Hey,
this is just the helmsman from the Planter Institute and in this video
I will show you how to link and set up the character Vincent.
So he's ready to be animated.
Vincent was designed by Matias Mendiola
modeled and shaded by anti garage check and rigged by juan Pablo Botha.
You can find a link to the Vincent rick on the blender cloud
right here next to my face.
To start off, we just have a totally empty startup five.
Let's just leave everything.
Let's go and link
Vincent.
So here he is
go to group.
Just link those two things in.
We have Vincent,
we have the two versions. We got the low and high. Let's just delete the low one.
We don't need it for now
and control all T. P.
Berlin.
We are making a proxy for the plan rick
for the rig itself
and then you go to post modes
and here we have him.
Let's just simplify the scene.
Where are you? Here we go. Simplify subdivision to zero
and now it's a little bit lighter.
Of course we want to switch to cycles.
There we go. Now. He's colored a nice
now in order to utilize this rig fully,
you need to go and download the blend rick and install it.
I can find a link to that
here.
Once you have blend rick installed
you can have this nice little panel
and has all these different options for the rig.
So what I want to do is just go over
a little bit the different settings that I usually use
if there's particular settings I want to set to,
I'll usually make sure that they're also keep just so if I go out
of the filing back into the file that they're still in the same position.
Um so for the eyes I like to, so there's different options. I like to set it on one
that that's the body setting.
That just means that if I moved the master it goes along with it.
But if I move anything else then it stays there.
So let's just keep that.
Then you got the head
and
I'd like to Hinche that just like with the human body if I'm moving to the side,
my head keeps uh readjusting itself
and that's kind of what's happening here. Kind of readjusts itself.
In some cases you may want to not have it hints, but
if it's just the basic animation test then yeah. Sure. Why not?
Uh Now you,
for me personally, you can also hint the neck. I find that
redundant and weird because in that case
then it's not really the pivot point becomes here
instead of here.
And it's a bit weird that it feels like the neck is a bit broken when that happens
for the arms
in this particular case
because it's only I'm only going to oppose him right now just as a demonstration.
But but for the settings,
I'm going to
do the settings as if I were to just animate him
without leaning on anything and it's it's a pretty basic settings
that involves F. K. So it's so it's basically F. K. Armed settings.
However if you want to do ik settings for the arms,
uh that means that if if you place the hand in a particular place
and then if you move him around that hand shouldn't move.
However by default the Hinges set to zero.
So if you did want to use the ik setting which is right here
And it's set by default. You want that hints to be at one.
Um Yeah that's left arm. There we go.
So now if I move them around the hand stays where it is.
Now you notice that when you pull it too far then he kind of pushed the hands with it.
If you want to use the ik control,
then I would recommend having the stretch set to one.
Um Not because you want to stress the arms in particular, but just because
there are gonna be these moments where you may
be faking something or you there there's a moment when
you made a mistake,
then at least the hand is at the right place when it happens and you can adjust for it
because sometimes you want to,
you want to cheat it in such a way that you just
take the arm and scale it up slightly or something like that.
It just depends on the situation.
So by default you can see his uh screen left arm
is not set to hinge. So even though you can kind of pose his hand,
it's still kind of follows the torso,
which is fine, it's just good to know what the settings do.
But in this particular case we are going to use F. K. Arms.
So we set the arms to F. K. Track those little things and let's just key that
um
we want we do want to hint the arms, so let's keep that also.
Um That is that means that if you do rotate
the torso,
the arms are going to just like align themselves kind of like with the head.
Uh And in a lot of cases you don't want that to happen.
But if it's not, if you're animating him, just being
kind of relaxed in a normal post and he's breathing and he's moving just a little bit,
he's not doing jumping jacks or whatever,
then it's actually gets kind of useful to do it
because if you post the arm in any particular way,
let's say like this
and
you can always add a little breath into him by rotating the shoulders
up and down and it won't affect the pose of the hand.
Otherwise the hand will start moving up and down and
and you don't have a lot of wiggle room there.
So let's just clear that okay
now in this case when you have F. K. On,
you actually don't want the hand itself to hinge,
see what happens there. It's kind of,
it's kind of hinging on its own. So you have that to zero.
Let's just keep that same with her left and right.
Mm hmm. Care that
with the legs we just want the, want them to be Ik that's fine.
But the only thing we want to change with the legs
is stretching. This is kind of important.
I would say that
this is something you really don't want to forget to do
because if you're making him walk or whatever and you go a little bit too far,
it's better to have the leg be just a little bit stretched than to
see the foot itself popping up and down like slightly just ever so slightly.
It causes this weird vibration whenever you,
whenever you're trying to post him
and allowing it to stretch just gives you a little bit more wiggle room to work with.
Okay, so everything is cleared up
and those are, let's see,
yeah, those are all the different settings.
One more, I forgot
the I. K. F. K. With the body itself.
So right now it's um it's set to ik we just fine
in and of itself if you only mean to rotate it,
but it's giving you this extra option of moving it
and uh it's really hard to control and it doesn't really
mm
Well,
I don't know, I wouldn't use it for anything really.
So I would
put that to F. K.
So right now that's set to F. K.
So you see that you get those red controls instead of the green ones.
That's just the key that also
Okay, so those are all the different settings.
Now, if we scroll up and we see all the different armature layers,
we are,
I'm going to go over what bones you may or may not want to use in this particular case.
You just,
it's on an individual basis depending on the the animator and the shot
he or she is required to do at that at that moment.
So in this particular case,
I'm just going to demonstrate the bones I might use for just a simple animation.
Um So first of all, let's just
let's reveal
these three layers. There's the facial too.
The Tune one and tuned to
uh and also fingers and toes.
This is
kind of a pet peeve of mine because it depends on what you're doing.
But the blend rick has this feature for example,
that you have this kind of hand bone here at the end of the fingertips.
And if you scale it up and down, it starts making a fist, which is kind of cool.
And it can be really useful. Um
thing is it's all it's so automatic that
it
it moves in only this one way and now if you want to do anything else
because that one pose is probably not going to be the one you want or what are
um
it's hard. You can customize it on top of that, but then you're contra animating
and uh what would be better is that if you
if you sculpt that that gesture yourself completely from scratch
now, a half step two that are these controllers
which are these kind of finger
extenders,
I don't know the name
um which are super cool.
You can you can move them, you can rotate them and then if you scale them
your finger course like that,
that's really cool.
Uh The problem with it not problem because this is kind of a half and half solutions,
so it's really cool.
However, when you want to do something really specific,
like you have a really specific hand gesture of the hand is uh
touching an object or it's it's grabbing something in a particular way you
really want to sculpt that hand gesture and when you do that though,
those are not going to be really nice to work with
because they will only give you a certain amount of freedom.
Um so one step further and this is of course like it's
it's on the spectrum of simplicity but not a lot of options.
And then complexity with a lot of options,
you can go even further and you can just use these these are kind of the
the direct bones for the fingers.
Now, what some people do
is that they may
use the kind of the simpler
simpler bones
to first get
in the right direction and then use these uh
these more complex bones to kind of refine it
in my experience that
works sometimes and sometimes it really doesn't work because
what ends up happening is that you
um you're now using those tweaked bones to counter animate
something that's happening in a bone that's one step above.
So for example, let's say, I really want this finger to go like this
and maybe like this, however,
this, the tip is moving too far. So let's say
I local or normal either way.
So let's say I want that back.
So if I just
pull that back
now I have the post that I want.
The problem is now these two things, this one and this one are conflicting.
So it may look nice,
but when it starts interpreting there's this weird hiccup that might happen
and this is a simple example, but like in a more complex situation,
these hiccups kinda add up and they become
um
hard for you to decipher what's wrong, What, what?
There's something weird happening.
So that's just an example of the fingers.
Um if it if it were a super simple animation,
I would just go ahead and use these guys just to
get like a really nice relaxed pose for the hand.
However, in most cases, for me personally,
I actually really enjoy just sculpting the hand with the, the actual
finger bones. So going, going full detailed right from the get go,
it also helps you out of it when you want to copy paste poses.
So if you have a really nice post that you like,
you can copy paste it without having to worry that.
Oh yeah I also have to copy paste those extra bones that are on top of it.
So that's quite nice.
Now we're going to make a selection set of the bones that we want to use.
A quick tip first
the outline er that's here in the top right corner.
If you're not using it
then I would recommend just hiding it or just
you know make it disappear because it does use some
CPU and if you're not using it then and there's
no real reason why you're slowing down your file.
So in order to choose which bones we want to use. Let's just unheard everything.
All the bones
we have him here
and what I usually do. So we have a selection set. We go to the armature panel
and
let's just hire all these,
here we go. Selection sets.
So what I usually do is I just don't have anything selected and I go around
and I pick and choose which bones I want to use
and I just hide those bones and then later on I can um hide them and then those are the
only bones that are going to be selected and I
can make a new selection set and put them in
or assign them.
Let's take the master also.
There we go.
These here
this one also.
Mm. Yeah let's take the toes.
Sure
take the football
both of those
and Nicole targets
totally.
Let's take the hips
where the pill was controlled because it's called
um
in this case, well
depending on what you're doing
you may want to
you may want to just use the F. K.
Control for the torso or if you want to be a little bit more fancy. You can
also have the kind of the F. K.
Spine controls if you want to do anything in particular.
Yeah let's just take them also.
Now the trick is to find the balance between not
too many bones only the bones you really need.
But giving give yourself a little bit of
wiggle room because sometimes it is better to have
couple of more bones that you're not completely sure you want to use
at the same time.
The fewer bones you use the better also because otherwise you're you're putting too
many keys and there's too many variables going on at the same time.
If you're for example just keying all the bones,
you're going to find that after
after about a few seconds of animation,
the file really starts slowing down. I mean these are this
This rig is 2261 bone.
That is a lot of information to be stored a few key. Every single one of those.
It's it's
it's too much man. It's too much.
Okay let's take the shoulders
and let's see
I got the F. K. Had control
and maybe I only take the neck control. Yeah let's
let's just take that
mm.
And then we have the F. K. Arms. Of course
those are red.
Easy to spot
and here
just select all of this and then un selective.
Yes this this
in these cases I'm
I'm only going to go for the
the finger bones themselves like the more detailed finger bones.
I'm going to skip this. This isn't
what I need right now.
I don't need this.
Yeah.
A little quick tip. You want to select things you selected.
But on the other side you do shift F.
That's quite nice.
But in this case because we're hiding it doesn't really help
us that much but it's kind of a cool quick trip.
So hiding that.
All right,
that looks good
to the same on the other side.
Funny thing is when you do one of those one of these videos you always do
something really stupid but it's not obvious to
me because I'm focused on too many other things
and then you the audience will spot it and you'll be calling out man.
He's such an idiot. I can't believe you click that button or
whatever and it's
of Bolivia's to me
so keep that in mind that it's it's not just that I'm an idiot.
Height
hide those
and we're working our way up to the face. I think we have everything we need from below
now. Do we really need,
we really need these right now. The breath bone. So there's a breathing bone here.
Um
it works fine, but don't, don't just use that for breathing when you're breathing.
You what you usually do, like it's nice to have one of those bones.
But what usually happens is that your,
your upper spine goes up. So it's kind of the chest area goes up.
It does puff out a little bit,
but it's
really important not to forget the shoulders because when you breathe in
those shoulders come up and kind of rotate a bit.
And uh if you,
if you only do the breathe bone and forget
about the shoulders then it looks kind of fake.
But it is, it's nice to use that breathe bone every now and then.
Especially for tweaking stuff.
Uh huh,
barely control. That's cute.
Mm
Well in this instance, let's just let's forget about this
and let's just work our way all the way up to the face. Now
here we're gonna totally take the look target one is important. So hide that one.
Yeah, let's take the hair targets. Why not?
It's going to be fun.
Play around with that a little bit.
All these different black hair targets.
Yeah, sure why not?
And then
we go to the most complicated thing, which is definitely the face.
So start off with a jaw, the maxi, we need the jaw
height, that
mouth corner left and right, totally, really important to have that.
Um this one I like, it's the mouth master control, you can rotate it slightly and
do some interesting stuff with it.
Um
I do think we need all of these little Twiki guys,
whoops, Here we go.
All these little red balls
around the lips
hide that.
Now we have them.
Um
do we need the tongue?
Well
sure.
Like let's say I you know, I'm doing this as a hypothetical,
what if I was going to animate a scene of him just standing upright and
he's talking a little bit of moving a little bit and uh maybe lip sinking.
So you know, maybe in that case I would
take the tongue.
Uh just the first couple of bones, I think that's all that's needed.
These things are interesting
and they
mm
I would say that there are cases where maybe I would use these
in this particular instance, I
probably wouldn't.
All right,
these two are nice
and
let's see
then we're working our way up to the eyes
now, regarding the eyes, it's
it's really nice to grab these cartoon bones that are surrounding the eyes. So these
yellow bones
and also the ones that are up here,
it's quite fun to play with.
It gives the face a little bit more of a squash field.
Of course you can you can take it too far as with anything,
but allowing using it just slightly to give the face
a little bit of asymmetry goes a long way,
we have the glasses, charlotte's,
well, here's the entire glasses, but he's gonna have his glasses on.
So let's just grab this
and maybe perhaps grab these corners because maybe we're
going to play around with that just slightly.
Um
yeah, these two.
Why not?
Is there a corner also?
Yeah, that's the corner. Okay. It's for the remnants.
Let's um,
focus on the eyebrows.
Now, there's the kind of main controller for the eyebrow
uh in a lot of cases is super useful
um
in this particular case, probably because you know,
I am like, I can, I can do do this up and down by using it.
But at the same time, I would probably have to like if I, you, if I went up
this is going to high up so I would have to counter animate that.
And then I have all these variables going on that counter animate each other.
So I'd rather just take these red ones and just use them to start with
and we go all the way to the eyelids.
The most important things here are these to hide those
hide those.
And these little dudes are super helpful for tweaking whoops, a daisy. Here we go
for tweaking the shape of the eyelids
and that is,
and after often overlooked thing
because the thing is if I'm looking in this direction, there's gonna be this light um
distortion in the shape of the eyelids.
And then if I don't move my head and if I look somewhere else
then there's going to be
slightly different uh distortion of the shape in real life.
This is kind of subtle but with cartoon characters you because a lot of the
times they have a big rise or what not everything gets a bit exaggerated.
And this is one of those things that needs to be exaggerated.
And because when we look at an image of a character,
a lot of times we are constantly looking into the eyes
of the character and we're trying to relate to that character.
It goes a long way with empathy and with emotion that those things are correct.
And
yeah, that you don't just ignore
those important bones
that select that
and hide those. Okay,
so now we're working our way down to the
kind of sneer
frown
I guess
just take that.
Yeah,
flair of the knows. I mean maybe maybe you could use that.
Um
This is something like the now the nose control itself. Um I would use it
but sparingly and suddenly because if I'm if I'm talking for example and I do an M.
And I do ma ma maybe okay,
it's not obvious like you're watching a screen that's kind of tiny
but what is happening is my nose will be pulled down slightly whenever I do an M. Or
uh this thing is subtle in real life but it also depends on who
it is because sometimes people have different kinds of noses and different lips and
um different shapes and how much emphasis there is on on the
the shape of the mouth when it happens.
Uh So yeah and then cartoons of course you want
to exaggerate a little bit just to sell it.
So you know if I do a pa
and uh an animation you may want to hold it for two frames even though in
real life it would only hold for one frame just because you want to sell it.
You wanna you wanna make sure that the viewer registers to the viewer.
So let's hide that little thing.
And now we're working our way all the way down. What is this?
Ah Yes, mouth frown. All right. All right
okay man. All right let's let's try that.
It's interesting. Mm.
Yeah okay.
Probably going to find something that I'm missing
but for now
this is fine. So what you want to do now is unsolicited everything.
And then
a new height
and then everything that was hidden is now revealed. And also selected.
So those are all the bones you want to use
and click the little plus for the selection sets.
You can just name it, main bone for whatever you want to name it
and then you can do shift. H and now only those bones are selected though.
These are the bones you want to work with.
Now the final step is actually posing the character.
And if you want to do that, then we might want to post him
in some direction
in order to do that. Of course we need something to post them towards.
So let's for example,
make a camera
and just zero that out. Let's say it's
50.
It's a view.
Here we go
Passport. The passport out alpha one
sounds like french. All right
description.
And if we do it,
so at this place only render it's a bit nicer.
Maybe we're going to do a full body shot.
So we're not going to use this film resolution.
So let's say it's it's more like a square.
That set
we're gonna do a square.
Let's hide that
in the square. And we're looking at him from a side view.
May be looking at it slightly higher up
like that.
All right. So it's kind of
got this 3/4 then going on.
Nice.
I hope it's not actually
tilted, which is what we call that dutch angle.
Originally it was deutsche angle because it was from german cinema,
but for some reason people became a bit lazy and it became dutch.
Um Yeah, let's just start putting him.
So we got the angle here.
And first thing we might want to do is uh you know,
let's just get him into a kind of a relaxed post.
So
his feet are a little bit
pointed a little bit more outwards.
Um
Let's take his body down a bit
and let's
put his weight on just one of his legs.
Either one is fine, doesn't really matter.
So let's say it's this one
and that's
maybe make him take on that weight.
Mhm.
And if that's the case then this one can be a bit
this is where the stretchy thing becomes a little bit
ambiguous,
trying to see where it starts stretching all right.
And
yeah, one thing about these characters is that they
when they're standing in the T. Post, it's really stiff, they feel kind of stiff
and a lot of times people are do not have
this perfect of a back that's so completely straight,
they are a little bit more hunched usually.
So that's often what I do with with the characters just hunts them down slightly
and they
they feel a little bit more like natural characters.
Okay, let's say
he's uh
putting his weight really on the
on his
left leg.
Oh, jesus woman,
that's uh
Uh huh.
His hips really dance when you move them,
Okay,
just playing around with it,
seeing what it looks like.
All right, interesting.
And we could exaggerate this even more. So it's like
mm
so maybe he's slightly tilted this way
and he's actually his torso is facing us a bit more,
It's the whole cool guy thing where is kind of facing facing,
not facing us directly on the hips, but
he's rotating are his
torso more towards us
maybe, I don't know I guess.
And he's kind of
looking towards us maybe.
Who hears one thing? Okay, so
here's the eye target and if we scale it up you can see you can see what happens
becomes a little bit cross eyed just
Okay, depending on what we want.
Do we want him to just look into the camera and break the 4th wall?
It's the most cliche thing ever. Yeah,
sure why not?
It's just
Mhm.
Oh
it's horrible to
allow the arms to be in that rigid to post. It's horrific.
So let's maybe get them down and a bit relaxed.
All right,
feels a bit better.
Yeah, I started to feel a little bit more like a human,
not
like a rich at mannequin.
All right.
A little bit more bent.
And then the hands
need to feel relaxed. So
that's this is what a relaxed hand looks like
if I don't use any muscles. So you can see from different angles,
there's a particular shape to it.
It's not it's not straight.
Like if you look at a hand that's
that's straight like this
um
It always feels like there's some energy being wasted there. They are.
They are intentionally
making their hand being straight
and right now in the t post. He's kind of half and half between that. Not quite,
but what I want is to make it feel kind of relaxed
and I can just do that to one of the hands and
then copy that over to the other one.
Okay let's see.
So maybe take that down a notch.
So well
perhaps curl the fingers of course
got the index and the index is going to be
guess the straightest one
from the first bone
and we curl the other ones
and the last to really get curled
the ring finger.
And they look kind of spread.
Maybe just bring them in a little bit more
and then you got the pinky.
It's also one thing about the hand when you look at it.
Um
What happens a lot of times when you have a relaxed hand is that
it's not just trying to do it in the angle of the camera,
it's not just curling in one axis, it's also relaxing itself.
So there's this there's this curvature that forms here as it relaxes.
And as that happens you can see that the fingers
um
they don't go like it's not like a machine where it goes completely straight.
Well it is kind of like a machine but a lot of really distorted and weird machine.
They kind of rotate also slightly and they don't all evenly do it
so in order to do something like that it's it is important not to lock all the access.
For example if this uh finger bone here. If it had these rotational axis locked.
So it could only do it in X. Axis
then we couldn't do stuff like this just slightly, move it more
towards the center and I just rotate this one slightly.
It's it's a subtle thing but it's it's all a
cumulative so all these little decisions that you make,
they all add up and they make it feel much better.
Maybe I'm even curling it too much, I don't know,
maybe it should be a little bit more like this, more like this,
maybe the index should come in a little bit,
it feels kind of relaxed. Of course the thumb is not relaxed so if you want and relaxed
needs to droop down a little bit more,
you know he's not gonna curl up like this but it's gonna be a little bit more droopy,
he's not going to be like like right now he's like this kind of
and we want them like this
and if you're posting just try it yourself,
try to like see see what happens when you do it, you're when you do it to your own hand
and try to look at from different angles
because
when you do it just right in front of you and you
keep only doing it from one angle then you're gonna miss something.
Um
There's some information that you're gonna miss and not only that
you might find an angle that looks a little bit more interesting
so yeah it's a little bit more relaxed
and yeah
maybe a little bit more rotated.
So now this,
his hand feels a bit relaxed
kind of,
I guess
relax. God damn you man. Come on
like here.
Okay,
now it feels relaxed
fish.
Yeah, I could even,
it could even be more like this a little bit.
But also, I mean, okay, so let's look at it from the camera's perspective.
You know, is this more relaxed? This look better?
You know, maybe this looks a bit better
or
there's so many things. So many variables to think about.
Perhaps this looks a bit better but weird
given the position of the body,
you know, maybe this is fine and then I just take that and I can take the entire thing
and
coffee paste that post to the other side.
And now he's both his hands hands feel a little bit more relaxed.
Look at it from the side. Yeah,
it's okay. Um
maybe they can,
can be a bit closer here and a bit closer here.
Mm I'm just playing around with it.
So many variables you can play around with.
Okay, so he's going to relax now.
Maybe perhaps we should,
I don't know,
make it smile sure.
It's not the most interesting thing in the world but sure. Why not? So if we just
mm hmm. Well
how much do we want him to smile?
So I'm just playing around now giving him some asymmetry
and maybe
cheese.
What?
You can always go too far. Of course.
Which may or may not be a good thing.
So let's
that squished together.
Mm Do we want,
which side of the face do we want to kind of
squished together a little bit to give it that asymmetry.
So we could go here.
Okay, let's let's make him look into the camera right now he's going to,
but can we really off?
So uh, if we scale it up that I target,
it's like a,
it's a really cheap way of just making his eyes go a little bit wider or narrower.
It's kind of like um,
cheapen it away.
I guess he's looking at us now.
one trick of doing that is um
just taking a piece of paper or your hand for example and looking at it on the screen,
you can go over his right, his uh
the right side of his face and the left side of his face
and to switch it and ask yourself is he right now looking
at me or looking at what he's supposed to be looking at?
Um
just from that one half of his face,
is that one, is that one eye looking in the right direction
and then try it with the other one.
And what you might find sometimes is that
just because one of them is doing it right,
You may be
blinded to the fact that the other one actually is not looking nicely at you.
Like it's a little bit wobbly or off cited or tilted or whatever.
Um So that's,
it's a nice way of just just blocking up one of the variables and then that can't be
overcompensating for the other one that that's not working and in some cases
maybe they are a bit wide eyed or or a bit cross eyed
um but you wouldn't realize until you really cover it and a lot of times it's subtle,
so let's just for the heck of it, try to make the,
the screen right
side of the face squished a little bit jesus, what's that,
what's going on?
Okay, so I'm going to make it rotate around selection I guess that's not there we go,
rotate around selection.
To me, that makes more sense.
So if I rotate or rotates,
let's
let's take this down a notch.
Oh we're gonna do, okay, let's let's do the cliche, DreamWorks thing, why not?
Hey, hey, it's like
okay, I can't do it but well
come like that,
try it. Yeah, that kind of smirky thing.
It's like, it's uh well it's a cliche,
I mean everybody does it and it's in every single animated movie,
it's not animated, just animated movies. I mean this is,
this is just about everybody.
You got that kind of smirky thing going on,
let's take that down and Nagy
and let's do,
let's get some asymmetry into the face
a little bit of this
and that
let's do the opposite here opposite there
and there is, there might be two bones that I forgot. So let's just
uh
now remember that we did
make this selection set here
and
um
so we can tackle the selection and it's there let's unheard everything.
And yeah it was hidden in the glasses. So there are these cheek controllers
and I totally forgot about those.
So it looks like the selection set right now on the blender that is installed on this
demonstration machine is a little bit outdated because there
is a new version of the tackle selection.
The selection sets made um recently by Antonis and then refined by N. S.
Looks like this is the older version. So
in order to
Included because it doesn't have the assign button there the Newer one has
it's a lot of explanations. Right?
Um What I need to do is just
select this at these to it.
Where are you buddy?
There you go
and then
I can make a new one.
I actually have to make a new one but in your case
if you're seeing this you can just click them and click assign
and you have it. Okay so now we got it.
I love the selection set.
Little panel thing there, it's so handy, it's so useful it's brilliant.
Okay
by the way I forgot let's turn on
the automatic well the the animation button or whatever.
The automatic key for insertion
button
and key everything I like to just do it rotation location, rotation scale
because that kind of covers all my basis and I won't get any
um surprises later on.
So now I got a bit of smirk going on.
I
started to make him look like an asshole.
Okay, so
because he's going for a smile, those teats go a little bit more up,
maybe his
lips
go a little bit.
That is a funny face, but okay.
I never said I was going to do an appealing face.
That is a weird smirky face going on right now.
There's a couple of bones that I could have could have actually added also,
which are the top lip and bottom lip bone.
Uh they control all these kind of red balls.
Um I kind of forgot, but it doesn't really matter. In this case,
it's fine for what it is now.
And let's
let's take the lower eyelids up a bit just to make them
just to allow the irish is to maybe rest on them
and maybe maybe the cheek bones go up
Well.
Yeah, it's the kind of smirky few is like from the squinty squinty thing also kind of
does that, which becomes psychotic. Of course, if you open up the eyes completely,
if you, if you smile and open your mouth, open your eyes completely, it's so weird,
it's always looks psychotic.
Well, almost no matter what you do, if you have your eyes completely open,
It always looks weird than psychotic.
Um
let's shape those eyebrows, the, those eyelids.
So uh there is one little handy thing if you rotate this, it actually does
shape them slightly and in some cases that just might be enough.
Sometimes you just want to
push one side down and the other one slightly up and then that's it.
So in this case, and I am noticing that
I am getting the eyelid shape a little bit more droopy here.
I might want to push that a little bit more
up
in a way
and now I get a better sense of his eye
and then maybe we want to do something similar on the other side.
Well,
we don't really need to shape that much
because it's already kind of looking towards us.
Going to look weird if we shape it
well, maybe
a little bit like that
and it feels like it's flowing a little bit with the,
with the april maybe.
And what we could do because it's a bit of a cartoon character. We could also
enhance the asymmetry by
perhaps taking these glasses and making them also a little bit more asymmetrical.
So one of them uh becomes a little bit bigger
and one of them slightly smaller. So yeah,
wow, that was a weird smirk.
And if you want to take it even further, maybe he has this
frowny thing going on also here,
just a little bit
Well, it's like he's uh he's like a creepy dude hitting on a girl at a bar,
it's four a.m.
He's kind of drunk,
but
he thinks he has his mojo
hey baby,
okay,
and then
okay so
let's let's just take that all the way
because it's funny,
I've already spent
too much time on this.
Let's see.
So let's say we take these two fingers and completely correct them
like that, like so
extend
this finger,
do the same to the long
long finger,
What's the name of it?
Index
ring finger?
Pinky
and Icelandic gets a long finger.
That sounds weird in english.
Okay, let's
push those together.
Let's say he's doing something like this.
Oh God, that's
so corny and horrible. But I'm doing it. I'm just embracing the silliness of it,
let's say he does it and if he does it
going to end up something like that,
Going to be a little bit closer together here.
Oh it's horrible.
And maybe that
push, is that a bit further?
All right, okay, that's working
kind of
we do something similar to the pinky pinky,
Gosh, all the way there,
they kind of need to go together
and maybe even curl a little bit up towards the
thumb because the thumb is going to be the thing that
holds them together.
It's hard to do it. It's difficult to do it if you
if you don't use your thumb but you can do it like this.
Well maybe this is not as funny.
Maybe like hey
oh that's horrible.
Mhm.
Yeah, I'd rather have it anatomically correct. Well, this
certainly looks horrible,
does not look good, it looks like,
I don't know.
Um
Yeah,
well
that's even uh
to do the gun
due to barrel off if I do two barrel, I don't know, maybe it's me.
I have a hard time doing this
and I want, I want to make it feel relaxed so it's like a
hey.
Yeah, I guess this
this is funny. Look
okay, so if it's a relaxed version of this, then
you can see that
they kind of don't curl at the end.
I can't do it.
So I'm not going to allow it to happen.
And this guy, not only that he can't go as far as the other one
as the index
and if you can't go as far as the index,
then maybe the index curls a little bit to join up with him
and then this cross
however
they are able to
come together slightly more so that's fine,
yep,
A douchebag. That's what I'm trying to make a douchebag. Ok, so,
and
Oh yeah, it looks kind of funny if you
I love the thumb to be kind of up and to the side,
let's see
how much,
I guess it's both. It's a
this year,
let's see what it looks like
this thing here
and then it's
pushing that thing up and I guess
I guess the last part goes all the way up here.
But you know, if it, if it looks weird though,
then it's it's ok to cheat it a bit and make it look less weird.
Oh
yeah. And that's also an option making it
be from the other angle
or come drooping here,
decision decision.
So
do I
I think it's gonna be I think it's gonna be
kind of lost if it's directed directly at the camera.
But if I do it
off to the side, it may actually be funnier
and more creepy and weird and or weird.
So maybe if I just try making him look
over there,
I don't know.
And if that's the case, then
other things would need to change. There's more of a sleazebag,
sleazebag now does back. That's what I was going for a look back.
Okay, He's going like that.
And if that's the case, then
still kind of like this,
maybe
this needs to be offset a little bit more
two sides.
Yeah. When you,
when you take the top island and you put it and
so far down that it starts kind of touching the,
the irish itself and then even past that and going towards the pupil,
they become kind of grew z
and sleepy, look a little bit sleepy,
which sometimes actually helps
uh
helps out the post or the expression just depending on what you're going after
in this case.
I sure
I don't have anything specific in mind.
I guess it's kind of funny if he,
it does it like
it's like from the hip
and if that's the case then maybe he,
what?
That's my camera.
Maybe he does it like that
and then we allow
nothing else to go. A little bit
of kilter.
Whoops.
Uh huh.
That's what it looks like. Okay,
Does it help if I rotate him a little bit more?
It's fun to explore a little bit with the,
just a little bit of head tilt can really change.
Can really change the expression or what it feels like
slight tilt on either side or a little bit more up a little more time.
A little bit more down
can really change.
I'm not even finishing my sentences.
Okay, here we go.
Let's say this is,
hey, hopefully
I was just checking if
when I do it, if my shoulder is going up or
out kind of goes out a little bit.
It's a little bit
now, is he pointing in the right direction
and is the rest of the body now sinking up to what we have?
Perhaps not.
And here's one fun experiment to do. Sometimes
it is to just take all the bones of the face
and copy paste
on the other side and just see what it looks like.
Looks pretty damn weird. That's what it is.
It's mostly well with, with the face with the mouth,
you kinda have to ignore some parts because
are going to feel really weird.
But
it's the whole notion of
if I look in this direction, do I go hey or hey,
well now I feel like it slipped back.
No, I think it is in this direction
and is his other arm, if he's doing that,
does it go like
back,
Does it go out?
Is it just relax like that?
Yeah, this is,
this is an instance where it actually helps out
a lot to just record yourself doing it.
Just do the post and then you do it a few times
and then you start forgetting that there's a camera there and you start
seeing some
interesting process
and some of them work.
Some of them don't,
you just cherry pick what parts you like and what parts you don't like
and you end up with
stuff that you can use.
Mm
The thing I'm also thinking about is the silhouette. I'm trying to,
one of the reasons why I kind of don't like doing this necessarily is because
it kind of gets lost in the silhouette and was trying to do oppose that
feels funny and or nice and the silhouette
maybe he's just looking a little bit too far.
Oh no, okay, this is something that happens to me all the time.
I will mindlessly press H instead of G when I'm
moving a bone and then I will hide all the bones
that's
uh huh
what a low IQ will give you,
I can't, I can't,
hey, hey, hey, hey
down.
Yeah, okay.
Always feels a bit weird A little bit drunk,
no matter what I do, it always feels a bit drunk.
Let's well let's just play with that. Maybe, maybe he is drunk.
He goes a bit off balance
and then he's kind of
catches his balance here,
not off balance, but
He's heavily favoring one leg, not the other.
Alright, there you go.
I just want to see what it looks like from the side
just so I'm not screwing up everywhere.
Mm hmm.
A little bit higher.
Yeah. Total sleaze back.
Here we go.
So as he relaxed or is he kind of
the other hand kind of splayed out, split out
when he does it.
Because that otherwise it, it just feels like he,
his post is kind of half asked
meaning that it's a,
that uh
half of his
body is kind of in a relaxed pose or one of his hand is in a relaxed post.
The other one is like doing something really wacky.
And it may feel a bit weird if it's
well, maybe, I mean maybe I should just embrace that.
The fact that he feels
bit crunk.
I am spending too much time on this. Okay, let's save this. Which,
yeah,
perhaps we can exaggerate it. Just a little bit more.
That's fine.
Something like that.
How far can we go wolf.
Yeah.
For an experiment. It's fine.
So
this is how we approach Vincent.
I hope you enjoyed this. You can download this file and the Vincent rig itself.
The blend rig add on everything on the cloud. Thank you so much for watching Plus.