So I want to cover Olympic cashes and why they're important, we have a scene that I've animated for
you there.
We're going to use throughout the section of this course to create some effects and to make sure we
have a skeleton that pops out of grave.
We've you know, if you fall along, you've modeled, rigged, animated, textured, all this stuff.
So you should be familiar with this rig and all that.
But anyway, I animated this whole thing for you, so you have to worry about that.
I did provide as a bonus content three hours that it took to animate this.
So you can see exactly what I did.
There's no kind of smoke and mirrors.
You can follow along with that.
But so for this lesson, I want us to talk about Olympic caches and Olympic caches are important because
when you start to do affects work, you kind of want to lock in your animation.
And for that reason, you can get rid of the rig.
So there's a lot of nodes.
You know, we have a lot of keyframes.
We have a lot of controls.
We have joints hidden here.
There are a lot of things going on here that can be very intensive.
Tamaya, and once you start doing simulations, you kind want to focus the intensity on the simulations.
You don't want it to be calculating the rigs while you're playing back for simulation.
So we want to cash this out.
So it kind of takes everything down.
And the way to do that is with Alembic caches.
Now, there's a couple little catches here, so there's something I can tell is starting at frame 1001,
and that is because we need to pre roll for all effects work.
So if you ever work for a big studio, every scene probably is going to start on frame 101 or 1001 so
that you have a lot of pre roll.
And so if we go back a little bit, let's go to like frame 800.
We can see there was actually a lot of animation that happened before Frame 1001, which begins our
animation.
And the reason is, is because later we're also going to find out we're going to create a vest for him.
So for the class simulation, we want a lot of pre roll so the cloth can settle and it can be attached
to his body in a very default pose, and then it will slowly morph into the pose that it will be animated
from.
But we need this tempo's to kind of help start everything off.
And the same is true.
Run up for like smoke or fire or whatever.
You want to have smoke on screen.
You don't want the animation to start and the smoke starts the same frame that you're watching.
So, like, the smoke would be already there, right?
So you need approval at least enough so that it gets to the top of the frame.
So that's why we start so far back.
And I bring this up now is because when we're going to cache this thing out, we want to make sure that
we have all the Proval included in that Olympic cache.
So to get that, we need to unreferenced the the bones right here so we can actually select the geometry
and then also deselect these so we don't get the cons or joints.
And the other little tricky thing about Olympic caches is, at least in this version of my you will
get an error if you select something that has a parent kind of relationship.
So if you look here in the head, we can see we have this kind of blackout thing and this little card
back here that so the inside of the skull is black.
If we were to select that and the head, it will give us an error when we try to alembic cache.
So you want to be sensitive to those relationships in your rig.
And so for that reason, when I click select everything, so if I click drag, select everything, it's
going to give me an error.
So I want to shift to select that.
So at Deselected and I have this little script editor open, which you can open up down here and will
contain the history of everything that you've done.
And so you can see select toggle Brownrigg plain whatever.
And that's what this is called.
We can see this is called plain one.
So if we select everything, we can see it read out that, you know, we selected all this whole long
list of stuff.
And if we go in here in shifts like the plane, it's going to toggle a selection.
So it's going to deselected, but it's going to look like it's selected because it is a child of something
that is selected.
So it's a little confusing, but you just need to know, don't select something that's a child of something
else.
So, for example, in this hat, you know, the Jamestown's and this little braided rope thing are all
children of the hat.
So all we need to do is select just the parent piece of geometry, which is the hat.
So now we have the selection that we need to create the Alembic cache.
So all we need to do is go to cache a little bit.
Cache export selection to Alembic will open up this option box.
The main things that you want to make sure are you have you right on so that we actually get UV rays
with the Olympic cache.
It's going to create new geometry, basically duplicate all this stuff out frame by frame with the animation.
And we want WorldSpace so that it's put correctly and.
Based on world position and again, back to the pre-war stuff, we want to make sure that we have rolled
920 as the first keyframe that we have for the pre-war.
So everything before nine twenty, he'll just be in that tempos.
So, you know, we don't need to cash everything from zero all the way through.
We just need to get the first keyframe, which is on frame nine 20.
So we have nine to twelve hundred.
We have these two things checked now we can say export selection and already have the name set up here
and export that.
Yes.
When we replace it and it's going to run through the whole animation, bake this out and then we are
going to reimport it back into the scene so that we can apply the shaders because one kind of not knowing
anything about Alembic caches is it's not going to give you the materials and shaders that you've created.
So let's go to cash and import the Olympic cache.
And that's when we just did.
So now when you look at the outliner, we have all of this geometry from the rig, and let's just keep
this so that we can kind of keep this organized and call it the Alembic rig.
So now when we saw this, it looks like it has texture's, but it's just happens to be around top of
the actual rig that's still on the scene.
So you can see that this is all not textured properly.
And what I'm going to spend some time doing between this lesson and the next is is going through and
reapplying these things.
And how I would suggest applying these textures again is open up the hypercharged.
So we have the hibernate open from this little button and we see all of our shaders here listed in materials
tab.
I can right click and say select object with material.
So it's going to select the geometry that has this material.
So when I look in the same let me on solo everything, I can see that this is the actual hat.
And I don't want to say one little thing about this so we can see it's not the gem's, it's not that
and kind of back to this kind of parent child relationship.
So we know this first thing is going to be applied to the Olympic cache, that if I select this, we
didn't see that.
We're actually getting the gems, the rope.
But we we know that these have different shaders.
We don't want to apply the shader to those pieces of geometry.
So if we said Cyrilla selection, it's going to Sirt it to the gemstone.
But this Qenos only for the hat.
So how do we get to that is actually pressing down on the keyboard.
So I'm going to head down on the keyboard.
So it's going to go to the shape node of this.
Right.
So we're no longer in the kind of parent hierarchy and you can see this in the outliner, just kind
of getting the nitty gritty of this, since we're already talking about some some deep stuff here.
You can see like when I select the hat, it's like this, a blue color.
When I press down, it looks like.
I'm selecting something in a hierarchy, but I can't see anything in the hierarchy below this.
Well, that's because we don't have the shapes displayed and this is just kind of an organizational
thing for Maya.
You don't have to worry about this too much, but just know if something is a parent to something and
you don't want to apply Shaner to it.
Just press down on the keyboard and we can.
Right.
Click on this and say assign material to selection.
So now we know that this hat has the right shader.
So between this lesson in the next, I'm going to go through here and say select objects with material,
see which object it is, and then assign it to its Olympic cache counterpart.
So I will see in the next lesson where we will continue to use this Olympic cache and get rid of the
rig so we can just use the cache and then we will talk about breaking up this ground when he punches
through with his fist here.
And so we're going to break this up and have a dynamic simulation for that based on the physics that
we've already learned, but with a couple new tools and tricks.
So thanks for watching.