모호 애니메이션으로 캐릭터 리깅하기! 풀버전 ｜ MOHO Pro 14 — Transcript

This is the full version of the Moho animation character rigging video. Recently, I've been using AI more actively to generate characters and create videos based on rigging and animated videos. So, I've been trying to get into AI a little bit lately, and there's a lot of character generation programs out there now, right? So now that I'm using ChatGPT like this as a paid version of ChatGPT, I've been trying out character creation using DALL-E 3 and now Midjourney. First, here's what it looks like now that we've imported the image and are picking a pass over it. I'm getting a little more comfortable with this vector-based form of drawing and rigging. Now, I've been studying Moho for over a year now, like a year and a half or so, and I can tell you now that it's finally out in the open, and I've been working on Sakopak content, even in the Jangipuru studio, and I've been saying, let's introduce Moho, let's introduce Moho, and then I finally did. And I've been using Moho a little bit. So, I've been working with Moho for a while now, and I've gotten pretty comfortable with the rigging itself. And now that we're in version 14, we're utilizing a lot of new features, and we're getting more confident that we can do a lot of complex shapes. This time, we want to rig a character that's a little bit detailed, a little bit like this, a little bit like this 3D feel, with a business card like this, and we're trying to rig an image like this. In fact, when I come across an image like this, normally I would just simply change it to a solid color and rig it, or I would recreate a simpler image and rig it, but this time I wanted to try something different. I realized that if I keep doing this simple image for a while, I'm not going to be able to do anything else with this Moho, so I thought I'd try a little bit of a harder form with more detail. This turned out to be a lot of fun. I remember having a lot of fun experimenting and coming up with ideas to see how we could do this, feeling like it was the limit of what we could do. Now, that's another feature that you can see, Create Limb, Create Limb. Now, one of the really great things about Moho is that the tool itself is now a little bit of a paid tool, but all of the add-ons are free. In fact, they're not all free anymore. Of course, now there are some people who are selling it for a fee, but basically most of it is free, which is awesome because it's all free. I hope you guys can get over to the obscure side of this and download all of this while it's still a free add-on and try it all out, because this is what it feels like now. Now, after the Moho is created, there's this guy called MR. He's got a YouTube channel now, and he's been creating and distributing a lot of these add-ons, a lot of these really great add-ons, to the point where you could almost say he's created the core functionality of this Moho. So, I took this add-on from him, tried it out, and realized that this is it. I feel like this is the key to any complete Moho, and it really helps make rigging and animation a breeze. Even if it's like, now I'm duplicating like that, it's basically Moho. It's too bad there's no way to duplicate the bones along with the rigged image by default. I can't replicate it all at once. But you're making that an add-on and distributing it, and that's the same thing. That's now made by someone else, and it's called the LMB form. It's a very time-consuming process to create a simple cylindrical image that's straight like that or to create a simple image that looks like an arm, or to create a circle that's exactly where you want it to be, or to create a straight line, but to be able to do it in one simple step, and to be able to do it in one simple step, once you've studied the Moho, once you've gotten this add-on script, once you've gotten this add-on script, you're going to feel like you're flying. I'm actually at the end of the production process right now, so I'm just giving you an explanation of the add-on, and it's just a continuation of the same thing over and over again. I can't help the first part. So, you've got this vector image, and now you've got it based on that, and now you've got to plant that bone, rig it, and all that stuff. Most of the time, you'll see that we're now planting bones in the eye area and the brow area, right? We will now utilize three forms of bind layers, bind points, and link bones to do some serious rigging with our branches. For the eyes, we'll do some work to make sure that the pupil is masked in the eyeball, and now we're going to split the bones like that, and we're going to plant the parts on the face separately in each of those bones, because that's where we're going to turn the face later. It's a little bit handy to have this kind of detail to create controls to adjust the angle of the face, so I'm using bind points or link bones to connect the seam between the shoulder and the hood. So, I'm utilizing bind points or link bones with the bones to create a good connection. You try the link, you move it around, you realize it's moving a little unnaturally, you fix it, and it's a continuation of that process. I'm also moving the neck like this, thinking about how the shadow on the neck should be set up so that I don't have to animate it anymore and I can just simply move the controller to make it easier to express. In this particular case, the shadow on the neck is going to be the opposite of the face controller on the face, so I'm going to use this constraint function to link it to the shadow, because I think it's going to look more like a shadow. So, you want it to follow that angle but in reverse, you're giving it a pairing like this. So technically, you're hanging a constraint. Now, even for shadows, it's going to be a case of making them two-tone like that because they're two-tone when the image is generated. Even an image like this, with a gradient like this, can still be expressed with enough shadows. And that one, we can now use a gradient image to fill it in and fill it in, and if we've got, say, an upper and lower night, we can tie them together, or we can put a mask over there and put it all on at once, or we can split the upper and lower night and just connect them so that the seams look nice and smooth, and there's a lot of different ways to do that. Rigging, perhaps, but there's no right answer. Also, the back of the hood is now expressive. When the front of the hood is lifted up like this, it would be more natural if there was no empty space in the back. And now I'm going to take that hood and I'm going to put a bone in where the hood is moving, and I'm going to bind point the front of that hood and the back of that hood together so that if the front moves, the back moves with it. So, I'm going to rig it so that even though it's layered like that, it's controlled by one bone. I'm just trying to move my body, my torso, everything, and keep it together. So, what was fun about rigging in 2D, where you're moving this and this and this and this and this and this, because it should look this good when you're moving this much, is that now in 3D, there's actually a little bit of that distance now, isn't there? I think that if you've only done 2D first, it might be a little bit distant, but I think that you can approach 2D rigging very familiarly, but you can get a little bit familiar with the concept of 3D, the concept of rigging in 3D, so I think it will be much easier if you try this 2D rigging first and then move on to 3D and study it. And now the opposite is true. I think it's going to be a very easy transition for people who have been doing 3D to do this 2D rigging, to do 2D rigging. Since the concept is the same, a vector image leads to a path anyway, right? It leads to a path? It leads to a path. It's the same thing anyway in 3D, in modeling, it's the same thing where you have vector points that are all dotted planes and now you're going to link them to a bone and now that rigging is going to be there. The only difference.

lot of character generation programs out there now, right So now that I'm using Chat GPT like this as a paid version of Chat GPT, I've been trying out character creation using DALL-E3 and now Midjourney First, here's what it looks like now that

we've imported the image and are picking a pass over it I'm getting a little more comfortable with this vector-based form of drawing and rigging Now, I've been studying Mojos for over a year now, like a year and a half or so

and I can tell you now that it's finally out in the open, and I've been working on Sakopak content, even in the Jangipuru studio, and I've been saying, let's introduce Mojos, let's introduce Mojos, and then I finally did

and I've been using Mojos a little bit So I've been working with ambiguity for a while now, and I've gotten pretty comfortable with the rigging itself And now that we're in version 14, we're utilizing a lot of new features, and we're

getting more confident that we can do a lot of complex shapes, and this time we want to rig a character that's a little bit detailed, a little bit like this, a little bit like this 3D feel, with a business

card like this, and we're trying to rig an image like this In fact, when I come across an image like this, normally I would just simply change it to a solid color and rig it, or I would recreate a simpler

image and rig it, but this time I wanted to try something different I realized that if I keep doing this simple image for a while, I'm not going to be able to do anything else with this ambiguity, so I thought I'd

try a little bit of a harder form with more detail This turned out to be a lot of fun I remember having a lot of fun experimenting and coming up with ideas to see how we could do this, feeling like it was the

limit of what we could do Now that's another feature that you can see, Create limb Create limb Now one of the really great things about Mojo is that the tool itself is now a little bit of a paid tool, but all

of the add-ons are free In fact, they're not all free anymore Of course, now there are some people who are selling it for a fee, but basically most of it is free, which is awesome because it's all free

I hope you guys can get over to the obscure side of this and download all of this while it's still a free add-on and try it all out, because this is what it feels like now Now, after the mohawk is created, there's

this guy called MR He's got a YouTube channel now, and he's been creating and distributing a lot of these edons, a lot of these really great edons, to the point where you could almost say he's created the core functionality of this obscurity

So I took this edon from him, tried it out, and realized that this is it I feel like this is the key to any complete ambiguity, and it really helps make rigging and animation a breeze Even if it's

like, now I'm duplicating like that, it's basically unambiguous It's too bad there's no way to duplicate the bones along with the rigged image by default I can't replicate it all at once But you're making that an ed-on and distributing it, and that's

the same thing That's now made by someone else, and it's called the LMB form It's a very time-consuming process to create a simple cylindrical image that's straight like that or to create a simple image that looks like an arm, or to create a

circle that's exactly where you want it to be, or to create a straight line, but to be able to do it in one simple step, and to be able to do it in one simple step, once you've studied the

mojo, once you've gotten this add-on script once you've gotten this add-on script, you're going to feel like you're flying I'm actually at the end of the production process right now, so I'm just giving you an explanation of the edon, and it's just a continuation of the

same thing over and over again I can't help the first part So you've got this vector image, and now you've got it based on that, and now you've got to plant that bone, rig it, and all that stuff

Most of the time, you'll see that we're now planting bones in the eye area and the brow area, right We will now utilize three forms of bind layers, bind points and link bones to do some serious rigging with our branches

For the eyes, we'll do some work to make sure that the pupil is masked in the eyeball, and now we're going to split the bones like that, and we're going to plant the parts on the face separately in each

of those bones, because that's where we're going to turn the face later It's a little bit handy to have this kind of detail to create controls to adjust the angle of the face, so I'm using bind points or link bones to

connect the seam between the shoulder and the hood so I'm utilizing bind points or link bones with the bones to create a good connection You try the link, you move it around, you realize it's moving a little unnaturally, you

fix it, and it's a continuation of that process I'm also moving the neck like this, thinking about how the shadow on the neck should be set up so that I don't have to animate it anymore and I can just simply

move the controller to make it easier to express In this particular case, the shadow on the neck is going to be the opposite of the face controller on the face, so I'm going to use this constraint function to link it to the shadow, because

I think it's going to look more like a shadow So you want it to follow that angle but in reverse, you're giving it a pairing like this So technically, you're hanging a construct Now, even for shadows, it's going to

be a case of making them two-tone like that because they're two-tone when the image is generated Even an image like this, with a gradient like this can still be expressed with enough shadows And that one, we can now use a gradient image

to fill it in and fill it in, and if we've got say, an upper and lower night, we can tie them together, or we can put a mask over there and put it all on at once, or we can

split the upper and lower night and just connect them so that the seams look nice and smooth, and there's a lot of different ways to do that Rigging Perhaps, but there's no right answer Also, the back of the hood is now expressive

When the front of the hood is lifted up like this, it would be more natural if there was no empty space in the back And now I'm going to take that hood and I'm going to put a bone in where the

hood is moving and I'm going to bind point the front of that hood and the back of that hood together so that if the front moves, the back moves with it so I'm going to rig it so that even though it's layered like that, it's controlled

by one bone I'm just trying to move my body, my torso, everything, and keep it together So what was fun about rigging in 2D, where you're moving this and this and this and this and this and this, because it

should look this good when you're moving this much is that now in 3D, there's actually a little bit of that distance now, isn't there I think that if you've only done 2D first it might be a little bit distant

but I think that you can approach 2D rigging very familiarly, but you can get a little bit familiar with the concept of 3D, the concept of rigging in 3D, so I think it will be much easier if you try this

2D rigging first and then move on to 3D and study it And now the opposite is true I think it's going to be a very easy transition for people who have been doing 3D to do this 2D rigging to do 2D rigging

Since the concept is the same, a vector image leads to a path anyway, right? It leads to a path? It leads to a path It's the same thing anyway in 3D, in modeling, it's the same thing where you have vector points that are

all dotted planes and now you're going to link them to a bone and now that rigging is going to be there The only difference is whether the concept is 2D or 3D Now for the core functionality of vague

SmartBone! Controllers utilize the functionality of the SmartBone action to create multiple controllers that can be taken and used So what I'm doing right now is I'm rigging the shoe part like that because I'm trying to create that image of whether I'm

going to look at the front or the back of the shoe like this, so I can create a sense of depth And where the 3D aspect that I was talking about earlier comes into play, like how many points do

I need to deform the image like that, where do I need to put the points so that I can express this kind of movement, and things like that it's a little bit more computational now It doesn't have to be too mathematical anymore

but there are certain things that can be expressed with more dots and certain things that can be expressed more easily with fewer dots, so it just gives you a little bit of control over that Now 14 has another key new feature: the ability

to add and subtract for each shape Now we're going to utilize that feature that we showed you briefly in the 14 demo to create a shoe shape like that If I had to do all of that in points now, it

would have been a huge headache Also, the difference between having lines and not having lines now also plays a role in this rigging So if you have a line like that, the line is in that image like this

That's going to be all masked out now And now when you go to the side or whatever, you can see the extra sock or whatever it's layered, so it's a shape layer in the same layer We're going to put another shape underneath

and rig it like this Like the ankle, I think the peach bone and the one that's on the inside and the one that's on the outside had different bone names, and that's now controlled to pop out and not pop out

Do the same with the other foot So if you do one side and then you duplicate the other side, and you duplicate it, and you put the key values in like this, it's a natural representation. And now it's a matter of building in the details

How nice is it to have shoelaces expressive like this and smartphone actions like that If this is a 2D animation, if I'm animating in 2D and I can control that part to not look so 3D or look like this

that's a scam. It's so easy to animate that it's a total scam, it's like a 2D flavor Nowadays, technology has gotten so good that we can do that very well, but there's still that feeling that comes from the 2D itself, so we

know that feeling, so we can't throw away this 2D rig again right But I don't know Blender is getting ridiculously good again I'm looking forward to Blender Anyway, this is how we build up the details I always feel like I'm a little bit hesitant to

talk about any of my day-to-day stuff because I'm like, "Okay, now I've got this video of me working and I've edited it and now I'm recording it," and I'm like, "Okay, now I'm talking about this I'm naturally talking about myself again today

Well, that's what I've been doing lately, studying so hard and being so vague It's just that I've been on an Instagram kick lately and I don't have anything to explain I'm working hard on Instagram but what I feel while

doing Instagram is that this is definitely what I feel is a little bit now, 'This is a little disappointing,' 'Isn't this a little too short I feel like if I post it, I feel like I'm communicating something, and I feel like I'm

able to showcase myself and say, 'I'm working on this Like that part, that's the part that's now being shadowed like this by the hood I can just bind point that shadow to that bone that I made earlier and have it

move with that hood, and then just mask the shadow to the pants and then I can give it a face that looks like it's a 3D representation of some light and shadow The same goes for the shoe part

I already have a little bit of shading within the generated image itself, so what I'm going to do is I'm going to mask it with a gradient like this, and then I'm going to create a shadowed area, and then I'm going to

mask it, and then I'm going to cook it with a bind point, and then I'm going to make it look like it's now shadowed It's a little bit like fake 3D now Now, for things like the straps on the

hood, we'll run all the simulations later You're right again You can specify multiple moving physics values such as angles or point position values, to simulate the core functionality of a vague I'm going to work on that one a little bit more, so I'm going

to get the physical part of it and then I'm going to... I had a great idea while I was saying this Next time I'll try to make this into a short and post it as a release What you're seeing now is a change in the angle of

the face. I'm starting to feel my limits a little bit here I realized a lot of times that I'm not very good at drawing in terms of how this image itself looks now when I look at it from the side, how does it look pretty now

When it came to creating the side view of this guy, it was really hard to start with any structure of the face and figure out how to make it look natural when this face is on its side I've done a good job of

cooking it down to make it as natural as possible now, but it's getting a little weird, whether it's because of the nose or the design I think it's good-looking, but it's not good-looking from the front, so I'll have

to ask Mr. Liu Chen for help later The side of the face This is a little awkward what can I do about it Liu Chen is also a ridiculous master, so he does a great job with the top and bottom

angles of the face like this Up and down is a little easier Rather than just doing the sides we're going to do the sides as well, and if you've seen earlier, things like the eyes are now masked inside the face plane, so

that when they go outside the face they don't show up naturally You can get as detailed as you want with that masking It's vague, so if we want to detail it now, we can detail it as much as we

want to, and we can take as much time as we want to, and it's going to make our project file a little bit heavier, but it's going to be our choice now because we can really detail it How far we go with this is purely up

to us as riggers Now, when I look down, starting with the eyebrows, everything is moving vectors, so I'm not just moving the paths but I'm moving the bones, the bindings that I've put on them, so that I don't have

a problem controlling the controller And now, if I have an image of an eye closing, for example, that's a blinking eye, I have to rig all the angles like that, so that when I blink like that, it's still going to follow that

Once you've done that, keep moving and test it out I'm like, "Okay, this is how I'm moving, is there anything awkward about it is it working," and that's the fun part of the process If there's an error or something like that now, I'll

fix it, and then I'll go to frame 0 and fix it and then I'll go to frame 0 and fix it, and so on and so forth If you open it up, you can rotate the face like that, and now

you can rotate the body, and now you can express the shoulders, and you're building up the controllers like that, one by one That doesn't all have to exist as controls anymore Now, of course, it all depends on how

far I want to go in terms of how I want to represent my Acting I don't need to rig it in any more detail when I'm only going to be acting as far as I can. At this point, we're going to start animating in earnest

When you're animating, you can also see at a glance like that where each point is, and where it's moving from frame to frame Now we have onion skins, but we're actually a little bit limited now in terms of using onion skins

for any kind of cutout type rigging 2D rigging, where it's a series of vector images Sometimes this can get a little heavy It's the file itself, so it's an optimization issue but when you have all those layers represented like that at once, it's

really laggy, so I tend to avoid it a little bit on purpose So this is something that I'd like to see improved in the future, but it's kind of like an onion skin for the bones where you're looking at

that point anyway, so you're controlling it by looking at the position of that bone, so it's kind of like an onion skin for the bones where you're just looking at the position of the bone There's also a feature like that, so sometimes

I'll do it while I'm looking at it like that, and I usually do it like that because my animation style now is more of a straight-ahead kind of thing so I'll do it like that, one frame at a time, and then

the next frame stack, and then the next frame stack and then the next frame stack Also, I've actually only really thought about the rigging now, and not so much about how this character is going to move And then I just moved it as a

test to see if it would work, and then I moved it, and now I'm still doing it, and then I'm doing it as the sun goes down, so I don't really have this concept of exactly what he's doing

I just came over here and I just moved my shoulder, so I made a shoulder controller, so I just made a sigh like this and then I added this behavior Now, if you look at that elbow, for example, there's

another bone that's sticking out like that Now, in a case like that, it's rigged in such a way that it feels like there's something that I've realized is missing in my acting that I've done a lot of work on

and I've fixed it a little bit Now, if you have a cutout type of animation, it's going to be a little bit of a sideways movement, right So now, if I'm reaching forward like this in front of the

camera, I'm forced to draw my hand a little bit shorter now, and I'm forced to draw my hand a little bit shorter now, and I'm forced to draw it in perspective now, and I'm forced to draw it in a circle like this

and I'm forced to draw it in a circle like this, and that's a pain I don't want to keep having to do that again and again, so I'm just going to go ahead and make it kind of fluid and let it grow and

shrink and do that If I can get to it later, I'll take a look at it So now that we have this rigging set and we know how to rig it in detail, and now that we're working on Sagopak, we've done a ton of rigging

within this Studio Jean-Pierre Now, when we started to introduce mojos once we decided that we were going to start using mojos in earnest, we did a lot of studying about mojos, so we've been refining this rigging as we've gone up the versions

And as you can see it's just a simple popup and that's all script That's a script from MR, the guy I was talking about earlier, and it's called Amusing Later on, I'll have a collection of scripts and then I'll do a video, and then I'll do something, and then I'll have

a lot of information about what to do today There's a lot of footage that I want to do this and do that and shoot I wish everyone who actually animates was vague right now because there's so much vagueness

It's an amazing tool that I think you should take a look at Really and now I'm going to take it, pass it, colorize it colorize it, and then I'm going to mask it to add lip sync to it

Also, now vector drawing is really awkward at first Now let's start with painting, which is very different from Animate, which is also vector-based, which is also very different from Animate It feels a little awkward now, conceptually, to be precise

It's a little bit awkward because it's a little bit different and it's not the way we're used to doing it, but once you get used to it, it's a lot easier to draw in ambiguity and a lot easier to rig, so you just have

to live with it I think that's the only real barrier to entry anymore So we've got that animation done, and then the next thing we want to do is we want to have that image on the hood that's represented by those lines, right

That's where we put the dynamics simulation One of the powerful features of Moho is that it provides three simulations: simulation angle, position value, and scale, which allows you to create natural-looking simulations by simply adjusting the angle I'll keep this as a collection

of simulations and maybe one day I'll do a simple rigging animation with a bunch of simulations in it that I can design using Design AI This is a simulation that's now in version 14, and it's now a little bit more detailed, so you can

play with it a little bit more I'm using that simulation a lot, and I'd love to see that one I'm really getting a lot out of recording this today I need to write this idea down Then we'll add a final shadow

and output an image with that shadow This shadow feature can also be applied in detail, but I'm keeping it simple and just using it like that Once we've imported it into the effect, we're now going to put a background on it, and even that background

is going to be an AI generated image And now DALL-e3, Chat GPT GPT to GPT, "Draw a background for this character," and I've created a sunset, and no matter what background I put in, it's a little bit awkward now

Now there's no longer anything that fits this character, so I've been thinking a lot about it And then I put in this background that we've now finalized I asked him to draw a matching background and he just kind of spontaneously drew a background like that

with graffiti on it So it was a bit of a mystery And now that I have some quality in the background, it's kind of dense, and this is the whole image now Actually, that skate in the front was getting annoying, and I

was going to delete it, but then I realized that if I isolated it in Photoshop Kin GIM and made it exist in front of the character I could give it a little bit more depth, so I isolated it and imported it separately

Now that I'm done with that, I'm realizing that I should have covered my feet a little bit more It's kind of obscuring the end point like that, and it's kind of hard to get a sense of depth, but anyway, so now

I'm using the Quick depth 2 Quick depth 2 2 script in that pack, which is called 2, and I'm pulling in the depth value of the depth value image like that, and then I'm using that compound blur with that depth value to blur things that

are farther away and sharpen things that are closer, and then I'm color grading it for the background and compositing I know there are a lot of scripts for this, but I'm just going to utilize the basic functionality and keep it simple

And now we can take that depth value that we picked up earlier and use this Displacement Map to give the illusion that the camera is spinning around something that's moving like this in a very clean and simple way

This is a really fun feature I'll come back to this later when I get a chance This is a lot of fun This is a displacement map, and I've found it to be incredibly versatile And that's why epacks, again, you know, the more you

sell, the more you sell, and now there's so many tutorials here and there, right I've been watching tutorials for a while now, but it's too good a world to be self-taught these days. I'm actually going to do that, and then I'm just going to zoom in a little bit of the wriggle to give

it a little bit of a natural camera movement feel and then I'm going to finish it off Sung Won Yoon was here. Sung Won Yoon was here