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Paint the skin weights of the upper body by adding, removing, and smoothing the areas around each selected joint.
Type:
Tutorial
Length:
4 min.
Transcript
00:04
Let's jump up to the torso
00:06
and pause it.
00:08
So we already blocked in the weights here earlier.
00:11
So it looks like we just need to smooth them now.
00:15
And up here,
00:17
we want a nice blend.
00:21
Now, the clavicle
00:24
actually, this has too much of an influence over the body. Let's remove some of that.
00:32
And let's look at the upper arm twist now, which should affect the shoulder,
00:36
remove some of the weights around here.
00:39
If you aren't sure how a part of the body would look as it deforms,
00:43
just look at your own,
00:44
move your shoulder around and see how much of
00:47
its movement affects the rest of the torso.
00:51
We need to update the arm twist joints just like we did with the leg.
00:55
I'll come back to those.
00:57
Let's do some more work on the upper body.
01:03
So as you can see, all I'm doing is adding, removing and then smoothing the area.
01:09
We don't want the clavicle to affect the collar.
01:17
Instead, we need a crease as the shoulder raises.
01:23
So let's build up this area
01:27
around here too
01:32
and soften it.
01:36
Let's test the shoulder.
01:41
Ok. So the armpit is being pushed in too far.
01:45
So let's add some of the influence back to the clavicle.
01:49
Fill this back out
01:55
and smooth again to blend it in.
02:01
That's looking better.
02:03
Now, we need some more influence over the top of the shoulder
02:07
with an area like the shoulder.
02:09
It's important to check each direction it will move in
02:15
if we rotate it forwards. Now
02:20
we get a crease which is good,
02:22
but the clavicle probably needs more of an influence to keep it pushed out.
02:27
Ok. Let's add in the twist joints influence.
02:30
So block it in first
02:34
and then soften it.
02:39
Let's look at the elbow now.
02:43
So this has too much of an influence over the upper arm.
02:46
It should be weighted to the twist joint.
02:49
Let's add that in.
02:54
So I just fill this out
02:59
and now smooth the elbow. So we get a nice blend.
03:05
OK. So I think you have a good idea. Now of how we go about painting weights
03:10
personally,
03:11
I like to block the areas out and then adjust the perimeter
03:14
weights to soften them or fill them out more if needed.
03:18
Remember to observe how your own body deforms
03:20
and try to replicate that with the weights.
03:25
If the model has been built with defamation in mind,
03:28
like with muscle lines, for example, and clean topology,
03:32
you can achieve a much better simulation of the muscles moving
03:36
beneath the surface of the skin with your skin weights.
Video transcript
00:04
Let's jump up to the torso
00:06
and pause it.
00:08
So we already blocked in the weights here earlier.
00:11
So it looks like we just need to smooth them now.
00:15
And up here,
00:17
we want a nice blend.
00:21
Now, the clavicle
00:24
actually, this has too much of an influence over the body. Let's remove some of that.
00:32
And let's look at the upper arm twist now, which should affect the shoulder,
00:36
remove some of the weights around here.
00:39
If you aren't sure how a part of the body would look as it deforms,
00:43
just look at your own,
00:44
move your shoulder around and see how much of
00:47
its movement affects the rest of the torso.
00:51
We need to update the arm twist joints just like we did with the leg.
00:55
I'll come back to those.
00:57
Let's do some more work on the upper body.
01:03
So as you can see, all I'm doing is adding, removing and then smoothing the area.
01:09
We don't want the clavicle to affect the collar.
01:17
Instead, we need a crease as the shoulder raises.
01:23
So let's build up this area
01:27
around here too
01:32
and soften it.
01:36
Let's test the shoulder.
01:41
Ok. So the armpit is being pushed in too far.
01:45
So let's add some of the influence back to the clavicle.
01:49
Fill this back out
01:55
and smooth again to blend it in.
02:01
That's looking better.
02:03
Now, we need some more influence over the top of the shoulder
02:07
with an area like the shoulder.
02:09
It's important to check each direction it will move in
02:15
if we rotate it forwards. Now
02:20
we get a crease which is good,
02:22
but the clavicle probably needs more of an influence to keep it pushed out.
02:27
Ok. Let's add in the twist joints influence.
02:30
So block it in first
02:34
and then soften it.
02:39
Let's look at the elbow now.
02:43
So this has too much of an influence over the upper arm.
02:46
It should be weighted to the twist joint.
02:49
Let's add that in.
02:54
So I just fill this out
02:59
and now smooth the elbow. So we get a nice blend.
03:05
OK. So I think you have a good idea. Now of how we go about painting weights
03:10
personally,
03:11
I like to block the areas out and then adjust the perimeter
03:14
weights to soften them or fill them out more if needed.
03:18
Remember to observe how your own body deforms
03:20
and try to replicate that with the weights.
03:25
If the model has been built with defamation in mind,
03:28
like with muscle lines, for example, and clean topology,
03:32
you can achieve a much better simulation of the muscles moving
03:36
beneath the surface of the skin with your skin weights.
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