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First of all, for this rig, what I usually do if I go to solo mode with a slash, this is too much

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and it gets a lot complicated when you go into the ring process.

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And if you're starting, I don't want you to get confused or it could get complicated.

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So let's just disable some of these options over here.

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If you press and I'll go over here to the to one right here and go to rig layers, there are some layers

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that you can disable.

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So, for example, for the arms, I only need the eye case over here.

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These are the I case.

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I don't need these ones over here.

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So let's just this old F game and let's do the same thing for the leg.

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So this is the scale of the neck, right?

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And we can keep this on so we can with this we can adjust the knee.

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So.

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Let's disable this as well.

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I think we can leave it on the torso, too.

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Well, this is too much, I think.

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Yeah, the torso.

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We can disable this one as well.

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So we have a much more simpler break over here.

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Let's go back to it.

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Let's get out of the solo mode.

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This present slash again.

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And now we are ready to parents object.

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Let's select all the objects with a let's select the active objects over here and then this press control

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P and then press with automatic weight.

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It's usually and especially because if you go over here we have 400,000 vertices, I might be even higher

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because of the sub.

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There's subdivision rules.

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It might take a minute or two.

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So I'm just going to pause the video, but I'm going I'm just going to do the same thing.

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Control A and control P, I'm sorry, control p and then go here with automatic weights.

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And I'm just going to wait.

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I think it's going to be for a minute, I think.

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And then I'm a resume date with you, so.

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All right, guys, I'm done with the with the metric right now.

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So I selected my character and then selected the metric over here and then control P and then right

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here control P and then with automatic.

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So immediately I got some problems.

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So I forgot to tell you one important thing to remember before doing the parenting is that to on parents

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objects.

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So if you remember my shoelaces over here were parented to the sheet over here so I just clicked on

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them and then pressed old p so on parent.

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And then I figured now that I'm done with the modeling of these things, I would convert them to mesh

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and then joined join them together with the show with control.

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J So I selected the shoelace.

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I like that, the shoe and then control J to join them all.

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So now the show is just one object and now it's easier to use them in the reading.

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And then, as I was expecting, can I get some to some problem into the in the chest area.

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As you can see here, this is the the metric we have here.

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And this ball made some problems for me when I created this this generated this rake.

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So I tried to edit my original break, which is this one by just deleting these forms.

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And let me show you, I made an armature right here.

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All right?

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I want you right here.

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And then I figured these ones are making problems over here.

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These ones.

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So I just deleted them.

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So with X these at the poles.

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And then I just came over here and then selected, selected these bones over here.

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All right.

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Shifted just to duplicate them and then p to separate the points.

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So and then I got these ones over here, brought them to my original rake and pressed on this rake and

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then control J to join them all.

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Then I went to edit mode and adjust that the phones right here on the measure of my character, these

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tree bonds over here, I adjusted them accordingly and made some changes like this to make this one

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for for to head this one for these two bones for the neck area.

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And then after it was finished with the adjustments, I just click on this bone and click on this and

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then control P and connect the parent them with keeping offset.

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All right that's less important you need to parents this ball with this one over here it's just keeping

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the offset and the one more important thing is this is that this one over here as you can see over here,

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this is the chest one over here.

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These are in the same location.

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And that is important, simple insert given that these two bones are not in the same location.

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So once here, select this one and then select, then hold the shift s and then select cursor to select

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the cursor is right over here and then select this sphere and shift s and then selection to cursor.

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So now they are on top of each other.

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And then and then I just went ahead and convert them over here and press on geometry.

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I took about I a the re and I say in my characters and the re control p with automatic weight.

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It took about one or 2 minutes, I think, to generate.

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All right.

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So now that the so I showed you the changes I made, so I had to make another report here.

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So you may.

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Find a problem, too, in this area.

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Exactly.

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And especially this one over here.

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This is the clavicle bone.

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You remember to have it before I had it like this.

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As you can see, I didn't pay attention too much this morning.

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But this also made some problems because these two spheres need to have some distance and the right

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angle would be like this.

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So if you go and search close to the Internet, you see that the kind of kaboom is kind of straight

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when you look at it from the France view.

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So keep that in mind and keep the transform symmetry on and keep it like this.

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This forms a bond trees.

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One, two, three.

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Keep it behind them.

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All right.

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That's all I wanted to read.

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We can now hide the Metro and use the generator during the week.

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Or here.

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So if you go to the to use the rig, we need to go to another mode over here.

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As Postman and I talked about this in the fundamentals and now we're on the pause mode.

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And now if everything is correct, now we can select these bonds, these shapes over here.

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And one important thing, go over here again and choose in France.

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So you will see the phones as well.

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So do that again for these rich these charity trick.

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And then while we are in the pause mode, we can select any phone we want, any or any joints and shielding

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any any of these bombs.

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And then if we click are we can rotate to rotate the mesh and then click Jean we can move the mesh with

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it.

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And that's the whole thing about breaking in in general.

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So as you can see, the ear is moving, is not moving accordingly, like what we want.

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So we get into that.

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So whenever we are making a whenever I make a make a re, there are some problems that usually get fixed

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with these two solutions.

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One, whenever I have a problem like this one, I check the weights patterns.

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This is solution one and solution to ease, to remove.

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Armature.

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Modify.

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So this is solutions?

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Yes.

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So these two solutions usually work for me when I encounter these kinds of errors with my readings.

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All right.

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So let me explain to you, what does these weight pains mean?

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So Redefine has made a record for us with automatic weight pains.

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And that means if I, for example, I'm going to pause more of this of this right now, if I select

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this arm bone or here this these arrows, and if I press press G to move.

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As you can see, a lot of things are moving right now.

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So this area is moving and then this area also is moving to so.

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So the blender with the reify makes some automatic makes some automatic automatic groups, vertex groups

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over here.

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So if you select an image you have these versus groups are made in this type object.

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So properties these are all the bones that we have with our mesh.

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And these groups will define which part, which parts of the metric will affect which part of the mesh

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we have.

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So for example, if I select the shirt over here and then go to weight bands, as you can see, this

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area is marked as red and green.

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All right.

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And then here we have red.

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So usually red is a red is the food stretch.

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So when they will blend the will.

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Try to use the full strength in the red area.

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All right.

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And you can adjust this with the it is strange over here.

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So if I decrease the weight, it will be less.

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Less with less affection.

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Like it has like a green affection.

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If I increases and then use this, then in this area, we are saying to go in there with this button

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over here that we select this.

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So this one over here is selected, upper arm left.

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This is the one we are.

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We are telling wonder that whenever I'm using this form, upper arm left, which is this I always do,

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as we just talked about, affect this area as well as if it go here and then going to pose the shortcut

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for those modes is control and top.

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So if I.

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If I hold control, if I click control and tap, but I have my metrics selected.

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I go to pose moments of control, tap and impose control tap again back to object.

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So I press console time again and I mean pause moment and this point is selected.

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Let me do selected isolated again this one is selected.

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Now let's move it and see how now it is going to affect the shoot we have now.

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As you can see, the area we have just painted, red is moving a lot when we are using this point.

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All right.

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So let's go back to select our shirt and then control tap and then select basement over here.

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And then to remove these, we can go here.

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These are brushes.

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So we have like a texture.

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We have brushes, brush, we have more to blow it out like this.

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And we have averaged outrageous, a lot similar with the words expand and texture painting, which we

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discussed in the fundamentals.

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We have to smear all here.

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Well, also, we have if you click over here, we have some brushes over here that will have some difference,

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some different effects.

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I usually only use darken, draw light and light and will make every light's effects over here.

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So if you do this, it will make it 100% white, will make a very red right red thing.

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But if you press and darken and then reduce the way to zero, it will try to make everything blue.

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So you you'll have a very strong effects like this.

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We can now delete these area right now.

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And then, for example, here, maybe even I'm using these are all this -- over here, this upper

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arm left.

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I don't want this area to be moved as well.

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So if I just darken brush, I just remove these areas that I don't want to be affected at this point.

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All right.

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So that is the whole thing.

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I'm always vain.

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So you can go over here.

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And if it were free here and then on my keyboard pressed up or down arrow can go up and down and I can

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see now I can just adjust the bottom.

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So show the left will adjust this area of the shirt and then for example, upper arm left just this

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lower than I can go here, for example, and then press on lighter and increase it to 100% and toggle

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in there.

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And I want this area to be red, which make it affect much more the stronger in this area in comparison

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to this area, this one do that.

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So as you can see, you can move up and down with the keyboard and see the effect you have.

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So let's go back to object more control type, object more.

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So that is the whole thing about weight pains and the problem we had with that years.

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You can fix it as well.

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So the ears problem is connected to some other things, especially when you have a complex character

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and for example, you have a lot of accessories and these accessories are really close together.

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Like you have some accessories like this and they're very close together and you select them all and

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select the armature press control p to parallel with automatic weights.

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It might blend and might not know which one of these accessories belong to which one of these bolts.

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So what I do for accessories?

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I used to second method.

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I told you I removed the armature from these accessories.

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All right, I'm going to do that for this character as well.

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So let's just separate the years or here select either with l l which select all the connected vertices

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l two this one as well, and then select P to the separated.

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And then we have our ears separate so that now years also have all these groups for we don't need them

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right now.

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So you can just go here and then select all, delete all groups and then this one is important.

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We don't want the ear now to be affected by this armature, the whole armature.

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So if it gets all mature pause mode and then I select these, I don't want to be affected.

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And because we remove the vertex groups, it actually doesn't it doesn't affect it.

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But I want to actually remove these as well.

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This is the same thing by removing the modifier.

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Like let's go back to show you how it works.

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By removing the armature modifier, it automatically will remove the vertex vertex the vertex groups

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as well.

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So if I save my ears while having the versus group and then if I remove it all the all those risk groups

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are removed and if I go to force mode now my.

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Hmm.

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My ears are not moving with arms.

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I know what I can do.

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I can tell Blender that I want this object over here or an accessory over here.

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And maybe the teeth and the tongue, too.

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I want this object to be painted to a certain bone in the armature, and then I can have more control.

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So I select my object, in this case the ears.

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And then I select the rig and then control tap to go to position and then I select the pawn.

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I want my object that you hear to be pandered to.

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So I select the this one or here.

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This one is the one that moves the head.

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This is the top of the armature.

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And then I press control p again to parents and then I if I press born, the ears will be pointed to

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just this boom.

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All right.

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Now expects I expect that if I move this pawn now.

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Now all things are correct.

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And now I'm automatically telling Blender that with this one, with this particular pawn or here to

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be this particular pawn only affect a year.

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But also, if I go to postpone, for example, if I change this bone because this pawn, if I go over

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here and select the only hand, all right, if I'm go to end mode, these bones are connected to each

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other, hands to each other.

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All right, so the metric the metric to the generator to if I go to pause mode and then I select other.

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The other point, like the neck bone is also apparent.

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So to this point as well, see if I move this one.

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Now, this one is also moving the ears.

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That is exactly what I want.

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And that is the simplicity of these generated.

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All right.

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So now for one of the areas I'll usually change the weight paint also is the is the shoe.

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So I usually when I changed the location of the shoe and the rotation especially, it's it does something

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like this.

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All right here are all right so what I can do I can get out of the pause mode, select the shoe, go

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to weight bands and then go to here.

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And I can just select this and sort by heart key maybe, or stroke by name.

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And then with the arrow, just find the, the, the one where this group effect is affecting the left

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shoe.

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So let's find that.

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And here this is.

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The sheen, but they want the midfoot.

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So let's find the midfoot.

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Here it is.

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So these areas, these green areas, will not be affected as much as these white areas.

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I wonder.

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I wanted to be I want them all to be affected in the same manner.

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So what I do is 100% on the weights with the light and brush.

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I just light these areas to.

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Right.

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And be careful to not affect the other shoe.

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You can do this as well.

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And then it will make your life difficult because if you move this ball, this part of the shoe.

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So.

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All right.

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That's good enough.

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Let's listen to a little bit more with you as well.

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And now if I go back to object once a week and go to Paul's mobile control tab.

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Now let's move these phone and let's see the changes.

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Now, as you can see, the rotation is much more smoother.

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It doesn't just stretch the mesh aggressively.

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All right.

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And these are the ones you can use for like this is the torso, as I said in the last one.

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You can also enable these ones like to add more, more control.

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But I think this is enough for pausing and we can use as a set or to rotate and g to move around the

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bone and all done.

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One other thing is that I usually don't use a single bone like a singable like this one.

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This is the arm bone.

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If I rotated, if I move it with G, I get this.

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If I this is very strong and I don't want this to I KS Or here's if you go to a recliners we have ideas

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for leg and I case for arm.

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I usually only select the I k to move around the arm or the leg.

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So this is the i k for the hands, for example, hand ikea lift.

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And then if I press g to move, it will move the whole hand with it.

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And then if I press r it, it'll rotate only the hand over here.

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So by pressing G will move the whole arm and hand and look pressing, or it will rotate the wrist.

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And that is what I want.

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All right.

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So if you did some changes, like, for example, this one and then this one and these, for example,

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here and then maybe.

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Maybe.

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Using.

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This one.

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Maybe this is the idea of the food.

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So, for example, you made a mess, right?

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This is a mess.

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These are unless you want a weird pose like this.

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But this is a very messy pause.

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But you want to reset the pose to what it Porter is said to pose to the teapots you had.

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Right.

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So you do that by pressing the and by clicking on the whole region over here or by placing a press all

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the buttons and then press all R and then alt g to reset the movements and reset the rotations.

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Now we're back with what we had.

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All right.

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So I think that's it with the rigging right now, if you find any problems over here, for example,

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I move this one.

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00:26:10,320 --> 00:26:19,230
And as I can see, the the the bolt is moving quite good with the torso.

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All right.

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But the book or the book, on the other hand, is not.

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Maybe we can go to object mode and stuff like these two, and maybe we do.

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00:26:34,150 --> 00:26:35,290
Let's save first.

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00:26:36,820 --> 00:26:40,240
Let's remove the modifiers.

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The armature modifier and then let's switch the buckle and select the armature, then go to post one

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with control so it arm as active object, go to parliamentary control tab and then select this form

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00:26:59,740 --> 00:27:02,830
over here and then press control.

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First, let's go out of the out of the Portsmouth first you need to on parents.

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All right so adults P remember on parents I raised that but always on parents before doing the the parenting

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of the arm is just all P and clear parents and keep transformation so your interests armature go to

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pause mode select the bone you want.

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In this case, this is the point.

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I want this object to move around and then control P and then select Bone.

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00:27:47,050 --> 00:27:54,220
All right, now, if I select this bone, this is much better for doing the rigging of this character

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and the around the around the balls.

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00:27:57,190 --> 00:28:05,740
As you can see, if you do something so extreme like this, will you will like it can't catch up with

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00:28:06,640 --> 00:28:08,170
this much of rotations.

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00:28:08,420 --> 00:28:08,520
Right?

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00:28:08,590 --> 00:28:10,120
So you need to keep that in mind.

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00:28:10,510 --> 00:28:16,780
If you want something so exaggerated like this and it isn't moving like that, you go to weight pains

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00:28:16,780 --> 00:28:23,800
again and you need to go to weight pain of your object and then adjustable weight sprains accordingly.

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All right.

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00:28:25,450 --> 00:28:26,380
So I think that's it.

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00:28:26,380 --> 00:28:32,460
In the next video, we are going to pause the character and yeah, that's it.

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00:28:32,470 --> 00:28:35,830
This is a this is all the thing I want to show you in the rigging.

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00:28:35,860 --> 00:28:45,370
I, I usually use this thickness and these, these two methods usually fixes the issues you have by

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going to waistbands and adjusting the weight spans of the area, or by removing the armature modified

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and of a selected object and then selects a born control copy parents that object to a specified bone

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so you don't have a problem for accessories.

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00:29:07,990 --> 00:29:15,550
This second option is much more is better for accessories or for your case, or does it?

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00:29:15,550 --> 00:29:20,130
In the next we are going to pause our tractor with this we just made.

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00:29:20,680 --> 00:29:26,950
We can just delete this old metal record here until next with you.

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Goodbye.