stay here and go to different ranges of motion and effect the rig and the skin painted
skin weights.
So I'm going to go to this most jacked up pose here and make and replace and let's take the value to
one.
And as soon as I start painting and see it has a huge effect and it moves the vertices in a pretty big
direction.
All right.
And that's this is just really rough just to show you how the tools work.
So I'm going to go back to smooth and then flood this.
And you can see how it greatly smooths out this region.
Right.
Makes it much more smooth.
So let's deal with the armpit here.
We can actually take the replace tool and actually go to a value of zero to kind of erase these values.
But the opposite of of what you would expect to happen is happening where you can see that the instead
of going back into the body, these vertices are going further away.
They're going up to the bicep.
So that gives us an indication that when we're painting a zero on this, it has to replace that value
with something and it's replacing it with a joint that is already having some kind of influence on it.
And now it's just giving it greater influence.
The more we tell it, the shoulder is zero.
It has to replace it with something.
So now it's what my guess is.
It's saying the bicep.
Now the bicep is getting more influence.
So now we can go to the left arm bone and see if that's the case.
Then we can see that is so now we can actually do a zero on this.
And what you would expect is happening now.
The armpit is going back into the body.
So this is kind of one way to troubleshoot and see how the joints are affecting the skin and the weights.
So now we have, you know, decent kind of situation here and we can smooth this out as well.
Unclick smooth and.
Flood this out, but the shoulder is still a little wonky and there's a very interesting tool that we
can use called post space defamations.
So I'm going to get out of the tool settings here.
And with this arm post still up here, we can kind of get an idea of how bad the deformation is.
The shoulder should definitely not look like this.
So let's go back to the default pose and let's select the joint that's going to be influencing that
area, which is the shoulder or this upper arm joint.
And let's go to to form post-paid defamation.
And for this tool to work, we want to make sure that we actually go into our Windows settings and preferences,
plug and manager, make sure the plugin is loaded for this.
So I'll click on that and then you can scroll down to probably near the bottom.
It's called Poes interpolated dot bundle.
You want to make sure these are checked on loaded and auto loaded, so that will make this tool actually
work.
So we need that first setup of the pose editor and we get this new window.
And let's play around with this.
Let's turn on the pose editor and say, create a pose.
And by default, I don't have the the neutral poses being created.
That might not be the case for you.
I did that on mine and I'm having a hard time finding how to get back to the default.
But basically, the default should be that it will create neutral poses here.
If it doesn't, you can just do that from poses ad neutral poses.
So now we have a neutral pose.
So it's basically saying, OK, this is home base.
This is where the headquarters is.
You know, where we're going to always refer back to.
This is a good pose, right?
This is the default neutral pose.
So let's scrub forward and find the jacked up pose, which is up here.
And now we can create a pose to fix this.
OK, and it's basically going to do all of the set driven key stuff we've learned in space can do that
on a defamation level.
Right.
It's going to set up all that stuff behind the scenes.
We don't have to touch any of that stuff.
So let's create a pose with the joint selected.
We'll go to poses add pose and open up the option box and all.
That's fine.
We'll say add pose and now we get the option to name the pose.
I'll just say Shoulder Fix is the name of this.
And this is an important defamation order thing here.
Right?
So if we say automatic, it may or may not choose the right one.
So this is a very important menu and you might need to play around with this, because when I have been
testing this, I get some very undesirable and useless results when I choose the wrong one.
But in general, the way you want to think about this is what is the order of defamations that I would
like.
I would like no one for the bones to deform the geometry.
That's number one.
Number two, I want to correct that.
Right.
I want to correct that deformation.
So that has to happen after it.
All right.
So we need to choose something that's like post or after.
I've figured out that for this example, after works.
So I'm going to say create pose.
Now we get this edit button is turned on, it's red and we can see it's named after the joint.
And what this means is isn't currently with this edit button on, we can select the bound mesh to that
joint and affect it and change it.
And it will remember it based on the pose of this joint that's affecting it.
OK, so I'm in the sculpting tools and I'm just going to quickly try to fix this a little bit.
I'm going to bring up the shoulder, bring in the armpit, and this is going to be very, very rough.
I'm just going to go in here and hold down B and middle mouse drag, try to smooth this stuff out just
a touch and bring up the center.
Same thing on the sides here.
I just want to bring all this stuff up.
And then I can go through and smooth it real quick, holding down shift, if you've watched the first
part of this course, you will have some knowledge of the sculpting tools.
So for the most part, this looks about a million times better already, just in that couple of seconds
of, you know, messing with this pose.
So what we can do is save this by turning off editing here and click this button.
So I'm going to say stop editing when I click that.
OK, so what it's going to do as we scrub back through it should remember all of those changes we've
made.
So any time that the arm gets back into that pose, it's going to fix it.
And it feels like there's muscle here, right?
It feels like there's a trap trap trapezius go with this muscles and the deltoid here.
Right.
It feels more fleshy.
And this is organic.
And there's things moving under the skin like muscles and bones.
So this is a really, really cool way to build and these defamations into the rig so that they'll happen
every time you animate the character and those poses.
Cool.
Thanks for watching this video.
And in the next lesson, we all jump back into finishing up rigging bones.
So we'll have a animated character that we can use in the later part of this course.
Thanks for watching.