In this lesson, we're going to clean up the head, the first one you take a look at the neck.
If we click on the neck control and we rotate it around, we can quickly see that it doesn't follow
the neck joint exactly one hundred percent.
So this is a case where we need to go in and adjust the skin weights on this part of the geometry so
that the geometry selected will go into skin.
Paint, skin, whites, and we need to open up the tool settings here so we can see the bones neck and
we can pretty easily see that this is pretty great out and it's not 100 percent.
So we want to attribute this on 100 percent to the neck joint.
So a quick way that we can do that, we could paint that.
But let me show you one other way.
Now that we have a little more knowledge of how things work.
Let me show you one new way.
I'm going to go to the vertices option here by right clicking and dragging order vertex.
And I'm going to select everything that I want to follow the neck joint.
I want to undo that because it's trying to select the next joint.
So I'm going to click this little button that says Don't select joints.
And I'm going to try that selection one more time.
And now I'm going to go into the Windows component.
Ed.
And if we drag this out, we can see smooth skins over here and what this is, is a table telling you
exactly the influence of each joint on each of these vertex.
We can see a vertex with a number and it's basically saying it's 50/50 for most of these.
We can scroll through and see all of them.
But what we can do that is much quicker than painting because we know we want them to be 100 percent
is just click the top one and then shift, click the bottom one and now type of one.
And very quickly now, if we go back into the paint can weights tool here go to object mode.
Right.
Clicking going to object mode.
If we go to the paint skin weights I can get two from the most recent used tool here.
You can see now everything that I had selected is totally white because it's one hundred percent.
So let me go into the tool real quick and I'm just going to smooth out this neck joint so you can watch
this get smooth here over this one joint when a flood that and now we smooth that out.
So let's go back to the con, the controller of the neck joint and see that it is one hundred percent
controlled by that joint.
Right.
That's pretty close to what we want.
We can adjust this more.
We could, you know, have that be a smoother transition.
So it's not over one joint.
But you get the idea this is a pretty cool way to go through that spreadsheet instead of visually having
to paint things and not entirely know if it's 100 hundred percent on that one joint, we can just tell
it, hey, you're one hundred percent you're one point zero are going to follow that joint.
So now we have that resolved.
Let's let's actually now constrain the geometry to this head control, because we the way we rigged
it up, we know the head control already works, just the head geometry isn't hooked up to it yet.
So let's find the geometry in the outliner by F and we can see there's also that plane back here.
But let's make a group just for the head.
So I'm going to hit Command G and call this the head group
and I'm going to constrain the group to the head control.
So select the head control first and then the head group and then go to constrain parent constraint.
So now we can see that the head is indeed constrained to that control.
So kind of magical.
Part of what we're going to learn in this video is about Blende shapes and what Blende shapes.
Our Blende shapes are basically a way to deform geometry based on a sculpt.
It's kind of like post-paid defamations, but it's a little different.
Post-paid defamations came after BLENDE shapes, PLEN shapes historically came first and then they developed
post-paid defamations actually fairly recently.
But Blunt Shapes is kind of the original.
The former.
Right.
And it's very useful still.
So let's duplicate out the head and we'll drag it over here.
And I'm just going to delete the eye mask here because we don't need that.
We just want the head geometry.
And I'm going to drag this over and I'm going to shift to select the original head.
I'm going to go to deform and go down to blend shape.
It's the first one open up the option box.
And let's name this buffer BBs for Blende Shape.
All right.
And all of that's fine.
And will it create so what this is is basically going to be the intermediary between the original head
and all of the BLENDE shapes that we're going to make over here?
OK, they're going to filter through this one thing so we can turn this on.
We can see now we have an input of buffer B.S. over here on the inputs so we can click that and we can
see has had one.
And that's named for the geometry.
This is head one.
And we can turn that from a zero to a one, some middle mouse drag in the viewport and turn that up
the one.
So watch what happens just real quick so you can kind of get an idea of what this is going to.
It's like some vertices in it, B and I'm going to yank them around.
And now you can see that it affects the geometry.
So why is this important?
Because it looks like it's doing why don't we just do this directly to the thing?
Well, the difference is we could do this.
And then on the balance sheet buffer B.S. here, we could just turn it off.
So what we're going to do is apply those types of defamations to the buffer head and they're going to
all filter down instead of having to.
Turn on, you know, 20 different things, we're going to have one controller through the buffer head
so we can turn them all on or off if we want to.
And it's just a nice kind of way to organize blend shapes.
So I'm going to duplicate this head out again and I'm going to move this over a little bit so we can
tell it.
It's not the buffer blend shape, actually.
Duplicate this out a few times.
And I'm basically going to model on these different types of poses that I want.
So in the most obvious case, I think would be to create a blink.
So I'm going to go to edge mode and I'm going to double click on an edge here.
I'm going to be to turn off self select and I'm going to select the kind of middle and the inner one
that's going to do that on both sides.
And I'm going to be to turn on self select and just kind of scroll that out a little bit.
And I'm just going to try to make a blink real quick so I can just scale that down.
And I actually turn on down here, holding down our left, clicking, I can say prevent negative scale
so I can just bring that down and not have to worry about it going through itself.
So it will stretch the textures.
That's something you need to be aware of.
So the textures are obviously going to stretch.
But, you know, that's that's a price you have to pay for this defamation.
So now what we can do, we can have the blink.
Let's have maybe let's even have it be a wider eye.
So let's make that same selection.
And expand the.
So we can scale this up.
And might even just go straight up and down and maybe increase the soft selection area here, go straight
up and down.
And I'm going to maybe dislike some of this so we can scale in towards the bridge of the nose a little
bit.
So now we have wide eyed, we have a blank, we can make new brow shape, we can do a lot of different
things.
Let me just choose these two and I'll drag them up.
We'll be limited by kind of a texture a little bit here to change the brow shapes.
It'll be a little more challenging because we're kind of fighting against the shape of the texture that
we drew.
But it's still definitely possible to affect this stuff.
And just kind of taking a look in all directions here to make sure.
It's kind of staying true to form a little bit.
So basically, what we can do is when we have a point that we like, let me just I'm going to duplicate
one more and have an angry face.
So now we have four different models that we can select all of them at once and now apply as a blend
shape to the buffer head.
So let's go back up to deform blend shape and we'll call this expression's.
And before we do that, actually, let's call this blank.
Why'd I?
High brow.
And angry, and I'm going to do one more just for fun, and I'm going to call that extra.
And I want to select all of these and shifts like the head and call these expressions and head apply.
So now what's happened is on the buffer blend shape.
We have this input called expressions, and we have each model represented in an animated BL layer here.
So now we can get the head to actually animate and we could use multiple ones of these together.
So it's pretty cool and we're going to learn a little bit more about how to animate these and in the
animation part, but it's fun to just play around with this stuff and you could separate this out.
You could have, you know, do one blink for the left eye and blink for the right eye and separate.
You could go really deep on this stuff.
You could have a ton of blinn shapes.
And this is how and big feature films, how they create different facial, different facial expressions.
And they can have, you know, 100 of these things are more even to capture what a human face would
do.
So play around with that.
And then I'm going to I think at this stage of the game, if you've made it this far in the course,
I think you can go back and create your own attribute, go to add attribute and then create a set driven
key of the expressions.
Right.
Set driven key.
And I'm going to leave that up to you as homework to make a set driven key on add new attributes to
the head control.
All right.
That is going to be the homework for this.
I feel like you've made it this far.
You should be able to do that.
And if you can't, then you need to go back and watch the set driven key lesson and then you'll be able
to do that.
So just to to make this in your mind, I want you to have to do that yourself.
Otherwise, I don't think you'll learn as much so we can hide all of this stuff and we can always come
back to it and change these models as well.
OK, but they're all in this head group, so we can just group them together and call these B.S. for
blend shape and just hit hide.
So go through and make those set driven keys.
And in the next lesson, we're just going to clean up this rig.
So it's going to be ready for animation and then we'll be done with this part of the longer course here.
Thanks for watching.