Let's continue learning more about in cloth and the specifics around adding in cloth to characters.
So I have brought in the Olympic cache or animation into its own scene because we can, you know, work
a little quicker with less stuff in the scene and we can just export the vest dynamic out as an Olympic
cache once we're done.
So it's just kind of nice to work on a scene by itself now.
So I've created a vest and you're welcome to remodel this if you want, like a bigger neck or something
or different design.
You can also texture this any way you want.
There are leaves on it.
And that's another thing I'd like to mention as well, the fact that it's very important to have UVs
on your cloth because you can actually paint different properties to the UVs and it'll save them in
the UV space.
So say if you wanted, like, you know, the color to be stiffer or something, you could actually paint
that in and that'll be saved according to its UV coordinates.
So if you don't have UVs, you won't be able to paint that stuff on properly.
So that's very important.
But let's just get started with this.
You know, you can notice that we're at frame 800 and if I scroll through here, the animations should
start around frame.
99, 20, I guess, is when we started it, so it's going to bring this to maybe like a 50 and then
we can kind of get a sense of how it's going to settle before the character starts to get into position.
And because he's not really interacting with anything else.
So that's why I don't have any of the set or anything in here.
And so let's go ahead and create the end cloth.
And so I'm going to go to the effects menu, as we've done before, and cloth create and cloth.
And we get our nucleus as normal and I'm going to increase the sub steps.
So the quality is higher from the very beginning.
And I'm going to get the start frame to go to a fifty.
And again, I'm in the nucleus and I want to get the space scale correct, as we've mentioned all throughout
this course.
And there should be point zero one.
So it's physically accurate.
And let's scroll up gravity.
Everything else is fine and then we can go to the properties of the actual and cloth itself.
And so let's get the stretch to go up because we don't want this thing to stretch or compress all crazy.
And I think what we're going to see is the fact that, well, A, this things will just drop to the
ground because we have no constraints, we have no collision properties.
And I need to make sure that my playback speed is every frame.
It's only 50.
Let's make sure that's correct.
That is only 50.
So they should simulate now.
Now it's going so we need to create colliders for it and we need to constrain it to the collarbone,
basically.
So what I'm going to do is only use the kind of torso geometry as colliders and just ignore everything
else, since that's all it's going to really be colliding with or should be colliding with.
So let's create a passive collider for all of these pieces.
So I'm going to open up in cloth.
I'm going to tear this off because we're going to do this multiple times.
I'm going to create a passive collider and I can actually just like things and create a passive collider
for all of them at once.
So I've already got the spine, so I just need to do the scapula and the clavicle and.
Yeah.
So now we should be good to go create a massive collider.
Now, Angelis and rigid shapes, which again, you know, really there's nothing really to adjust with
these.
You may run into an issue where you need to adjust the collision thickness and so you can actually see
that under salver display.
Let's for example, go to this clavicle bone and we can see it's in rigid shape, too, and we can turn
on salver display collision thickness.
So we get this kind of visual cue of how far away from the geometry that the collision is going to occur
and we can increase that distance or we could decrease it even past where the geometry is.
But in general, you want it a little thicker than the geometry.
And yeah, that's fine.
We could increase the stickiness instead of doing constraints.
We can make this super sticky to their rigid shapes there.
There's all different types of ways you could approach this.
And to that point, I also want to mention this really nice resource on YouTube.
It's look up this playlist called End Cloche Shape Dynamic Properties.
There's 30 videos.
It's by the account called Discovering Miah.
And they basically did an awesome thing where they went through each of the attributes of in cloth and
they demonstrate exactly what it does.
So instead of spending hours, you know, showing you that, I just want to show you this resource because
these guys already did it.
And yeah, you can go access that.
So when we're looking at these in cloth, all of these little attributes here, you can really quickly
get that resource and not have to test yourself every time.
Because I even have to remind myself sometimes.
Like what exactly?
You know, how does that affect the the dynamic?
So that's just a learning process, getting familiar with what each one of these things does.
And just by the name they try to, you know, obviously give you some indication of what it does.
But yeah, for the most part, you're only going to need the stretch resistance, compression resistance.
And we're probably going to use some rigidity here or deform resistance to kind of keep it a little
stiffer.
And then we may increase dampening here, which let's just go ahead and do that.
I have a feeling we're going to need to do that.
But getting familiar with, like, you know, what is point zero zero five mean for damp, really?
You know, it's kind of an arbitrary number.
So you kind of have to just play with this stuff and get experience with what really is going on.
But I encourage you to, you know, find this YouTube playlist here.
It's kind of a crazy long name, but yeah, you should find it.
Discovering my.
So anyway, we have our own cloth ready and we need to constrain it as well because the collisions aren't
going to be enough.
This could just slide right off.
We can just play and test it.
I see it kind of slips and slides around a little bit, and as soon as this guy starts moving, it's
probably going to go all kinds of haywire and slide off.
So we can just kind of see get an idea of how much we need to do to to help control this thing.
So it looks like I think what I'm going to like to do is just add some rigidity to this and we can actually
even do it while it's simulating so we can just increase rigidity or increase deform resistance.
I'll take that back because it looks like we can do it.
Well, it's simulating sometimes you can, but I think this is passed out because there's so many passive
colliders to deal with.
So anyway, that the vest was slipping and sliding.
So what we need to do is add constraints to the clavicles.
What I'm going to choose, because if you remember from the rig, this is actually can move up and down.
So I want this to be the best to be constrained to it.
And we just need to choose what edges are vertices we want to constrain.
So I'm just going to choose the ROE that is related to that kind of clavicle.
And we can kind of do loops.
We can kind of do.
I think I selected through the geometry there, we can kind of do each side at a time B to turn off.
Soft selection was on.
So let's go to end constraint and go component to component.
And you can kind of see that, you know, it's trying to stick to that clavicle bone.
If we hit play, we should see that this is going to try to stick there.
You can see the left side kind of slides off in this right side, kind of stays where it was originally
kind of meant to stay.
So, again, we can compare the right and the left side.
A little bit now, kind of follow this along.
It's going to hit escape so we can get our camera in the right spot, going to just hit F here and see
and see where the constraint is working.
But we still need some help because everything is collapsing in through the ribs and stuff.
So let's increase the rigidity a little bit.
And it looks like, you know, we did have a deformed resistance on.
But I'm going to favor rigidity a little bit.
And let's just go ahead and make that other constraint while we're at it instead of, you know, comparing
this every time something just like those edges them as shifts like the clavicle could and constraint
and say components to component.
And then let's play and see if we have enough rigidity.
I'm going to slip and claw so I can.
Yes.
One, you know, let's just call this two and and play.
So yeah, it shouldn't deform that much yet and we can actually animate that on and off.
Once he kind of jumps in the air, we could animate the rigidity to be less, but just to kind of help
it get into a good starting pose, we can, you know, keyframe these attributes to our advantage basically.
And the other thing I'm looking for is because he's going to start moving a lot quicker.
How fast that this character moves is going to affect the dynamic constraints that we've made and the
cost simulation.
So, so far, so good.
Yeah, now it starts to tear through, so I think what we need to do is increase the steps and if you're
not familiar with some steps, that basically means, you know, the other thing is the fact that.
These are trying to follow the clavicle, but I think it's probably the substance and the fact that
our rigidity is is kind of high.
So I think the the passive colliders are fighting the rigidity of this.
All right, because this is super rigid.
It can't flex around these.
So you might need to keyframe the rigidity a little bit.
And let's have three just to see how this smooths out.
Yeah, I mean, it's not terrible and it's going to be moving so quick, we could probably get away
with some interpenetration of the vest, but let's, you know, try to troubleshoot this a little more.
So let's go to whatever frame.
You know, I'm just ignoring how crazy the cloth is trying to evaluate and just ignoring that for right
now.
So I'm going to.
Keyframe, the rigidity probably in here is so it's a set of key to select it so I can see it where
the key frames are here and it's going to turn this down.
It's going to give me a bunch of errors, and if I wanted to scrub in and get in, I get those errors.
I can just disable the and cloth and then we can scrub and it's not going to try to evaluate.
So, yeah, let's turn this down to like point to five.
And and then let's also increase the sub steps here and right here, so it's just double all this,
it's going to slow everything down.
But what some steps does basically is say between each frame, how many times am I going to break this
down and try to evaluate it?
So we just need to turn back on Klaw and let's just go ahead and cash this out so that we can play it
back in real time and see where the problems exist and where we need to troubleshoot some more.
So I'm going to call this vest one here and have one file.
It's going to be the time, slider and let's say create and I'll see in one second.
So now that the cash is done, let's take a look at where the problem areas currently are and how we
can address those.
So let's look where we animated the rigidity off here and.
Yeah, everything kind of, you know.
Slides off and crashes through.
Yeah, it looks kind of.
Not great right now.
So this was, you know, part of cloth is dealing with these issues and then it gets stuck on itself.
Yeah, so.
I think at least we solved the issue of it kind of crashing all the way through, for the most part,
it looked like it got caught on the spine and it got like I think what happened is it got it went above
the spine and it's looking over the top of it because the head is in a passive collider.
So it's not preventing it from sliding over the top of the spine.
So we just tie that super quick thing and see what I'm saying.
I think, yeah, it's just getting looped over the top of the spine.
So we'll probably need to include the head here.
So it prevents that from happening.
And that might solve a lot of it because it looks like that's why I got stuck and got hung up there
and then got into the rib cages.
You know, the other thing that we could do.
Let's go back and.
May find the head here and unhide it, and then I want to create a rigid or a passive collider for the
head and then.
Create a massive collider.
And so now they had having a passive clutter, I'm just going to, you know, do these iterative caches
so we can kind of see quickly what is actually going on.
So it's going to replace that one and replace existing.
And I will see you in a second.
All right, now that the cash is done, we can kind of take a look, see where this is getting caught
up.
It looks like it did improve a ton.
Now it's no longer getting caught on the spine that we included, that we included the head.
I will say it looks way too rigid right now.
And it also looks like there's geometry that got caught on itself here.
We can see it kind of folded over.
So let's turn down the rigidity even more, especially towards the end.
Let's just get this to hang on this last pose.
Let's get this thing supernaturally sold, turned into all the way off by then.
And then let's increase the remember the Max Self Cleide iterations down here from the last two examples.
Let's just crank that way up and hopefully that should work.
There's also these little trap checks stuff.
I'd actually have to go back into the mine documentation and you know exactly know what these do.
But this kind of helps set the threshold for how geometry should push out from itself.
Let me just go to the collision.
And yeah, there's also, I just should mention, south collision flag vertex face, there's these different
ways that it can calculate the collisions and full surface is going to be the most intense of this would
be like a last resort.
If not if it's still not working, I might go to full surface.
So it'll calculate exactly the surface instead of vertex face, I think is a combination of vertices
and faces.
But anyway, so we've increased the max self collisions on this and cross-shaped on here and we need
to also adjust the rigidity.
So let's see.
That's a little wonky.
It looks like when it goes midair.
Let's see.
So let's maybe maybe relieve the rigidity, I'm thinking maybe we should.
I don't know, yeah, it's hard, you might have to experiment with this yourself to get the best results.
Let's see, I mean, that's not terrible and we can't see the back anyway, like where it's going through
this, we're scrolling through this piece, the scapula.
I think what the deal is, it's going through this piece.
So what we could do let's go back here, what we could do.
I think this might break everything, but what we could do is just drag this stuff out.
To make sure that the holes here don't go past it, so.
Yeah, that constraint followed that all the way out there, so I'm hoping that didn't break everything,
but I'm pretty sure that's, you know, a legitimate thing you can do.
We're going to find out soon enough.
But so.
Yeah, and then by the end, we wanted to make sure that we have the rigidity all the way off so that
this last pose isn't it looks kind of fake.
So let's go down to rigidity and just turn this to like point zero zero one or something.
I don't know, maybe do that sooner while it's all settling.
Down here.
It's a lot of jiggle right there, though, I think that might be because of rigidity is so much, it
can't move independently.
So anyway, we're going to find out.
But I want this rigidity kind of maybe last a little bit longer here, so let me say, like a one five
here sort of favors this rigidity.
So let's go back.
And we've increased the max collisions.
We have extended out this part.
So it will collide hopefully, and with that and not go around it.
And what else have we done?
We have animated the rigidity.
So let's make an update here and I'll see you in one second so that cash is down.
Let's take another look.
And it looks like we still have some issues with the max collisions here and we can maybe do with some
increase in some steps.
So.
Let's take a look and see where when this actually happens, because it looks like it's a well before.
Sit in the saddle, it looks like it's maybe in the jump on this, you know, we can see these folds
are already happening here.
So I'm just trying to go.
Yeah, of course.
It's like when it's moving that fast, this is the chance for it to really screw up.
So we may need to keep rigidity up there.
Yeah, I see.
It just gets also bunched up.
We could also animate the sub steps is another trick.
It's like this.
And keep let's let's keep the rigidity up for now and.
Let's see where we can start to crank it down, I think somewhere in here probably is worth cranking
it down.
And like I said, the other thing that I think what I'm going to do is to animate the.
So when you increase the sub steps, it takes longer.
You know, it increases the calculation time, but sometimes it's necessary to solve for some of these
issues that get created.
So I'm just going to set a key here and increase it to like maybe 50 and then.
Let's set a key here and then let's bring this back down to like twenty four, maybe down in here somewhere.
Actually, let's just extend this out through that kind of jump so that we get the most calculation,
because basically where we have the most problem is where we should be concentrating the highest amount
of calculation to resolve it.
So.
And when you so we've basically increased the substance and we have the rigidity left on, so it's yeah,
it's basically you can kind of get a sense for what effects work is.
It's a lot of back and forth iterations.
It's trying to tweak values so that you get the, you know, the right kind of physics and kind of art
direction of how you want things to flow.
The other thing we could do is create a transform constraint and physically animate constraints to keep
the vest on the way that we want to.
I'm trying to avoid that as much as possible and trying to just get it to work based on the physics
of the nucleus.
So I'm going to create a new national scene one second.
So real quickly, I just want to walk you through what I did to finish this cache correctly.
I noticed in here the chin went through the bone in our animation, through the chest bone.
So shelving the vest through the clavicle.
So I had to do was to select these vertices of the chin.
And then I just moved them up.
So they were out of the way so that they weren't going to smash the vest through the clavicle because
I was getting stuck under there.
So we can make adjustments to this alembic cache geometry and not have to make changes in our animation,
which would be a much bigger process.
So that solved that.
And then I also loosened up the rigidity during the jump a little bit.
So you can see it's two.
And then I went all the way to point zero one at the top of the jump and then point zero four and then
point one five kind of to get it to settle back down and then loosened it back up.
And I could probably maybe even loosen this one up to like point oh five or something or just leave
it at point zero four because it gets a little stiff in here.
You can kind of see it moves a little solidly.
But anyway, it definitely open up this 13 and cloth, investigate our underscore end scene file if
you want to see kind of these settings and how I animated rigidity and to take a look at that, to compare
to your scene if you're running into any problems.
And yeah, basically this works now.
And Akaash this out, all we need to do is select this geometry and we can go to cache Olympic cache,
export selection to Olympic.
And I'm just going to save it under the name of this scene.
And it's going to be Olympic.
And we have all of our correct stuff selected.
So I'm going to export that.
And we can just import that Olympic into our main scene now and then we can just save this one out.
If we need to make any updates to it, we can come back into this scene and re-export another Olympic.
But I will see in the next lesson.
Thanks for watching.