Hello and welcome, guys.
So now let's get into the breeding of our character.
Now that we have a proper lighting to showcase our character, we can get into posing the character
for the let's let's add a solidified modifier for this one.
This is the ball game exhibit.
It's just one plane.
So there's also so if I modifier and add a little bit of thickness over here and then I also go to no
moles over here and turn on auto as most of these edges are not smooth.
Now you have a very nice shape.
We can also go and scoot here and below all these edges.
The certain of solidify and.
I'm going to click on the resources and click on Control Shift B to build vertices.
Right.
It doesn't seem to be working in this case.
So.
Let me.
Let's just leave it as that for now.
We're going to need to fix it or make another one.
So now we have this over here.
All right.
Now, this area is much better with a seal in it to make it more smooth.
These areas are not.
What's it like?
I need to add some more edges is not.
The purpose of this video is get into rigging.
Okay.
So now.
So now let's go to show the remote and I'm going to hide everything else that I don't need for now.
So, for example, lights, I'm going to hide them.
Then I have this over here.
So only the ground and character.
So now let's go and select the character and select the ground.
Less hide the ground as all the messy the ground is in the main or here.
So let's change the name to ground.
So you would select it much easier and then hide it.
So now we have only the character.
I'm not going to explain too much about the rigging process as I because I showed how we can rig the
character would redefine it.
But if you don't remember, we have to enable have an ad on the calls that comes with both under and
it's called Rectify.
So you never rig if I and then you have some more options in the armature section like these ones.
So first, if you remember, we need to make it.
Let's enable floor.
We need to make the character over here.
That's a B above.
The word's origin.
So let's make it the above for the originality.
So there's good and.
Pest control.
A skill.
So we don't get to any.
And it's problems later on.
Let's press shift this solution to cursor.
So now it's not doing as you like it to do.
No worries.
Just a small freedom.
Well, it's a bit like this.
I think that we can fix the problem, though.
It's that in the origins of geometry, it's all the object's origins with we'll be back to no fixing
the problem.
So let's just do it.
I know the feeling gets a little bit like in the middle, so it would be in the middle.
It's just for the armature.
Nothing else.
You can set it anywhere else.
Actually, it doesn't matter that much.
So now let's shift a armature and go and make a human misery.
All right.
I want to duplicate this human misery of this show before we can use this as a reference to how to place
our bones, for example, for the hand bones over here.
And you can you can just look at your bone over here to see how you need to place them.
So now let's go to this one over here and scale it down, this armature.
Okay, and the series armature.
So we have two metrics.
Let's make a new collection and call this Rick.
So we can simply go here and turn them on and off.
I'm gonna.
Put this one also in the Rick.
So it can go on and on and off.
Okay.
Now let's select this one and scale it down and up based on the.
Scale of the character.
So that's good.
And then if you remember analytical object purposes viewport display isolated to be in front.
Now.
I don't want it to be in our way because when we look at side view and if you look at our main rig,
so for now, let's just move it over here.
So it wouldn't cause us any problems when we go to main frames like in front of you.
And so if you get the now is start adjusting these over here well before that press control escape.
Now be sure to make sure that you enable exclamatory and then this select these balls and bring them.
To.
The location of the character.
So let's bring these up.
It's a bit.
And select these all together and bring them all a bit upside.
So it should be straight line.
Okay.
So these lines over here, these are this one lines.
Remember, don't move them individually.
Always select them with each other.
So this should be in this order, like this one over here, it's actually interacting.
What if you see or here there's another sphere they should be interacting, otherwise you get some errors.
So now as they remove the unnecessary pawns like this ball over here and then the fisher form just go
to side here and it is bonds and also the ear bonds and also this press of Z.
And this point is unnecessary for us to sit still.
It just doesn't do so.
Those are the ones and you need to do it.
And now let's go to front view and complete the main bone's position.
I want this.
Want to be.
Like come from the.
Nick.
So we can go ahead.
If you if you have any doubts, you can go here and see how these bonds are set together, like this
one over here.
The last one should start from the above to your right.
So I see many people have some.
But they don't know where they should place the bombs.
But the simplest way is just add the metal response and just see how it is placed.
All right.
So now we have our Kit Bond.
So people should be around the groin area.
So let's place it around the groin area.
And now.
All right.
Now let's press this one, which is a kneebone in the right location.
Let's go to right now and let's select this polish as the anchor bone and bring it back.
Like that's like the Nippon and bring it back a little bit, too.
So take this one and bring it to the middle of the foot.
So like this one.
And bring it to here to the.
And of the foot like that.
Let me have this one over here, which should be behind.
Beyond the ankle.
Like that.
And that's the foot.
The feet are quite easy trick, but the hard part is the hands.
So let's good to both a bit too.
Which is to top view with seven.
And now we have a nice adjust.
Although.
So let's go here and let's select the arm here, the body and the armature, and then press shift edge
to hide everything else.
I want to just see the body over here.
I want to adjust it on the body so I don't care about the clothes or anything else, just the body,
just to make sure that you're placing the bones in the right direction of the body.
And then this is the respond.
So now we have a job to adjust these hands and bones, these fingerprints.
So select each set of bonds itself and just adjusts them accordingly.
So this one goes all the way to here.
This one goes to the knuckle of the thumb and this one goes to the tip of the finger.
And now we have to adjust it in every year.
Just select each bond and adjust accordingly.
So you need to make sure that the bonds are inside.
The mesh to make the hand area easier.
I'm just going to select all of these and press shift edge to hide all of the other ones.
Now let's just focus on the hands.
Hands are tricky to get.
So let's select this one with L and bring it over here.
Let's rotated and bring it over here.
And this one should be the knuckle area.
So for the hands, just go to the front view and then the side view and then adjust accordingly.
Hands And this one should go all the way up to here.
So now, so just this one, bring it over here.
Rotated all that.
We bring this one to the local area.
Bring both to the local area over here.
That's just these ones as well to make things a little bit faster.
This bond needs to be in the middle.
So this is the.
This is the bond that works with the okay.
And you can flex your hand.
Bring it, bring the whole thing down a little bit.
So I think I can do that because I don't have all the other points of fixed on later.
Let's focus on the fingers.
So now it's just about adjusting these bones in the right location.
It's always a bit tricky to bring all of them into the mesh because of how the it's so cherry in the
hand.
So now it's bringing all of these these bonds, these tendons, actually, the bonds.
There's these represent attendants of the fingers.
And they bring them up.
So let's press attach and spring this these to this point a little bit toward the middle.
So it would be to outside because if it's to toward the outside of the hand, it might not work.
We need to make this a little bit.
Go inside too, so that it's fine if you have any fear, any doubts, if you have placed your bonds
correctly or not, just check it with your.
Phone reference.
So we can do that right now.
Let's just check it with our phone reference over here.
Can just bring it in and check it like the.
Okay.
Each bone how they are placed.
It doesn't.
Yeah, it looks good to me.
So we have placed all these accordingly.
So the next thing I do, I go to here and click on disable the in front to see if any of these bombs
are sticking out like this one over here.
So this is one way to see if we are placing the phones correctly.
It should be sticking out.
Should go inside the mesh for it to work correctly.
That's good enough.
That is part this part is not that sensitive.
I think that's okay.
So now we have all these measures.
Let's go and again one more time.
Shift edge.
These two to see.
The body.
Yeah.
As you can see, we have a problem here.
So these are two.
To the back of the character.
And now I think we got it.
So now all the bones are inside.
Oh, it's a big push inside to which this one inside these two needs to increase, to interact to each
other.
So remember that.
And we're done.
So now let's shift each.
I'm sorry.
Attached to bring everything back.
And now all this is press on our.
Premature here.
And press or control a and scale it first and then go over here to object properties of our armature
and click on Generate.
Before that I want to make some changes to this.
The zipper owner first joined this together.
So let's join these two together.
So now these two are joints.
Now it's joined these.
These two are joints.
And now I'm going to duplicate these two.
Okay.
Press em and move to duplicate back up.
So we have a separate that's a zipper in our so that if anything goes wrong, we can use.
But right now I to join these two, the hoodie and the subject.
I'm going to click on this zipper and join it to the jackets.
Because I fear we might we may encounter some problems.
All right.
Not as good.
Okay.
Let's save show less.
And so the same thing over here as well.
To the jacket control J.
So to do that was under this until we forgot to apply the modifiers over here.
Let's undo and go back to the points that we didn't join these together.
So now that's fine.
So now select these both together.
Control a visual geometry to match.
So now these cubes and these zippers should not have any modifiers.
And I was joined them together again.
Takes a little bit time because of the modifiers, it seems.
So let's go back and let's go to edit mode instead of edge lynch and the.
I need to add some loops over here so we don't lose.
The shape.
And we did lose the ship.
But the.
Okay.
I'm just going to select this one.
Like this one.
Press right click and subdivide the subdivided.
Like.
Three times.
And then bring this up with double G.
I'm going go with double G and trying to slide this edge to the top.
So we have some problems over here.
It sticks to this area.
Let's see if a problem solved now after subdividing it.
Let's press control J.
Yeah.
We have fixed the problem over here, but these areas are not looking good.
We may need to subdivide them all like one time or two times a thing.
One time is enough.
I don't want to make it too much because of this.
Joining with this one is going to add the multi resolution.
A space for Blender to do its thing.
And now we have a much better is also going not rescue against this one.
Now we have a much better results.
Okay.
Let's do the same thing for this one as well.
So let's go to right here and I want to click on this one.
So this these select one.
But it since I can't do that.
So it's a bit tricky.
Let's select this one with l all these wants and press control I to invert the selection.
There we go.
Now we have all the solutions except for the zipper over here.
And then we can go and subdivided two times.
Let's go out of element and connect it to here.
I also need to move these two bits.
Closer to the jackets.
Get us to that in a second once.
And right now it's like this one and person control J.
And now we have our.
Check it.
The whole zipper.
No, no.
Makes it easier when we do the rigging.
I want to also do the same thing for here.
So these are now one object.
This is one object.
So let's select them both and let's make sure the location is.
We're quite happy with the location.
It's good for now.
So we can always change that later.
I think when we when we join this together, they are gonna they're gonna have some face sets.
So we can always go with that.
Those faces, we can grab them and move them around to whenever, wherever we wants.
So now it's so like this one and so this, this.
And we have assigned the material, right?
Yeah.
So take them all and join them with the howdy.
So the Pearl added it to the back up.
But these are really easy to separate if I needed it later on.
So I can just go to edit mode and press l on each of one of each of these and press P to separate them.
So it's now.
But that's not hard.
But it's a better idea to just add them to a backup too, if anything goes wrong.
Who would have?
It's so I want to do the same thing for here.
Let's.
At the subdivision level or.
These.
Think we need to bring.
At.
I know the subdivision level here.
This one doesn't work.
Oh, maybe.
So let's duplicate this.
Make two.
So there's a little problem because it's a cute little subdivision.
Those two.
Make these just go away.
So let's apply this vision to mesh the supporters this month.
I still like these edges and now it's fixed.
Good.
Now connected to the.
Shorts.
But I was also kind of this all together.
So to shoot the these parts to the bolt control j.
We still.
Let's go here and.
Civil simplify.
I don't know why, but I feel like Boehner is a bit lackey more than usual.
You know, Spitzer know we have all our objects in the open, so we don't need to simplify to how so.
And now these are all joined together and we have also separated tissues.
So now we are ready to go to the next step.
Make sure all.
Of your objects.
All the little ones up there.
A little.
Schools are in their mode and see if we have any problems.
But joining these areas.
And that seems okay.
So now.
Yeah.
Make sure the subtitle is level one and.
Then are good to go.
Okay.
So now.
Well, save first, don't forget.
Okay.
It took a lot of time to say, let's do this, this one, and now let's select our armature and go here.
I'm sorry, because I had to stop reporting for a while.
So select your armature and then click on jazz, Rick.
And unfortunately, because there or here, a spine number four cannot connect.
This is one of the common errors that you get while working on these rigs.
So all you have to do is go to logic properties, say something in France, and then we need to fix
the problem over here.
As you remember in the light we just saw it said Spain number four is not connected.
So the thing is, this response need to be aligned together.
All right.
Like this.
Okay, fine.
Do that and make a reference for yourself like this.
Bring it down here for you to see.
Okay.
These two bonds over here are interacting to each other, as you can see.
All right.
So we need to make them to be to be inside each other.
Although now the also now that I'm watching our reference, I see some problems here as well.
So these two should not interact.
I'm just going to move it.
Oh, it's a bit outside like this.
These two should not be.
Inside each other.
And then this one over here, the hip.
One should be it should have an angle.
It should be upwards.
We don't have that here.
So let's fix that quickly.
And you should be in fronts like that.
So every time you have.
Some doubts.
Just use references and you just eventually it becomes much as you know now as a fix are other points
let's bring these down or it's a bit like this and then we have a problem over here.
As we saw, we got an error, these two phones to interact to each other so we can go and bring them
approximately.
But the thing is, these two needs to be exactly inside like this and this needs to be exactly in the
middle.
So that is hard for us to do.
The easy way is to shift us and shift S and bring cursor to select that.
So now the cursor isn't selected, but actually we need to adjust this so it starts in the right direction.
So I wanted to be here based on the reference.
Yeah, it's this.
This one is like here higher than the caucus by now.
So I think the press shift, as Chris said, the selectors and not our cursor is over here that we can
select this sphere and then shift s selection to cursor.
And now I focus also as you can see, this is.
Exactly in the middle.
I hope to fix the problem.
This is all too common problems that you may encounter with Joe Cindric, eschatology, purposes and
then the press on Joe is Rick and Joseph.
It does fix the problem on the air.
Fortunately it did fix the problem.
So yeah.
That's how I thought.
And now this one as well.
We don't need its side and that we have this geriatric or here.
What I want to do, I want to do something different than what we did in the last time we did our Rick.
In my experience doing the rigging of the clothes and accessories in a difference like doing.
It's not that long ago.
So we just gonna do the party now and just let me just show you.
So let me just show you.
I'm going to click the body.
Okay.
Want to click the party over here?
And then I'm going to click shift, click on the armature.
We just made the this complex rig and then I'm going to click Control P and then I'm going to kill it
with automatic weights.
So I'm doing these parenting texts all the time.
So I'm just going to pause the video and then resume it when the parenting is finished.
So remember just the party, all right?
We just selected the body and the rig, all right.
And then control P and then with automatic weights.
So I'm just going to do that.
Then I'm going to resume.
You already didn't take as much as I think it would.
It took only just six, 7 seconds.
So now we have only the body, a photo and click the streak and go to the rigging.
Now, I should have no problem with moving the hands, right?
So that's okay.
Now though, I want to do the closing now differently.
So let's select oh, actually, let's select the body again.
Armature again and this press control I to invert the selection so I just didn't just select anything
else except the body and arm which just once selects my clothes and then selects the body with shift
as an act as the active object and then press control L or control l and then I'm going to press on
transfer, uh, mesh data if I am my mouse.
You can see transfer data layers with edge shops, etc..
And then this one is of the I think let's press on that data transfer right there.
And then on data type, I want to transfer the vertex groups.
So let's click on that, whereas this groups is going to take it a while.
So let me explain to you what I just did.
I just told Blend.
I just made the vertex group, automatic vertex group with connecting only the body to the to the armature.
And it's automatic vertex groups.
And then when the made somatic groups for the body and then I linked those versus groups from the body
to the clothes so it makes it easier for for us to reach it and do us lists of aid spending.
There are some options over here, too, that we need to fix.
For example, here you have you can leave here to work here.
So that's fine for us is going to get the mapping from the nearest vertex.
But over here, source layer, we are going to select on all this.
All right.
It took it might take a little bit of work.
It's a what?
So it's going to a kind of copy and paste all these vertex groups to our clothes.
Okay.
And we can change it by name.
That's okay.
That's fine.
And if we click anywhere else, this window is going to go away.
So be careful.
So we're going to click anywhere else and then I think we're good.
So now we have coats as well with vertex groups.
As you can see the same vertex groups as we have for the pod.
But there's one step left and that is the select the body and asset control I.
To invert the selection.
So we have the chords again and then select.
Armature and the control p then go with them groups.
All right, now that connection is done.
So we just told Brenda that we don't want any right screw up because we have our own words, this group,
and copied it from the body.
So now it's time to go to the postmortem of their armature with control tap.
Let's.
Now.
Move.
I give the hand to see how it works.
All right.
Okay.
This one is like it's so slow right now, I think, because of the recording.
But here.
Okay.
All right.
As you can see, the court is also moving.
With.
The call is also moving with our armature.
So our armature is now successful, but we need to make some changes.
But also really like for me with armature right now and we can kinda pose it in this way.
So let me go over here and and click right click here and video memory.
If you have the same issue, you need to see how much memory blender is taking.
All right.
It's not taking a lot of the memory system.
Memory, that's what I wants.
So sticking around seven gigabytes of memory.
And that's not good.
That's not what you want.
That's a lot, actually.
So I'm going to save this.
All right.
And then because we're past the point of kind of sculpting and and texturing and all that, we don't
need too much.
Of others.
So I have to.
It's on the 54 and it's too much.
The blender is saving the history of every action we are doing, and it can handle it.
So let's turn it to, like, ten.
All right, let's send it to ten.
And now let's close this up.
But closing is going to just.
So it is self and then I'm going to save blender and then close blender and open it again to reset the
undo history.
And then let's see how much memory we're going to have over here.
So let me pause the video for now.
All right.
I just opened the blender and now when I opened it up, it was 5.8 of memory output, my gigabyte adjustment
to the setting and also enabled simplify it's a zero subdivisions.
So now we don't have any subdivision subdivisions for our clothes over here to make it to look more
like the subdivision level over here.
We can go and go to shape and click apply base for anything that is a second house maybe are not looking
like what we are expecting it to look.
Okay, now let's go to over here and do the same things.
Simplify and zero.
Let's walk this one for now.
Let's see if I maybe the problem was with the undoing.
So.
Yeah, let's go now.
And the.
Check the rigging.
So let's go to Portsmouth with control to.
Know, we can work like this.
It's too slow.
So maybe changing it to.
This one?
No.
Okay.
I think we may need.
It's bringing down this four maybe.
You can also click on this one, not sit.
No, it's not working properly.
It's too slow as now working.
Probably properly so.
Uh.
Yeah.
I think I may need to restart my computer and then we'll see what happens.
So, guys, because.
Because I'm recording and because, uh, we have a lot in our scene right now.
It's taking a lot of round from my system.
But yeah, I did a couple of things.
So first we produce on the steps, right?
That helps.
And then what I did was I went to external data.
I tends of automatically pack resources and I unpacked all these.
So I click on unpack.
To unpack all these things and it made the memory to go down.
And then I went over here and put puts a disabled simplify in here.
All right.
And it just wants a mentally disabled multi race with this click over here.
So I just disable it.
So by disabling it, it makes windows to not calculate that every time and move the armature.
So now we can if I enable this, for example, as you can see it goes up in there needs to calculate
this motor is although the little viewport is set to one so to zero we need to calculate that.
So I just set it to disabled it and the for each one of these that had also subdivision level or motorist.
I just disabled the motorist and I once and also disabled other collections.
So there's a difference between hiding a liar, hiding something all right.
And disabled.
So if you go over here and click on this to have it, you have this option that excludes a whole collection
or an object from showing in the report.
So when that is not going to calculate this, if I click on this, Linda is going to calculate if I
go and enable this or here one, there is a calculation in it, but it's not showing it in the viewport.
So with this option or here, it's just going to hide it, but that is going to calculate.
So that's one that's a side note to know about these options over here is that if you have like a lapse
or something and maybe your system can handle two, uh, you can use this.
So I just disabled all these.
Otherwise.
And now it's much faster.
Like one that walks much faster.
And that was good to pose more and see if our efforts.
But good enough.
So is she.
And now Spitzer.
As soon as it was.
I like.
But now I suppose there.
Now we can do some poses.
All right.
So, yeah, let me save it.
And yeah, that's it for this video.
And the next one, let's go on to the depose of our character.
We are going I downloaded the polls like this from the internet just searched in was Moran's post a
step and selected this one to do this pose over here.
All right.
So the next video.
Goodbye.