First of all, for this rig, what I usually do if I go to solo mode with a slash, this is too much
and it gets a lot complicated when you go into the ring process.
And if you're starting, I don't want you to get confused or it could get complicated.
So let's just disable some of these options over here.
If you press and I'll go over here to the to one right here and go to rig layers, there are some layers
that you can disable.
So, for example, for the arms, I only need the eye case over here.
These are the I case.
I don't need these ones over here.
So let's just this old F game and let's do the same thing for the leg.
So this is the scale of the neck, right?
And we can keep this on so we can with this we can adjust the knee.
So.
Let's disable this as well.
I think we can leave it on the torso, too.
Well, this is too much, I think.
Yeah, the torso.
We can disable this one as well.
So we have a much more simpler break over here.
Let's go back to it.
Let's get out of the solo mode.
This present slash again.
And now we are ready to parents object.
Let's select all the objects with a let's select the active objects over here and then this press control
P and then press with automatic weight.
It's usually and especially because if you go over here we have 400,000 vertices, I might be even higher
because of the sub.
There's subdivision rules.
It might take a minute or two.
So I'm just going to pause the video, but I'm going I'm just going to do the same thing.
Control A and control P, I'm sorry, control p and then go here with automatic weights.
And I'm just going to wait.
I think it's going to be for a minute, I think.
And then I'm a resume date with you, so.
All right, guys, I'm done with the with the metric right now.
So I selected my character and then selected the metric over here and then control P and then right
here control P and then with automatic.
So immediately I got some problems.
So I forgot to tell you one important thing to remember before doing the parenting is that to on parents
objects.
So if you remember my shoelaces over here were parented to the sheet over here so I just clicked on
them and then pressed old p so on parent.
And then I figured now that I'm done with the modeling of these things, I would convert them to mesh
and then joined join them together with the show with control.
J So I selected the shoelace.
I like that, the shoe and then control J to join them all.
So now the show is just one object and now it's easier to use them in the reading.
And then, as I was expecting, can I get some to some problem into the in the chest area.
As you can see here, this is the the metric we have here.
And this ball made some problems for me when I created this this generated this rake.
So I tried to edit my original break, which is this one by just deleting these forms.
And let me show you, I made an armature right here.
All right?
I want you right here.
And then I figured these ones are making problems over here.
These ones.
So I just deleted them.
So with X these at the poles.
And then I just came over here and then selected, selected these bones over here.
All right.
Shifted just to duplicate them and then p to separate the points.
So and then I got these ones over here, brought them to my original rake and pressed on this rake and
then control J to join them all.
Then I went to edit mode and adjust that the phones right here on the measure of my character, these
tree bonds over here, I adjusted them accordingly and made some changes like this to make this one
for for to head this one for these two bones for the neck area.
And then after it was finished with the adjustments, I just click on this bone and click on this and
then control P and connect the parent them with keeping offset.
All right that's less important you need to parents this ball with this one over here it's just keeping
the offset and the one more important thing is this is that this one over here as you can see over here,
this is the chest one over here.
These are in the same location.
And that is important, simple insert given that these two bones are not in the same location.
So once here, select this one and then select, then hold the shift s and then select cursor to select
the cursor is right over here and then select this sphere and shift s and then selection to cursor.
So now they are on top of each other.
And then and then I just went ahead and convert them over here and press on geometry.
I took about I a the re and I say in my characters and the re control p with automatic weight.
It took about one or 2 minutes, I think, to generate.
All right.
So now that the so I showed you the changes I made, so I had to make another report here.
So you may.
Find a problem, too, in this area.
Exactly.
And especially this one over here.
This is the clavicle bone.
You remember to have it before I had it like this.
As you can see, I didn't pay attention too much this morning.
But this also made some problems because these two spheres need to have some distance and the right
angle would be like this.
So if you go and search close to the Internet, you see that the kind of kaboom is kind of straight
when you look at it from the France view.
So keep that in mind and keep the transform symmetry on and keep it like this.
This forms a bond trees.
One, two, three.
Keep it behind them.
All right.
That's all I wanted to read.
We can now hide the Metro and use the generator during the week.
Or here.
So if you go to the to use the rig, we need to go to another mode over here.
As Postman and I talked about this in the fundamentals and now we're on the pause mode.
And now if everything is correct, now we can select these bonds, these shapes over here.
And one important thing, go over here again and choose in France.
So you will see the phones as well.
So do that again for these rich these charity trick.
And then while we are in the pause mode, we can select any phone we want, any or any joints and shielding
any any of these bombs.
And then if we click are we can rotate to rotate the mesh and then click Jean we can move the mesh with
it.
And that's the whole thing about breaking in in general.
So as you can see, the ear is moving, is not moving accordingly, like what we want.
So we get into that.
So whenever we are making a whenever I make a make a re, there are some problems that usually get fixed
with these two solutions.
One, whenever I have a problem like this one, I check the weights patterns.
This is solution one and solution to ease, to remove.
Armature.
Modify.
So this is solutions?
Yes.
So these two solutions usually work for me when I encounter these kinds of errors with my readings.
All right.
So let me explain to you, what does these weight pains mean?
So Redefine has made a record for us with automatic weight pains.
And that means if I, for example, I'm going to pause more of this of this right now, if I select
this arm bone or here this these arrows, and if I press press G to move.
As you can see, a lot of things are moving right now.
So this area is moving and then this area also is moving to so.
So the blender with the reify makes some automatic makes some automatic automatic groups, vertex groups
over here.
So if you select an image you have these versus groups are made in this type object.
So properties these are all the bones that we have with our mesh.
And these groups will define which part, which parts of the metric will affect which part of the mesh
we have.
So for example, if I select the shirt over here and then go to weight bands, as you can see, this
area is marked as red and green.
All right.
And then here we have red.
So usually red is a red is the food stretch.
So when they will blend the will.
Try to use the full strength in the red area.
All right.
And you can adjust this with the it is strange over here.
So if I decrease the weight, it will be less.
Less with less affection.
Like it has like a green affection.
If I increases and then use this, then in this area, we are saying to go in there with this button
over here that we select this.
So this one over here is selected, upper arm left.
This is the one we are.
We are telling wonder that whenever I'm using this form, upper arm left, which is this I always do,
as we just talked about, affect this area as well as if it go here and then going to pose the shortcut
for those modes is control and top.
So if I.
If I hold control, if I click control and tap, but I have my metrics selected.
I go to pose moments of control, tap and impose control tap again back to object.
So I press console time again and I mean pause moment and this point is selected.
Let me do selected isolated again this one is selected.
Now let's move it and see how now it is going to affect the shoot we have now.
As you can see, the area we have just painted, red is moving a lot when we are using this point.
All right.
So let's go back to select our shirt and then control tap and then select basement over here.
And then to remove these, we can go here.
These are brushes.
So we have like a texture.
We have brushes, brush, we have more to blow it out like this.
And we have averaged outrageous, a lot similar with the words expand and texture painting, which we
discussed in the fundamentals.
We have to smear all here.
Well, also, we have if you click over here, we have some brushes over here that will have some difference,
some different effects.
I usually only use darken, draw light and light and will make every light's effects over here.
So if you do this, it will make it 100% white, will make a very red right red thing.
But if you press and darken and then reduce the way to zero, it will try to make everything blue.
So you you'll have a very strong effects like this.
We can now delete these area right now.
And then, for example, here, maybe even I'm using these are all this -- over here, this upper
arm left.
I don't want this area to be moved as well.
So if I just darken brush, I just remove these areas that I don't want to be affected at this point.
All right.
So that is the whole thing.
I'm always vain.
So you can go over here.
And if it were free here and then on my keyboard pressed up or down arrow can go up and down and I can
see now I can just adjust the bottom.
So show the left will adjust this area of the shirt and then for example, upper arm left just this
lower than I can go here, for example, and then press on lighter and increase it to 100% and toggle
in there.
And I want this area to be red, which make it affect much more the stronger in this area in comparison
to this area, this one do that.
So as you can see, you can move up and down with the keyboard and see the effect you have.
So let's go back to object more control type, object more.
So that is the whole thing about weight pains and the problem we had with that years.
You can fix it as well.
So the ears problem is connected to some other things, especially when you have a complex character
and for example, you have a lot of accessories and these accessories are really close together.
Like you have some accessories like this and they're very close together and you select them all and
select the armature press control p to parallel with automatic weights.
It might blend and might not know which one of these accessories belong to which one of these bolts.
So what I do for accessories?
I used to second method.
I told you I removed the armature from these accessories.
All right, I'm going to do that for this character as well.
So let's just separate the years or here select either with l l which select all the connected vertices
l two this one as well, and then select P to the separated.
And then we have our ears separate so that now years also have all these groups for we don't need them
right now.
So you can just go here and then select all, delete all groups and then this one is important.
We don't want the ear now to be affected by this armature, the whole armature.
So if it gets all mature pause mode and then I select these, I don't want to be affected.
And because we remove the vertex groups, it actually doesn't it doesn't affect it.
But I want to actually remove these as well.
This is the same thing by removing the modifier.
Like let's go back to show you how it works.
By removing the armature modifier, it automatically will remove the vertex vertex the vertex groups
as well.
So if I save my ears while having the versus group and then if I remove it all the all those risk groups
are removed and if I go to force mode now my.
Hmm.
My ears are not moving with arms.
I know what I can do.
I can tell Blender that I want this object over here or an accessory over here.
And maybe the teeth and the tongue, too.
I want this object to be painted to a certain bone in the armature, and then I can have more control.
So I select my object, in this case the ears.
And then I select the rig and then control tap to go to position and then I select the pawn.
I want my object that you hear to be pandered to.
So I select the this one or here.
This one is the one that moves the head.
This is the top of the armature.
And then I press control p again to parents and then I if I press born, the ears will be pointed to
just this boom.
All right.
Now expects I expect that if I move this pawn now.
Now all things are correct.
And now I'm automatically telling Blender that with this one, with this particular pawn or here to
be this particular pawn only affect a year.
But also, if I go to postpone, for example, if I change this bone because this pawn, if I go over
here and select the only hand, all right, if I'm go to end mode, these bones are connected to each
other, hands to each other.
All right, so the metric the metric to the generator to if I go to pause mode and then I select other.
The other point, like the neck bone is also apparent.
So to this point as well, see if I move this one.
Now, this one is also moving the ears.
That is exactly what I want.
And that is the simplicity of these generated.
All right.
So now for one of the areas I'll usually change the weight paint also is the is the shoe.
So I usually when I changed the location of the shoe and the rotation especially, it's it does something
like this.
All right here are all right so what I can do I can get out of the pause mode, select the shoe, go
to weight bands and then go to here.
And I can just select this and sort by heart key maybe, or stroke by name.
And then with the arrow, just find the, the, the one where this group effect is affecting the left
shoe.
So let's find that.
And here this is.
The sheen, but they want the midfoot.
So let's find the midfoot.
Here it is.
So these areas, these green areas, will not be affected as much as these white areas.
I wonder.
I wanted to be I want them all to be affected in the same manner.
So what I do is 100% on the weights with the light and brush.
I just light these areas to.
Right.
And be careful to not affect the other shoe.
You can do this as well.
And then it will make your life difficult because if you move this ball, this part of the shoe.
So.
All right.
That's good enough.
Let's listen to a little bit more with you as well.
And now if I go back to object once a week and go to Paul's mobile control tab.
Now let's move these phone and let's see the changes.
Now, as you can see, the rotation is much more smoother.
It doesn't just stretch the mesh aggressively.
All right.
And these are the ones you can use for like this is the torso, as I said in the last one.
You can also enable these ones like to add more, more control.
But I think this is enough for pausing and we can use as a set or to rotate and g to move around the
bone and all done.
One other thing is that I usually don't use a single bone like a singable like this one.
This is the arm bone.
If I rotated, if I move it with G, I get this.
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
for leg and I case for arm.
I usually only select the I k to move around the arm or the leg.
So this is the i k for the hands, for example, hand ikea lift.
And then if I press g to move, it will move the whole hand with it.
And then if I press r it, it'll rotate only the hand over here.
So by pressing G will move the whole arm and hand and look pressing, or it will rotate the wrist.
And that is what I want.
All right.
So if you did some changes, like, for example, this one and then this one and these, for example,
here and then maybe.
Maybe.
Using.
This one.
Maybe this is the idea of the food.
So, for example, you made a mess, right?
This is a mess.
These are unless you want a weird pose like this.
But this is a very messy pause.
But you want to reset the pose to what it Porter is said to pose to the teapots you had.
Right.
So you do that by pressing the and by clicking on the whole region over here or by placing a press all
the buttons and then press all R and then alt g to reset the movements and reset the rotations.
Now we're back with what we had.
All right.
So I think that's it with the rigging right now, if you find any problems over here, for example,
I move this one.
And as I can see, the the the bolt is moving quite good with the torso.
All right.
But the book or the book, on the other hand, is not.
Maybe we can go to object mode and stuff like these two, and maybe we do.
Let's save first.
Let's remove the modifiers.
The armature modifier and then let's switch the buckle and select the armature, then go to post one
with control so it arm as active object, go to parliamentary control tab and then select this form
over here and then press control.
First, let's go out of the out of the Portsmouth first you need to on parents.
All right so adults P remember on parents I raised that but always on parents before doing the the parenting
of the arm is just all P and clear parents and keep transformation so your interests armature go to
pause mode select the bone you want.
In this case, this is the point.
I want this object to move around and then control P and then select Bone.
All right, now, if I select this bone, this is much better for doing the rigging of this character
and the around the around the balls.
As you can see, if you do something so extreme like this, will you will like it can't catch up with
this much of rotations.
Right?
So you need to keep that in mind.
If you want something so exaggerated like this and it isn't moving like that, you go to weight pains
again and you need to go to weight pain of your object and then adjustable weight sprains accordingly.
All right.
So I think that's it.
In the next video, we are going to pause the character and yeah, that's it.
This is a this is all the thing I want to show you in the rigging.
I, I usually use this thickness and these, these two methods usually fixes the issues you have by
going to waistbands and adjusting the weight spans of the area, or by removing the armature modified
and of a selected object and then selects a born control copy parents that object to a specified bone
so you don't have a problem for accessories.
This second option is much more is better for accessories or for your case, or does it?
In the next we are going to pause our tractor with this we just made.
We can just delete this old metal record here until next with you.
Goodbye.