WEBVTT 1 00:00:09.000 --> 00:00:13.200 Hello! This is Juan Pablo Rosa speaking and you're watching the timelapse about 2 00:00:13.200 --> 00:00:19.280 Regan Vincent. As you may already know Vincent is a free character that you can 3 00:00:19.280 --> 00:00:24.200 download at the Character Library of the Blender Cloud. It was originally designed 4 00:00:24.200 --> 00:00:29.360 by Matthias Mendiola and it was modeled by Andy Goralsic and then it was rigged 5 00:00:29.360 --> 00:00:35.760 by me using Blendric 5. Blendric 5 is a free add-on that you can download at the 6 00:00:35.760 --> 00:00:40.040 Blender Cloud or you can also get the latest version at this address of 7 00:00:40.040 --> 00:00:45.360 GitLab.com. Once you've downloaded the zip file you can install Blendric by 8 00:00:45.360 --> 00:00:51.360 going to File, User Preferences, Add-ons, Install from File, you select the zip file 9 00:00:51.360 --> 00:00:57.280 and then you can enable the add-on. Recently the PDF documentation about 10 00:00:57.280 --> 00:01:01.560 Blendric in which you will find a step-by-step guide about how to rig a 11 00:01:01.560 --> 00:01:05.960 character from scratch with Blendric was also made available for free on the 12 00:01:05.960 --> 00:01:11.000 Blender Cloud. So you can read that PDF file to get a better idea of how the rig 13 00:01:11.000 --> 00:01:15.320 works. And if you become even more interested in using Blendric for your 14 00:01:15.320 --> 00:01:19.560 own projects you can also sign up to the Blender Cloud and there you will find 15 00:01:19.560 --> 00:01:24.440 several hours of training material with many step-by-step guides about how to 16 00:01:24.440 --> 00:01:30.520 rig your characters with this rig among other things. Currently Blendric is only 17 00:01:30.520 --> 00:01:35.320 intended for film production but in the near future I plan to do other presets 18 00:01:35.320 --> 00:01:40.080 of the rig like for example a game engine ready rig, a quadruped rig and 19 00:01:40.080 --> 00:01:46.520 even some vehicles rigs. So stay tuned to any news about the Blendric project. Now 20 00:01:46.520 --> 00:01:51.120 let's get our hands on Vincent. First I'll add the Blendric armature from the 21 00:01:51.120 --> 00:01:55.880 add object menu and then from the Blendric rigging panel I will enable the 22 00:01:55.880 --> 00:02:00.360 reproportion mode to retarget the rig. In this mode you will get all the 23 00:02:00.360 --> 00:02:05.400 necessary controllers in order to fit the armature to your characters. So first 24 00:02:05.400 --> 00:02:10.380 I'll adjust all the controllers to the body of the character. 25 00:02:21.120 --> 00:02:32.240 Just a quick note about the fingers. Remember that Blendric has the option 26 00:02:32.240 --> 00:02:37.640 to have IK in the fingers so it is a good idea to place the fingers with a 27 00:02:37.640 --> 00:02:44.160 little bit of initial inclination so that the IK knows where to bend to. 28 00:02:44.160 --> 00:02:51.120 So then I'll go on with the head. There is a face master controller that will 29 00:02:51.120 --> 00:02:56.180 let you adjust the whole face at once. Here I'm just mirroring the pose to 30 00:02:56.180 --> 00:02:59.440 start getting things in place. 31 00:02:59.440 --> 00:03:04.620 Blendric has a facial rig based on bones so you don't have to rely on shape keys 32 00:03:04.620 --> 00:03:08.720 to do the facial expressions of the characters and all the mechanic of this 33 00:03:08.720 --> 00:03:13.360 facial rig is fully automated and it will let you achieve any expression you 34 00:03:13.360 --> 00:03:18.160 can imagine. So getting the face right on this first stage of the process is 35 00:03:18.160 --> 00:03:24.000 really important. As you can see the face is divided in different colors for each 36 00:03:24.000 --> 00:03:28.720 facial part so that you can fit each part separately into your model without 37 00:03:28.720 --> 00:03:34.080 any visual hassle. You can see what all these different bone colors are about in 38 00:03:34.080 --> 00:03:39.400 the bone groups list of the armature. Also it is a good idea when adjusting the 39 00:03:39.400 --> 00:03:43.720 face that you enable the B bones option in the armature so that you can see the 40 00:03:43.720 --> 00:03:49.200 actual curvature that the bones have. All the deformation that the rig delivers is 41 00:03:49.200 --> 00:03:53.760 based on B bones so it is nice to know how the curvature of the bones is 42 00:03:53.760 --> 00:03:58.800 behaving in order to make everything look as smooth as possible and to avoid 43 00:03:58.800 --> 00:04:05.800 bone flipping or sharp edges. About the main facial rig I first adjust the lip 44 00:04:05.800 --> 00:04:10.080 controllers and then I adjust all the outer controllers that surround the 45 00:04:10.080 --> 00:04:14.760 cheeks and the chin. This is because all the intermediate controllers will adjust 46 00:04:14.760 --> 00:04:20.400 automatically to these two ends the lips and the outer controllers. So in other 47 00:04:20.400 --> 00:04:26.520 words the rig kind of spreads from the lips to the outer face. 48 00:04:26.520 --> 00:04:36.000 Then of course after doing this I'll manually tweak all the intermediate 49 00:04:36.000 --> 00:04:38.720 controllers too. 50 00:05:26.520 --> 00:05:36.440 When you add the bone armature you're not only adding that armature but you are also adding some 51 00:05:36.440 --> 00:05:41.200 lattices to the scene, the measure from cage which will deliver automatic body 52 00:05:41.200 --> 00:05:45.640 deformation without any need of weight painting the character and a low 53 00:05:45.640 --> 00:05:49.800 resolution model for creating low resolution proxies of your character. So 54 00:05:49.800 --> 00:05:53.880 as you can see those models are already responding to the newly adjusted 55 00:05:53.880 --> 00:05:58.960 proportions of the rig which now fit Vincent and what I will do is to first 56 00:05:58.960 --> 00:06:04.760 bake the meshes and I will bake the armature last. So I press the bake mesh 57 00:06:04.760 --> 00:06:09.160 button in each mesh and then I go back to the armature and press the bake 58 00:06:09.160 --> 00:06:14.640 armature button. Oh here I realized that I have forgotten to adjust the hat and 59 00:06:14.640 --> 00:06:19.520 eyeglasses controllers of the armature so I adjust those controllers and then 60 00:06:19.520 --> 00:06:22.880 bake the armature again. 61 00:06:23.880 --> 00:06:32.960 Once the armature is baked I go into edit mode and I run a couple of 62 00:06:32.960 --> 00:06:37.280 operators. First the fixed joints operator which will fix some minor 63 00:06:37.280 --> 00:06:41.840 errors that may occur after the baking with the placement of the bones and then 64 00:06:41.840 --> 00:06:46.960 I run the calk rolls operator which will automatically calculate the roll angles 65 00:06:46.960 --> 00:06:51.240 for all the bones in the armature. Then I can go back into pose mode and I can 66 00:06:51.240 --> 00:06:56.840 turn off the reproportion mode. So now that all the objects of the rig are 67 00:06:56.840 --> 00:07:01.960 baked into the proportions of Vincent I can move on to adjusting the mesh deform 68 00:07:01.960 --> 00:07:06.960 cage. For doing that I will go into edit mode and I will start moving the 69 00:07:06.960 --> 00:07:11.800 vertices of the mesh deform cage so that this object completely surrounds the 70 00:07:11.800 --> 00:07:16.400 character. Needless to say is that if you do not want to use the mesh deform 71 00:07:16.400 --> 00:07:19.440 technique you can weight paint the character manually or you can do 72 00:07:19.440 --> 00:07:24.120 automated weights all of that is valid but blend rig comes with a mesh deform 73 00:07:24.120 --> 00:07:28.280 cage that is already weighted and that has been constructed with many techniques 74 00:07:28.280 --> 00:07:33.080 that will ensure the best possible deformation. For those who don't know what 75 00:07:33.080 --> 00:07:37.360 mesh deform is you can think of mesh deform as a customized lattice so this 76 00:07:37.360 --> 00:07:42.680 low-resolution mesh will drive the deformation of the model but as it is a 77 00:07:42.680 --> 00:07:48.920 very simple mesh you can weight paint it and add shape keys and edit it in a much 78 00:07:48.920 --> 00:07:54.480 easier way than directly editing the character. Besides that mesh deform will 79 00:07:54.480 --> 00:07:59.460 deliver an organic deformation that no other method will be able to achieve so 80 00:07:59.460 --> 00:08:04.840 it is a very nice technique to use for organic characters. 81 00:08:11.920 --> 00:08:17.000 Once I'm done editing the mesh I will add a mesh deform modifier to the body 82 00:08:17.000 --> 00:08:22.640 and the head of Vincent and I will first bind these modifiers at level 5. 83 00:08:22.640 --> 00:08:28.520 This is because with precision level 5 mesh deform will bind very quickly and I 84 00:08:28.520 --> 00:08:32.640 will be able to check if all the vertices of the model are moving along 85 00:08:32.640 --> 00:08:37.680 with the rig. So as you can see here many vertices have been left outside of the 86 00:08:37.680 --> 00:08:42.200 calculation so I will unbind the modifiers and I will edit again the 87 00:08:42.200 --> 00:08:46.960 mesh deform cage making sure that all of those vertices are inside of the 88 00:08:46.960 --> 00:08:52.280 cage. I will repeat that procedure until I get everything right. 89 00:09:04.560 --> 00:09:11.160 So I bind the modifiers again and check for loose vertices. Okay now that all the 90 00:09:11.160 --> 00:09:15.160 character is moving along with the rig correctly I will unbind the modifiers 91 00:09:15.160 --> 00:09:21.040 for the last time and I will do the final binding in precision level 7. This 92 00:09:21.040 --> 00:09:26.080 can take several minutes and up to half an hour sometimes but it guarantees a 93 00:09:26.080 --> 00:09:30.720 correct deformation of the character so it is very important to do the final 94 00:09:30.720 --> 00:09:34.480 binding at level 7. 95 00:09:35.120 --> 00:09:39.520 Here I'm taking the out of the box deformation and you can see it's pretty 96 00:09:39.520 --> 00:09:45.080 decent but as this is a main character I will pay a lot of attention to detail 97 00:09:45.080 --> 00:09:49.600 when it comes to deformation. In the Blender Cloud tutorials I talk about 98 00:09:49.600 --> 00:09:55.120 ways of how to speed up this process for secondary characters using deformation 99 00:09:55.120 --> 00:10:00.040 enhancer modifiers and other techniques so if you're interested in that you can 100 00:10:00.040 --> 00:10:04.040 check out the training material on the Blender Cloud. Although in the ways that 101 00:10:04.040 --> 00:10:09.800 I do things I usually take the time to tweak all the deformation manually in 102 00:10:09.800 --> 00:10:15.640 order to have complete control over the process. So here I am adding Subserve 103 00:10:15.640 --> 00:10:20.160 modifiers to the objects and I'm adding a driver to the viewport subdivision 104 00:10:20.160 --> 00:10:23.760 level so that I can control the whole subdivision of the character from the 105 00:10:23.760 --> 00:10:28.960 model resolution property that is on the Blenderic panel. 106 00:10:33.480 --> 00:10:38.400 After doing that I'm going to go joint by joint checking how deformation is 107 00:10:38.400 --> 00:10:42.000 doing in each part of the body. 108 00:10:51.240 --> 00:10:55.840 Here I'm just tweaking some IK parameters so that the knee can fully 109 00:10:55.840 --> 00:10:58.400 extend. 110 00:10:58.400 --> 00:11:11.280 And here I found out that the joint of the thigh and the pelvis was kind of too 111 00:11:11.280 --> 00:11:16.360 low so I'm going into repropulsion mode again and I'm hiring that joint and I 112 00:11:16.360 --> 00:11:19.960 bake the rig once more. 113 00:11:19.960 --> 00:11:30.760 So basically what I'm doing now is a first deformation pass. So in this first 114 00:11:30.760 --> 00:11:35.840 pass I basically use three factors the geometry of the mesh deform cage and 115 00:11:35.840 --> 00:11:40.840 that is if I see that the influence of the mesh deform cage isn't working that 116 00:11:40.840 --> 00:11:45.640 great I may need to unbind the modifier, tweak the geometry of the mesh deform 117 00:11:45.640 --> 00:11:50.160 cage and then bind the modifier again. And this is because as I said earlier 118 00:11:50.160 --> 00:11:55.200 Blenderic's mesh deform cage is built up with many topology techniques that 119 00:11:55.200 --> 00:11:59.720 deliver a better deformation out of the box so the relation between the model 120 00:11:59.720 --> 00:12:04.440 and the edge loops of the mesh deform cage is really important in order to get 121 00:12:04.440 --> 00:12:09.280 a good deformation. The other deformation factor that I take into account in this 122 00:12:09.280 --> 00:12:13.960 first pass are the deformation helper bones and these bones which have the 123 00:12:13.960 --> 00:12:19.400 suffix fix are placed in each joint of the armature and they move away from the 124 00:12:19.400 --> 00:12:24.160 joint when the joint rotates. So these bones greatly improve volume 125 00:12:24.160 --> 00:12:28.920 preservation so as you can see here I'm also tweaking the weight painting of the 126 00:12:28.920 --> 00:12:34.280 deformation bones over the mesh deform cage so that everything looks as best as 127 00:12:34.280 --> 00:12:39.720 possible. The other thing I do with the deformation helper bones is to change 128 00:12:39.720 --> 00:12:44.960 their behavior by slightly tweaking the values of their transformation constraints 129 00:12:44.960 --> 00:12:50.240 that way I can make them move more or less according to the needs of that joint. 130 00:12:50.240 --> 00:12:56.080 And finally the third thing that I use for correcting deformation in this first 131 00:12:56.080 --> 00:13:00.920 pass is to use the parameters called realistic joints. In Blenderic these 132 00:13:00.920 --> 00:13:06.480 parameters let you simulate the actual volume of real-life bones because in 133 00:13:06.480 --> 00:13:12.080 many cases real-life bones not only rotate but they move in a noble fashion 134 00:13:12.080 --> 00:13:17.400 along the head of the neighboring bone. So this realistic joint parameter lets 135 00:13:17.400 --> 00:13:22.320 you simulate that and it is another great way to help in volume preservation 136 00:13:22.320 --> 00:13:25.680 when the rig articulates. 137 00:13:25.680 --> 00:13:31.920 Well here I'm going to add some edge loops to the mesh deform cage in the area 138 00:13:31.920 --> 00:13:40.080 of the belt of the character so that I can see if I can make the belt deform in a less rubber-like way 139 00:13:40.080 --> 00:13:46.640 when the character moves the pelvis. So by adding more edge loops and by modifying a bit the weight painting 140 00:13:46.640 --> 00:13:51.640 I will try to make the belt look more rigid. 141 00:13:51.640 --> 00:14:04.840 So well I'm glad with how the belt deforms now and I'm going to check the remaining parts of the body. 142 00:14:21.640 --> 00:14:34.440 Here I'm going to set up some automated movement parameters that can be found in the rigging panel 143 00:14:34.440 --> 00:14:40.120 and these parameters you can basically set how the shoulder behaves when the arm moves in IK 144 00:14:40.120 --> 00:14:46.360 so the shoulder kind of follows the arm automatically when it moves. You can also set up the behavior 145 00:14:46.360 --> 00:14:51.640 of the foot roll which you can set to roll from the heels to the tip of the foot 146 00:14:51.640 --> 00:15:10.040 and you can also set how the spine behaves when you rotate the master spine controller. 147 00:15:10.040 --> 00:15:14.040 The good thing about mesh deform is that the deformation of the cage 148 00:15:14.040 --> 00:15:21.240 doesn't have to be perfect. The cage can have intersections that may not look 100% correct 149 00:15:21.240 --> 00:15:26.920 but the important thing here is that the character itself deforms correctly. So if you think of mesh 150 00:15:26.920 --> 00:15:32.040 deform as a kind of lattice you can understand that the main objective of the deformation of 151 00:15:32.040 --> 00:15:37.720 the mesh deform cage is to pull and push the vertices of the main character as this model 152 00:15:37.720 --> 00:15:43.640 won't mimic the deformation of the mesh deform cage but instead it will be influenced smoothly 153 00:15:43.640 --> 00:15:48.760 and organically. So the good news is that we don't have to care about the deformation of the 154 00:15:48.760 --> 00:15:53.480 mesh deform cage being perfect because the important thing here is how the character is 155 00:15:53.480 --> 00:16:00.120 deforming under the mesh deform cage and in most cases that will be smoothly and organically and 156 00:16:00.120 --> 00:16:05.560 it will let you achieve deformations that you would just not be able to achieve with other methods. 157 00:16:06.360 --> 00:16:11.400 Once I have done my best tweaking the deformation with the armature the second deformation pass 158 00:16:11.400 --> 00:16:17.400 will be adding corrective shape keys in those places that I was not able to achieve a perfect 159 00:16:17.400 --> 00:16:24.920 deformation just with the mesh deform cage and the armature. So I move the character into critical 160 00:16:24.920 --> 00:16:32.280 poses and then I add the shape key to correct the problematic deformation. Remember that in the PDF 161 00:16:32.280 --> 00:16:38.040 documentation and in the step-by-step tutorials of the Blender Cloud I explain which bones you 162 00:16:38.040 --> 00:16:45.000 have to use in each body part in order to drive the shape keys. In those tutorials I also show how 163 00:16:45.000 --> 00:16:51.160 to easily set up the drivers. As you can notice it is very easy to edit the shape keys of the 164 00:16:51.160 --> 00:16:57.240 mesh deform cage and you can see how the deformation is improved in real time over the character's model. 165 00:17:08.040 --> 00:17:34.280 So once I'm done with the shape key I mirror it and I also copy the driver 166 00:17:34.280 --> 00:17:38.520 but then I change the target bone of the driver from left to right. 167 00:18:34.280 --> 00:18:53.720 In the area of the elbow I ended up using three different shape keys to drive the motion of the 168 00:18:53.720 --> 00:18:58.520 sleeve of the shirt when the forearm rotates. 169 00:19:04.280 --> 00:19:33.480 So here I made it in the curves so that the shape keys overlap with each other a bit 170 00:19:33.480 --> 00:19:36.680 in order to make the motion look right. 171 00:20:03.480 --> 00:20:29.480 And then I just mirror the shape keys to the other side. 172 00:21:03.480 --> 00:21:29.480 So I go checking joint by joint now with the torso. 173 00:21:59.480 --> 00:22:20.440 Here I will duplicate the mesh deform cage because I want the deformation of the neck of the character 174 00:22:20.440 --> 00:22:27.080 to be independent from the deformation of the neck of the shirt and for that I need another mesh deform 175 00:22:27.080 --> 00:22:33.880 cage. So one mesh deform cage will deform the shirt of the character and the other mesh deform cage 176 00:22:33.880 --> 00:22:44.040 will deform the head and neck of the character. I will get rid of unnecessary geometry because 177 00:22:44.040 --> 00:22:51.560 this mesh deform cage will only influence the head model. So I will assign this new mesh deform cage 178 00:22:51.560 --> 00:22:56.520 to the mesh deform modifier of the head and then I'm going to bind the modifier again. 179 00:22:57.800 --> 00:23:01.400 So I will duplicate the bones of the neck of the armature 180 00:23:07.320 --> 00:23:13.400 and then I'm going to erase all the constraints that make these bones rotate with the head. 181 00:23:21.560 --> 00:23:36.600 Then I will assign these new bones to the mesh deform cage that deforms the shirt and in this way 182 00:23:36.600 --> 00:23:44.440 I'm making the shirt independent from the head rotation. So as this is a separate mesh deform 183 00:23:44.440 --> 00:23:49.480 cage I can also add extra controllers to deform the neck of the shirt. 184 00:24:14.440 --> 00:24:19.480 So 185 00:24:31.880 --> 00:24:37.160 here I'm just editing the shirt model so that it overlaps with the neck of the character 186 00:24:37.160 --> 00:24:39.800 and we don't see a gap between the two models. 187 00:24:44.440 --> 00:24:49.480 So 188 00:24:54.200 --> 00:24:58.040 and of course with any change that you make to the geometry you have to 189 00:24:58.040 --> 00:25:07.480 rebind the mesh deform modifiers. 190 00:25:14.440 --> 00:25:35.480 Here I will add a shape key to correct the intersection between the shirt and the neck in this extreme pose. 191 00:25:44.440 --> 00:25:49.480 So 192 00:26:07.480 --> 00:26:11.640 here I will just duplicate the buttons of the shirt of the character 193 00:26:11.640 --> 00:26:18.360 and I will parent them with vertex parenting to the mesh of the shirt. This way I prevent the 194 00:26:18.360 --> 00:26:25.560 buttons to squash and stretch with the motion of the body as they do if they are deformed by the mesh deform cage. 195 00:26:41.640 --> 00:27:05.160 Here I'm adding some corrective shape keys to the buttons objects so that they don't intersect with the shirt. 196 00:27:42.360 --> 00:27:52.680 And after doing some tests I will just leave three vertices from the original bottoms in the shirt model 197 00:27:52.680 --> 00:27:59.240 and I will vertex parent the button objects to these three vertices. So far we've seen that mesh 198 00:27:59.240 --> 00:28:06.360 deform works great for the body but when it comes to small areas or rigid areas mesh deform doesn't 199 00:28:06.360 --> 00:28:14.360 do that well. So in those cases we will use the armature modifier to deform the model and that is 200 00:28:14.360 --> 00:28:21.240 the head, the hands with the fingers and the feet if the character has toes. In this case the character 201 00:28:21.240 --> 00:28:28.440 doesn't have toes so we will use the mesh deform for the feet but not for the hands and head. So now I'll 202 00:28:28.440 --> 00:28:34.120 add an armature modifier to the body model and as the mesh of this character is based on Victor from 203 00:28:34.120 --> 00:28:40.360 Cosmos laundromat the geometry already has the vertex groups. So what I'm gonna do is to just 204 00:28:40.360 --> 00:28:45.240 check how it deforms out of the box and I'll make some corrections if it is necessary. 205 00:28:46.200 --> 00:28:49.640 Here I'm just tweaking a bit the position of the wrist joint 206 00:28:49.640 --> 00:29:06.600 and here I noticed that the bone of the forearm and of the hand are separating too much because 207 00:29:06.600 --> 00:29:12.440 of the realistic joint parameter so I will lower the wrist value in the realistic joints tab. 208 00:29:12.440 --> 00:29:22.920 So here I'm modifying the weight painting of the no-em-def group which divides the influence of the 209 00:29:22.920 --> 00:29:28.520 armature modifier and of the mesh deform modifier. By smoothing out the limits of this group you 210 00:29:28.520 --> 00:29:31.560 cannot blend the influence of both modifiers. 211 00:29:42.440 --> 00:29:53.160 Here I'm enabling the bone rolls layer which will allow me to modify the roll angles of the whole armature 212 00:29:53.160 --> 00:29:59.160 and after tweaking the rolls of the bones of the fingers I'm going to run the custom aligns 213 00:29:59.160 --> 00:30:04.040 operator which will align all the bones of the armature to the bones of this layer. 214 00:30:04.760 --> 00:30:09.560 So by editing these bones you can easily customize the rolls of the whole armature. 215 00:30:13.000 --> 00:30:18.360 So I'm going to check how the hand is deforming and as I did with the body I'm going to move the 216 00:30:18.360 --> 00:30:24.040 fingers into extreme poses and check the deformation there because if the deformation 217 00:30:24.040 --> 00:30:28.840 is correct in the extreme pose it will most likely be correct in the intermediate poses. 218 00:30:29.800 --> 00:30:34.520 Again you see that I'm not only tweaking the weight painting of the main bones of the fingers 219 00:30:34.520 --> 00:30:40.680 but also of the deformation helper bones of each of the joints of the fingers. This way I maintain 220 00:30:40.680 --> 00:30:44.040 the volume of the joint as I need. 221 00:33:10.680 --> 00:33:11.580 you 222 00:33:41.560 --> 00:33:45.080 Here I'm checking that all the weights have been mirrored correctly 223 00:33:46.440 --> 00:33:51.880 and here I added a corrective smooth modifier to the model of the body just to enhance the 224 00:33:51.880 --> 00:33:57.720 deformation of certain parts of the model. For isolating the influence of this modifier I create 225 00:33:57.720 --> 00:34:03.480 a new vertex group called corrective smooth and when I paint that vertex group you can see the 226 00:34:03.480 --> 00:34:09.560 influence of the corrective smooth modifier in that area. The corrective smooth modifier is a 227 00:34:09.560 --> 00:34:15.640 kind of deformation enhancer modifier because it tries to preserve the smoothness of the surface 228 00:34:15.640 --> 00:34:21.480 while also keeping the details of the original model in rest pose. So you don't have to make 229 00:34:21.480 --> 00:34:27.000 abuse of this modifier but for doing subtle corrections it is a great addition to Blender. 230 00:34:39.560 --> 00:34:49.240 Here I'm just testing how the corrective smooth modifier works in different areas 231 00:34:49.240 --> 00:34:51.560 but finally I only used it in wrists. 232 00:34:59.800 --> 00:35:03.480 And now I will improve a bit the deformation of the thigh 233 00:35:03.480 --> 00:35:06.600 when it goes up so I will tweak the shape kissing vault.