|3d muddler. Shaolin webmonkey. Creator of AEfter Ragnarok.|
Screencap of Base after mouthing "Seriously again?" (it doesn't have a voice). I'm trying to work out how to tackle doing bone drivers for the 10 phoneme key shapes I have. They'll easily fit on the three mouth controllers that I have seeing as I only use one direction for anything but knowing my luck I'll have a hell of a time remembering what's what.
Still it may have to happen seeing as bone keys are a lot easier to move than shape key keys (I actually can't seem to move shape key keys at all for some reason).
This is a screenie, Base is actually looking directly at the camera so will be rendered more front on.
I find it easier having the entire face moving around with the eye directional controller because I'm weird like that (and also they end up in odd places because of how I have the head controller).
On the mesh where the shape keys are, right click on the shape key that needs to be driven by the bone. In this example the eyebrow raise.
Click "Add Driver" on the context menu that pops up.
The numbers will end up with a nice purple background. Open up the Graph Editor somewhere and switch it to Drivers.
Scroll down in the N panel til you find the variable Blender helpfully adds for you, find your Armature and the bone you're using for the driver, and pick how you want to control it (I used a rotate for the eyes opening and shutting and translate for eyebrows and mouth because that makes sense to me).
Because I seemed to have to translate a very long way to get the shape key to go all the way, I moved the bone as far as I wanted to move it to get the shape key to a value of one and then did some gumby maths in bit that says "Scripted Expression" which is located directly over the "var" thing in the immediately previous screenie.
So far I've found that changing the "Type" to "Sum Values" or "Average values" seems to work better for the things I use rotations to drive.
Move bones, watch shape keys in action.
No drabble this time round, sorry, brain is occupied with other things
So there we were, chatting on Skype, when midnight21 linked me to a picture on dA which I will not go look for as it was not safe for prudes (there were two guys, one was sitting up reading, the other crled against him, but you couldn't see his head so he could have been doing anything) and said she could imagine Helios and Sunkiss doing that, as Helios would probably enjoy reading his books to Sunkiss (the guy's a decent writer as well as a brilliant artist). Speaking from experience I then said I could see them snuggled up together with Helios' cat Nutella wedged in the gap where their bodies would meet. She thought that was cute, and eventually posted a picture of young Helios when he first got Nutella. I then mentioned that Helios and Sunkiss meet a year after Nutella dies, and she says Helios would probably get more cats, and on the spot invented Cadbury and Twix. She didn't have any ideas as to how he acquisitioned them to for purposes of my fic he rescues them out of a gutter as soggy, sad kittens while on his way home from art school. Twix (the one sleeping on Helios' foot) develops a paintbrush fetish and constantly steals paintbrushes. If Helios can't find one he's looking for, all he has to do is look for Twix's stash in the corner of his wardrobe. Cadbury (the one draped over Sunkiss' arm) is a lot more chill but gets offended if not involved in snuggles or if you stop patting it.
I do mostly gritty stuff, and even scenes that are supposed to be sweet and cutesy aren't really, and it was less out of my area than the other piece I did of these two, so I shall call it practice (and obviously I need a whole lot more). There's a billion errors that I didn't spot in the lineart stage and because this was a quick (HAH!) diversion from face rigging I didn't want to do the amount of erasing and redoing fixing them would require. Sorry :S
I think this group of shifters are quite happy to have finally gotten a story that works, they're getting quite noisy now. Should probably at least attempt to draw all of my shifter characters and explain a bit about their species as they tend to crop up in pretty much all of my work though quite often as slightly odd background characters which is generally how they like to operate. There's two fics (one a fanfic, one not) that star two different groups and who knows when they'll be done.
Helios and the cats belong to midnight21 and are being used with permission. Sunkiss is mine.
I actually just grabbed these from the other file but they're originally from:
When I did the head hair I did a scalp (copy of the...uh...scalp on the top of the head where the hair is growing out of shrunk down to fit just inside the head) with its own material to colour the hair strands because it was the easiest thing to do as the hair strands pick up whatever texture is applied to the geometry. Wasn't too crazy about the extra geometry but couldn't work out how everyone else on the planet had done it so crashed around the particle system and node tree til I got something going.
Add the hair in the usual fashion:
I found the default of 1000 strands good enough for the eyebrows, and had 1 interpolated child per strand. The size (which is hidden under that tootip that I only just noticed and can't be bothered making a new screenie now) should probably be adjusted to the longest length you want as while you can edit the length in particle edit mode, if you add any more hair strands they will be the max length. For eyelashes and eyebrows set the Cycles Hair Rendering to "Ribbons" from "Thick". For head hair see how the render looks.
Make a vertex group or three in the usual manner:
Go back to the sparkly particle panel and set the strand length and density (and any other maps you need):
While you're there drop your strands down to 1-2 interpolated child strands and set the root thickness to 0.02 or 0.03. Now pop back to the vertex group palette to make sure you have the right group selected, then switch into weight paint mode, start painting and watch the hair strands appear where you paint.
Drop into particle mode and have fun playing hairdresser.
Go to vertex colour mode and paint the areas the hair is going to appear the colours you want them to appear.
When texturing and wanting hair that's not the same colour a the skin shader texture colour make a node tree something like this:
You can plug the colour things from the Attribute node to the Diffuse and Transmission Hair nodes to get the colour from the map, I didn't in this case as some white hairs cropped up in such a way that it looked like there was lint stuck in the eyebrows. For some reason this was still present but a lot less obvious when setting the colours directly on the nodes.
Good enough for my purposes. I don't think I will ever do an ECU of my face at any time other than checking eyebrow and eyelash renders and I also need to find out why Blender seems to be outputting jpgs so dark. Also need to see how everything (shaders and hair) cope under different lighting conditions as everything is pretty studio at the moment.