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Welcome to the Autodesk Face Robot Legacy video series!
These are the original videos that Jeff Wilson recorded using Face Robot version 1.5,
long before it was integrated into Autodesk Softimage.
In these videos, Jeff, who’s one of the original designers of Face Robot,
focuses on tuning and sculpting the different regions of the face.
The workflow shown in these videos is still pretty much the same as it is now,
but you might notice a few differences in the interface.
For a more up-to-date version of the complete Face Robot workflow,
you can check out the 11-part Face Robot series on this channel,
which uses the current implementation of Face Robot within Softimage.
We hope you enjoy this "blast from the past"
as Jeff displays his mastery of facial animation with Face Robot.
In this video, Jeff uses the tools on the Tune Mouth panel
to adjust the mouth corners and lip collisions with the teeth.
While we're at the mouth, it's a good time to adjust
all the mouth tuning.
We've already adjusted the cluster and
resolved just the mouth earlier,
but now you can actually go in and control things like collision
and how the controls behave.
So, first thing, if I just take this
and push the lip controls straight back,
you'll see that it just goes right through the teeth
up to a point.
So you're going to want to control that,
and that's done with these first set of sliders, Teeth Collision.
You have Upper, Upper Left and Upper Right,
Lower, Lower Left, and Lower Right.
And there's also an A, B, C, and D slider,
which are made for kind of affecting
up into the lip toward the nose
and down in toward the chin.
I usually just pull those back out to zero
because unless you have a problem to fix,
you don't really want that affecting your mesh.
So I usually just zero those back out
and start back on the upper lip.
And then it actually helps usually
if you open the jaw, just a bit.
So just adjust those sliders until the lip
just touches the teeth.
Something like that.
And the same thing for the lower.
So if we reset those controls now,
you should be able to get pretty good collision.
It's easy to check from underneath.
You can start kind of rolling that around,
and making sure that nothing's colliding,
or rather, nothing's penetrating.
So that looks okay.
Then you can always tweak that later, if you need to
in a different pose,
but that's a good place to start.
And then,
you also have collision controls for the (lip) corners,
which I find are always in pretty good shape by default,
so I don't touch those too much unless you
really need to.
There's things, again, that I don't necessarily use a lot, but
you can start to control how the corner
is interpolating.
So if I bring these down,
and again, we'll fix this little kind of pinching thing later, but
let me go into
something easier to see here.
On the left corner, you can start to control
the angle that it tries to operate on.
So, occasionally I found on different type mouths,
you'll need to come in here and kind of control this a bit,
but generally it's in pretty good shape by itself.
But those controls are there if you need them.
And same thing for the other side.
And then there are Curling controls which, again, I don't use too much, honestly,
but that can
start to control how much of this kind of fattening happens under ...
oh, it's "In", sorry, and Curl Out.
So you can control a little bit of that volume with that.
Again, I don't use those too much.
And then the last thing on here is Inner Mouth Depth, and that's
again, one of those things I tend to zero out.
I could show you what it does.
If I use the lower one,
you can see in here, in the profile of that mouth cavity,
that it finds that inner wall and pushes it back.
And that's really for times when
you may have an extreme scream or something,
and that mouth cavity from inside starts to kind of poke through
and penetrate the exterior of face,
you can animate it back with that.
But unless you have a problem,
I prefer to leave it as modelled,
and leave those both at zero.