Oh, good.
In this video, we are going to take our contacts so we can pose this character and then render it before
them.
And then let's fix this problem over here.
So as you can see, we lost issue here.
But if we zoom in, you can see that that is like two shoes over here, right?
So this is the problem.
We have it more and modify it.
So I guess when we join this, the pounds eight may make this problem for us.
So we have to choose the mirror object again or here.
So choose a mirror object.
The parts for me are mirror objects.
Now let's do the same for shoelaces like this.
All right, now.
Now, that is fixed right now.
Let's let's start doing the rigging process.
So first and then we can do it this queue because boom, we're done with and right now so we can just
delete them.
I want to introduce to you in new feature in New Adam.
So if you go to Armatures, there are some basic armatures that you can use in the in the fundamental
section I showed you how to use armatures, arms to parents, your objects to the arms and the use to
those simple rigs.
Well, I want to show you another way to read a character and especially a humanoid character like this
one.
We have a human character.
So if you go to Adam's and then search for Rick, there is something over here called Redefine and you
need to enable it if you like to be disabled.
If you go to brush shift A and go to Ahmed images, he gets just a single point which we go and enable
it.
Then you will have some other options.
Over here is if I press shift A and go to armatures.
As you can see, we have a human metric animals, some basic metrics.
All right.
So what the mean is this rig RFI adds on that comes with BO and allows you to make simple fast readings
for humans and simple for like the creatures ants.
And then with one click over here, you can generate an advanced rig, which I'm going to show you how
to do that.
So first of all, before doing the rigs, we need to make sure that everything in our scene is in the
same scale.
So if I go here and go to view, go to item, I can see that the shirt over here doesn't have the universal
scale, which is one.
And we discussed this in the fundamentals.
So if we get phase one, these will shoot these.
The hair also needs to be a skill to reset the scale, the parts also.
So you need to select all which.
Okay.
And then we have to apply a scale for something like the curves.
We might get into some problems, but let's see what is what we get.
If we have some problems, we need to fix ourselves, go on first scale.
And as you can see, the shoes issue got a little bit or the ground actually I think it got a little
bit smaller.
Yeah.
Because of the modifiers I think here because of the modifiers it we can always if it is smaller so
we can adjust the scale over here, something like this and Google, this is a placeholder.
We're not going to use this in the final render, I think.
So we're going to use a simple plane just so you know.
So the shoes also needs to be a skill applied skill control, a skill as you can see, you have no problem.
And the shoelaces also.
So we don't have any problem.
And the pants, as you can see, I think they're sold if I'm ready for change a bit.
So we need to increase the thickness of the family four over here and we're good to go.
And then the shirts also.
So also we need to increase the salt if I modify for the shirt and check if everything's all right.
All right.
And then the buckle.
I usually just press all control, but just so you know that there might be some problems because of
this, or if I might, for other modifiers, maybe you maybe you would want to do them more, number
one.
And then the face is.
All right, let's do these shapes also.
So we have a problem here.
I think, again, because of the solidifying modifier, maybe we need to make two degrees to solidify
our here.
So I think that's fine.
Yeah.
And then in the shrink shop modifier, we need to change the offset over here.
It's moving up and.
Change in offsets.
Or is that changing.
Maybe because we need to have old snapping to.
I responded back to zero and Oren is not is disabled.
So yeah, this this icon over here is the disabled, which means that in the viewport I don't see it.
So let's change
the also before that let's turn snapping to off so we don't get a lot of.
Distortions.
Let's change offices here to zero and things.
Good.
I didn't want.
Let's edit the eyebrow.
Something like this.
Let's see if the faces are in the right direction.
As you can see there is so.
It tries to touch to this surface over here.
Maybe by enabling something to a little bit easier.
Yeah.
So now it's much easier to see just the shape.
Right.
I think that's good enough.
So the skill is one that's good.
So let's apply a skill for this one.
The hers as well.
And I think I think we're done so to make sure there's always a control, a stress on skill.
All right.
So the next stage is that we should meet the armature, but before that, to make the armature before
making a armature, you need to move move your character up.
So let's press press all this.
I show this level, the lights and the ideas about the lights over here, first of all, and let's just
the camera as well, so we can just delete the camera with another word now.
And so it's all.
Don't forget to say first.
So it's all press g z and go up.
And you know what?
I'm going to do this ground over here.
You don't need it.
So let's press g z up and then what you will and what you want to do is that you want to the character
to stand in the in the zeros in the zero.
So this is zero.
This is one.
This is to issue the sun in the zero in this X axis.
All right.
So.
And that is just because when we make the armature is going to it's going to be like this.
So if a first shift C to reset through the cursor over here and then press shift and then go to armature
and then go here press on human metric.
All right.
As you can see right now, the the armature we made is just sitting on the x axis over here.
So if I need to scale my armature right now, so let's process and scale its up.
Scale its up like this.
So.
And like this.
So the main idea about this, the main thing you have to do, we have to put everything, every army,
every bone we have with this armature pre with this premium armature inside the mesh, we have the mesh
of our character and then be a parent.
All right.
So let's first set the.
Skill here.
All right.
And again, the important thing is to pest control.
A reset this scale right here.
All right.
Now, as I said, we need to adjust these ponds to go inside the character.
But as you can see, if I'm good at it mode and then I want to move them, I don't see a position of
each one to see the position.
Position of each one.
Let's change the viewport display over here.
So object properties viewport display and then change it to in France whenever we can see the armature
to be in front of the character or any other objects.
So it's easier now to change the location.
The first thing, the first things I do when it comes to these metrics is I go to edit mode with TAP
adds an edit, I delete some certain buttons.
For example, this these buttons over here, these are the nipples or the chest bones.
All right, we don't need them.
So just select them and press X and then press on delete in the bottom.
All right.
The other ones we don't need is a facial bone, so we don't want.
These bones are right here.
The facial bones.
We want a simple pose.
We are not doing this for animation.
But maybe if you're aiming for animation, if you want to make some expressions for the page, for the
face of your character, you can do this, you can keep this.
But I'm just looking for some simple posing.
So let's just select these and press X and press delete in months.
And then the other ones or the eatables over here, let's select them and then delete them.
And then there is a bone over here that you can see.
But if we enable the x ray or here, you can see that there is a bone.
Over here it is called all right.
The name isn't seen over here, the face as it says here, metric face.
So you need to delete this one as well.
Otherwise it will all make problems and you're probably not going to get a good Rick.
So let's just click on this one and press X and deletes this one.
So now I think we are ready to sort out our editing of these bones.
So let's just start with the head.
So let's go to France, view it number one, and then go to edit mode of the metric and then click this
disposal here.
And let's go to side view with three.
And then this is the spine six.
I usually use just one bone for the whole head.
So let's bring down this, this sphere over here and.
Like this.
All right, so let's change it and let's do it the proper way.
So press G's it to bring it up with this express.
Let's select these two forms.
These are the neck bones, the spine five and a spine four.
So select them and then bring bring both down like this.
So I give the tip of the of the head bone here.
This is move it in the y axis and then let's move it.
You can do the x axis of a straight bone.
Let's just move it in a very old fashioned way.
Just move it around like this, and then we can have it in as in a good position.
So let's just do this and then select this sphere over here and bring it down like this.
And all right, I see the problem now.
So I forgot to turn off the snapping tool.
So it is snapping to the surface of my after effects.
All right, so if something doesn't work well for use, just fine.
Problem?
Don't panic again.
The key is to through the art and to the anything you want to make through this, do not panic.
Because a lot of things might go wrong.
And in a way that you don't want to, you might just panic and say, All right, I give up.
So keep that in mind because clean these up a little bit.
So as I said, this is the bone for the head.
The top bone and the other pawns are the pawns for the for the neck over here.
So let's kill them down and then bring this up.
We're good to go now, I think.
Yeah.
So also, these spheres need to need to have some attachments each other.
All right.
Now let's enable examines for you here as you see up here over here and have a symmetry.
So we only work on one side and the other side gets the other side also moves around if you forgot to.
In any case, if you forgot to enable this X symmetry and then you walks on these bonds off of one side,
and then we're done with this one side, and then you rotate that on so that you don't have you have
to do the other side again, too.
So there's option enabled again for the armature as we have for any object or armature.
You have a switch, right?
So if you don't seem to arise, you can see which from any direction you want.
It's the same thing with any objects.
I didn't want that you can see.
Right.
So let's move these bonds over here.
This is the pawn for the shoulder.
All right.
And then for these moons, I forgot to enable symmetry.
So it's just plain and cement.
I play the symmetries and the numeral symmetry.
So this is the shoulder wound.
And so it's a just like this.
Like this.
And then this is the ultimate form.
So it pushes the the important bones, like the elbow bone, the hipbone, the knee bones.
These are the important bones because they are joints that are the major jones in body.
So you have to place it, you need to place it back.
So it does have this kind of angle.
So the shoulder bone and the wound, this kind of angle and then this kind of angle for the four.
All right.
So it doesn't need to be straight because you need to bend it this way.
You better break the same thing goes for the knee.
So you have you need to have a little piece of of angle.
So this place is or here.
So this is our elbow and the spring of our hands over here.
Oh, it's just a justice.
This should be around the wrist area.
And let's see of the other angles that the -- is actually inside that mesh.
All right.
It needs to be inside the mesh to go around and check that for yourself.
And then we have to move these balloons around.
These are maybe the hardest ones in the in the rigging in this part.
And we are adjusting the bone location.
So you have to go around each of these finger bones and then adjust accordingly to you, to your finger.
If the finger of your character.
So as to that, let's select this.
This is this is going to be my knuckle bone of of the time.
And this is going to be the tom itself.
And it's a kill if if the experience is going to be outside of the mesh.
All right.
But it shouldn't be something like this, because then you can move around this part of your mesh.
So let's do something like this and check from every angle.
That's the Bourne is actually inside the mesh.
And then let's click on this finger Bourne.
So I click on one Bourne and then press L to select all the connected bonds.
All right, so let's rotate that first like this, and then this is going to be my knuckle bourne,
okay?
This is going to be my knuckle the knuckles over here.
This is going to be the joint over here.
And this is going to be the Jones over here.
And this is going to be outside.
All right.
You can do the same thing over here as well.
This is going to be the knuckleball of the Tom.
And these should be just over here.
These are the kind of the tendons over here.
They replicate the tendons of the hands.
To bring them down like this.
And then let's go for the other finger press o rotator.
And then just.
Do the same things that this is going to be the knuckle bone over here.
This is going to be the first joint and this is going to be the second joint.
This is going to be the last one that goes outside of the mesh.
Let's bring them down like this.
Let's let this a spirit connect to each other.
All right.
Let's go to the to this finger over here and let's do it.
Rotated again.
And it's rotated like this.
This is going to be not a one.
This is going to be the first joint and is going to be the second joint.
All right.
Now is like the last one.
Let's go to a front to tell people that's the rotated.
Let's bring it over here and.
Let's do the same thing.
So this is going to be the knuckle bone or here.
It's going to be the first joint.
Second joint, and it's going to be the third one over here.
Let's bring them down like this, then rotate and make sure that they are inside the mesh.
That's the most important thing.
If even one of the bones are not inside the mesh, you have some problems when you're applying the applying
to all.
The parents think.
All right.
Now, that is.
That is it.
Well, now we can.
Let's go around now.
Let's shake everything.
So.
So they would be inside the mesh.
I think that's good for now.
Don't worry if you if you like miss something like like I did over here and even if you pirated and
do the rigging, you can always go back and edit your your report here and then the parents again.
So not to worry, but the key is to be patient over here in the good rake.
Let's save work then let's go to the heap.
Her yard.
These are the pawns for the heap.
So let's bring them out.
It's a little bit like that.
And the phones, the angle between the hip phone and the knee joint is something like this.
So this is the hip, this is the knee.
And then this goes for the for the the leg.
The the the leg over here.
The bugle and the tibial bones.
So this is the same as bring it back over here.
Let's make them to attach to scenes that they don't attach to each other like this.
Let's bring them out.
Always a bit like this.
Are we good to go?
I think that is a good enough angle.
Now is due to the knee knee bone and he joins.
So let's go here and.
So if this one.
You have this angle here that I just described to you.
And then let's go to the foot area.
This is the -- for cocaine use.
I believe this is the bone for the back of the foot.
So leave it.
Leave.
It's just over here.
So this should be in the back of the foot.
All right.
This is the bond for the back of the foot.
And then this just goes down like this.
I think it's okay like this.
And then this is the tip of the toes over here.
Then this is forward for to.
Last for more here.
And if your character is barefoot so it doesn't have any any any shoes or any earrings or here you can
add bonds.
It's the same thing over here with the hands.
You can add bonds and you do that by selecting a bond and then pressing E.
And then you can extrude forms like this.
Okay, so that's it.
I think we could for now, we can start the financing.
But before doing that.
The important thing is this first, change the location of this one.
I want it to be here to be in the same location as this.
If we see the side of you, we'll be like this.
Let's see.
The skin is right.
So the skin is okay or not.
So we don't have to worry about that.
Let's click on this in front and see if any bone is just outside of the match.
We can check it like that.
I think this one is two outside.
So let's do that.
And.
Yeah, I think that's okay.
And and now we can, we can start the parenting process, but before that, we need to make the generate
advisory.
All right?
To generate the advisory, you need to go to this properties to I'm sorry, to this property over here.
The object is a property of the rake.
And then there's a button over here that is called generate rake.
So what's what happens when I do it?
The rec it it actually this Adam will make a rake and advance rake around the area of the bones that
are here.
Then we will parents are objects to that generated rake and we would we will have a pre-made weights
painted brick that is easily done.
So in the past you would just make this bone over here and just be just one bone like this and then
you would just extruded and then make this one over here and then you would paint paints to the thing
over here.
So.
BATES Paints you will make paints every bone to the area of the mesh, and then you would get the same
results as you get with this metric.
With this redefined.
Adam Let's just click on generate again.
I can emphasise again emphasize more that you have to check your is scale to be the right amount if
it's not the right now, what if we increase it like this?
If it's not rise amounts and you do you how you will have problems.
The same goes for your mesh when you are going to parents.
So let's go here and geometric.
And we have a problem over here.
So if it happens or panics, it says that error over here, ball number four is not attached to anything.
So if you go here.
I'll go over here and bond the spy for is this one.
So let's bring it up a little bit.
Something like this.
I think it might be.
It might be because it's not yet.
So let's go here.
And do something like this.
All right.
All right, let's do it again to see if the problem is fixed.
Bonus point number four can not connect.
Shane, let's.
Let's go to Egmont Gang.
These two needs to be connected.
So.
So let's go here until it is formal here.
And then this press e to extrude and then this press shift with this one and then control Peter to parent
these bones together
and these ones together.
This control p.
Now see if the problem is fixed.
Yeah.
So, as I said before, don't panic if a problem occurs.
If you can't solve the problem, just search for is on the internet.
There are a lot of people, good people who will answer your question.
We might get into some problems, maybe in the neck area.
I probably won't need to work in this area or here.
This is fine over here.
I only need the this this one.
This one over here.
But if we get into a problem, the more you can always even do as you would.
Rick So let me explain it to you.
So this week is made for us right now.
Okay.
This is a
pre-made week for us just ready to use and all the at is this is will be how we can.
By using this we can just
move our character on, pause on character.
So as I was saying in anywhere or anywhere in your progress or bringing if you're using to any problem
we can just go to the main armature, which is this one, and then move things around and then again
go to object properties of your armature and then press on the rick and it will make you a new rig.
So this is the rig recall and you can see that because the bones are in the right direction, this addon
can now identify that this over here is the is the leg and this is the femur.
This is a tibia and fibula and all that.
And it can now like know that this is which one is this one?
And all we have to do is to first select our character and then select the armature and then press control
P and then go here and there is a option over here, colts with automatic weights and you have to click
on this one to get the parents and correct.
Well, before that, we may need to apply some of these some of these modifiers.
For example, we may need to we may need to change the curve, the the curves over here to to mesh so
we don't get into any trouble later on.
So let's just first apply this mirror modifier and then apply the mirror and modify it also for this
one.
And then the size of one fire.
All right.
Let's just go back now, because I want to have this final word here with all the modifiers.
So if he gets into any trouble later on, you need to practice this as well.
If you need more funds, meaning you are doing something like this.
When you are applying the modifiers, you need to be aware that you won't get them back later on.
So it's just save another font with control shift s and then go here important selects plus Watson so
we have and you fall over here and now every time I press control s and save it what we save on the
new file and going last fall is just I have this file as well.
Let's just go over and apply the mirror modifiers of this one and appoint a solid, firm, most fun
of this one, and then go here and apply them on the player for the shoelaces and then go here and apply
the Saudi firm as the foil is checking in.
If it's okay right now, we can again change the thickness, but I think that's okay right now for us.
We just wanted to say this area was important to us.
This just applies.
And so if I'm on the forum, we can keep the subdivision modifiers because.
Yeah, you can even decrease this of the general level.
So you have a very much more usable scene.
So our scene with a like if you computer is in good, you can always check this level viewport and you
can decrease the subdivision.
As you can see, we have a very low resolution.
If I go to zero, you can see this is what we started with with our pants over here.
So let's go just to two for the pants and for this shirt.
Let's just apply the solidify, modify and then go for.
Yeah.
Just two works for me here.
After the face and the hand in the last video he applied the money for a.
We don't need anything else where the hurricane just decrees.
It's like this.
Or actually it's actually very low geometry.
So keep that tree and the wren as well.
This is important.
If we read the viewport, we see the three levels, but in the render it says too.
So you will be in there to be two levels.
As you can see, we have some jagged lines over here and we don't want that.
So it's just keep the same level offering the viewport.
For the eyes.
We can just keep them your think or actually supply.
We may get into some problems in the rigging process.
So we're ready now.
We can.
You can also, if you want to avoid subdivisions as well, press A and then press control A and then
go to visual geometry to mesh.
It will apply all the modifiers for from each mesh you have.
All right, now, we don't need this rig over here.
As you can see, this is over here as we made our our advanced rig that we want.
So let's just go here and then hide it.
If we have any problem with this rig, we can always unhide this and then change the values, the locations
of these balls and go over here and generate another week.
All right, so now we only work with Generator Week or here.