So in this lesson, I just want to talk through a little bit about what the kind of final stages of
rigging are before we begin, I wanted to include this update about how to include the head in the scale,
because since we've created the entire rig, there's one little piece missing to make the whole thing
scalable.
So at the beginning, early on, we included all the cons in a group and then we scale constrain that.
But we miss the geometry that had because that came afterward in a later lesson.
So let's include that now so we can click the go of the head and hit F and outliner to find it.
And we can see that it's under this head group here and that group is only parent constrained, so its
not its parent constraint to this con.
So it's not going to follow the scale of anything.
So we need to include the scale, a scale constraint on this head group.
So it's like the bones are it because we want it to scale relative to that and let's select the head
group by holding down control and left clicking and then go to constrain under the animation menu here
and we can go down to scale.
And now we can see that we've added a scale constraint to this group and when we scale the bones route,
the head will follow.
All right, let's get into the rest of the lesson.
You know, in this course, like super congratulations that you've made it this far.
If you're listening to this video like you're in the top one percent, I wouldn't think most people
even get this far.
It's a technical topic, but it's it's invaluable.
It has to be done in animation, like you can't animate things without rigging.
So this is incredibly important.
And even if you don't want to go on to rigging specifically, it's important to know as an animator
or as really any other kind of specific tract in the industry, whether it's games, film commercials,
whatever it is, having any background and rigging is very, very valuable.
Even though I'm strictly an animator, usually at my studio jobs, I find myself having to rig my own
things.
Let's say that the rigor, you know, messed something up or you have a scene where you need the prop
to be built a certain way and the rigor is way underwater.
They have too much work and they can't get to it.
It'll take a week or two for them to get to your request.
So if you have any knowledge of rigging, you can just do it yourself and keep going and keep moving
and work fast and be very valuable to a studio job if you have, you know, just a little bit of general
knowledge like this.
So this last lesson, I just want to go through and tidy everything up so that this is ready for animation
and you understand what to what an animator will want.
Right.
So what an animator will want is to not see any joints.
OK, so there's a couple different ways we can do that.
Let's because we used parenting, we can't just straight up hide them because it would hide the joints.
Sorry to hide because it would hide the geometry that the joints were parented too.
So, for example, if we just hide this joint, it's going to hide all of the geometry there.
So we don't want that to happen.
So real quick, I just want to add this part and you could actually hide the bones.
It's possible, but it's all tedious so you can select a bone, go into the attribute editor and then
go down to draw style and you can choose none.
So it'll hide that joint, but you'll have to do it for every joint in here and go to go to draw style.
None right either way would be to actually go through the spreadsheet that we've already learned about
when we were adjusting the paints, the skin weights on the spine.
If we go to select and we go all by type, I mean choose the joints, let's go up to the Windows Journal
editors and go down to a spreadsheet that we've gone to before.
Now, if we go over to all.
We should be able to get to the draw style over here under joint, so let's scroll through this and
see if we can't find that option so we can affect all of them at the same time.
So over here, we have the draw style and we can select all of this and go to the bottom and shift,
click the bottom and type in none and enter.
And that way we have hidden all of the joints through the spreadsheet.
So one other thing I wanted to do was to show you the fact that when we're animating this thing later,
we may not want to give the animator access to all of these controls, namely the visibility and the
scale controls so you can actually hide controls from here.
We could select the skill controls, go to channels and scroll down to hide selected.
So we can get rid of those, because those aren't going to be useful for the animator, they're not
going to scale this control at all.
So it's actually just getting in the way of making this area more complicated than it needs to be.
We can also get that stuff back by going to edit and going down to the channel control and we can select
which ones we want Keibel and Noncredible hidden.
So there's a long list of other attributes that we don't actually see there.
And the ones that we had were the scale.
So we could select those by clicking them and moving them over into the Keibel and now they're back.
So that's the way to control what's actually seen over here.
And a tidy up your rig in the case that you don't really want to show the scale for most of these controls.
The other thing we can do is get rid of the locators.
We have a bunch of locators there.
So there's one kind of nice tool we can go to select all by type.
Let's just tear this off and let's choose the IKEA handles and let's hide all of those controls.
And unfortunately, the locators aren't you know, you can't select them from here.
So we can just like them from the rig.
We know where they are.
There's one on the head and then one these couple on the on the hands here and the one on the head.
And I think that's all, if I'm remembering correctly, others Netherland's fine, so let's hide those
who control each and we can also get rid of the curve.
I don't know if you remember, I never really addressed the fact that from the modeling section, we
left this curve available to edit.
So in here somewhere there's a spine curve.
We can just delete that whole thing so we can tidy that up and oops.
And for the most part, that's all you need to do.
But one one really nice thing to do is to put all this stuff on a display layer.
So let's grab everything that's not a con so we can grab.
The actually, we just do it from the joints, let's let's select all by type the joints again and then
we can even select the spine.
We can see what's not selected and go through and select this stuff at the head.
And we got everything.
We want to make sure that no controls are selected.
OK, and then we'll go to the display menu over here.
So we here on the bottom right, we can click this far button and we'll take any selection that we currently
have and I'll add it to a new display layer.
So I click that.
And what this does is we can say.
No touch.
Call it bones case, there's multiple rigs in the scene, you can see the name and we can turn everything
on and off really quickly.
But what's more useful is to turn this to R, which means a reference.
And what that means is I can't select this stuff when it's when it has the R on, which means a reference.
OK, so the other thing the animator is probably going to do as soon as they open the scene is go to
show and turn off joints.
So that's how they'll control whether or not they see the joints.
And for your peace of mind, you'll know that they are going to be animating the joints or the geometry
themselves.
And if they want to, all they have to do is just hit this button over here and now they have access
to that.
So that's pretty cool.
And so we can hit our again.
And now we're back to that mode.
So I do just want to say a final congratulations on finishing this section of the course.
It's a lot to cover.
And this definitely isn't an exhaustive rigging course.
This is definitely just, you know, meant to introduce beginners to it.
And I think it's done a pretty good job.
But there's you know, there's always more to learn and that will never change.
That's the one consistency.
You know, I don't care who you are, you're there's always going to be something to learn.
So just keep that mindset and keep going forward.
And I look forward to seeing you in the next part of this course.
And we'll continue learning through the animation and Autodesk.
Thanks for watching.