[0:00] I'll try to go through everything in
[0:01] this video from modeling, rigging,
[0:03] tracking, and recording. What software
[0:06] is needed to make a VTuber? First, for
[0:08] art program, it can be any application
[0:11] as long as it can export as Photoshop
[0:13] file program like Photoshop, Cliff
[0:16] Studio Paint or Procreate will work just
[0:19] fine. Second, live 2D cubism to rig the
[0:22] model for the art program. You can
[0:24] download the software at
[0:26] robblifeet2d.com
[0:28] English. It costs around 14,000 yen or
[0:32] 96 USD per year or 2,000 yen or 14 USD
[0:37] per month by the time of recording. I
[0:40] downloaded the 42day free trial version
[0:43] and managed to finish rigging my model
[0:45] before the trial end. So, unless you're
[0:47] going to be using this application for a
[0:49] long time, I suggest you try out the
[0:51] 42-day trial first. Third, B2 Studio.
[0:55] After you finish rigging in Live 2D, you
[0:58] can import the file to V2 Studio to
[1:00] track your facial expression with your
[1:02] model. It is free on stream, but cost
[1:05] around 6.7 USD to remove the watermark
[1:08] using webcam.
[1:10] Otherwise, you can use an iPhone and
[1:13] install the app to link to your iPhone
[1:15] camera. The iPhone version would cost
[1:18] for the US to upgrade to Pro. If you
[1:21] don't upgrade on the iPhone, the
[1:23] connection between iPhone and PC will be
[1:26] lost every 10 minute or so. The benefit
[1:28] of using an iPhone instead of a webcam
[1:31] is that it can track the facial motion
[1:34] more accurately than a webcam does.
[1:37] Fourth, OBS is a software for live
[1:40] streaming or recording videos. I highly
[1:43] recommend this software because it is
[1:45] free and what most people use. It can
[1:48] record models from V2 Studio and
[1:50] recognize a transparent background.
[1:53] Overall, this is what you need and how
[1:55] much it costs to make and use a V2
[1:57] model. Mainly does cost you money if you
[2:00] want to go professional, but if you want
[2:02] to just test it out, you can try using
[2:04] all the trial version. Now, I'll go over
[2:07] what asset you need and how to use the
[2:10] software. If you don't want to learn
[2:12] what to draw and skip to the rigging
[2:14] tutorial. I drew this model for free
[2:17] that you can use. I tried to make this
[2:20] model as simple and easy to rig as
[2:23] possible so that we can test it out
[2:25] together. Link is in the description.
[2:28] You can use this model for anything
[2:30] after it as well. Art program. First
[2:33] thing that we have to decide is what
[2:35] canvas size will it be on the screen is
[2:38] how many pixel for a small avatar half
[2:41] body full body super detail and alter
[2:45] detail is the file that I gave for the
[2:48] test is48x48
[2:52] pixel wide it is enough if you just
[2:55] using it to stream on the corner since
[2:58] you don't need a leg for that just need
[3:00] your upper hand meanwhile This full body
[3:03] model that I've been using to stream is
[3:06] 4,96 pixel x 8,192
[3:11] pixel. You can see how far you can zoom
[3:14] in and out and how detailed it is. Now
[3:17] it's time to start drawing. Start off
[3:19] with sketching symmetrically. You can
[3:22] make a model distorted, but it would be
[3:26] harder to rig. When we start drawing in
[3:30] detail, we need to make sure that we
[3:32] separate the body parts in different
[3:34] layer. Here are the different parts.
[3:37] Different hair bangs, left and right,
[3:39] separated face features like the blush,
[3:43] nose, eyebrows, eyelashes, upper eye
[3:48] skin that we're going to be using to
[3:50] cover the eye when we move later on.
[3:53] Lower eye skin as well.
[3:56] I shine the pupil, the eyeball,
[4:00] upper lip,
[4:02] upper mouth skin to cover the what's
[4:06] underneath it. Lower lip, lower mouth
[4:10] skin, the mouth inside,
[4:13] face line, face skin, and ear.
[4:18] And then we got the clothes, the
[4:21] neckline, neck skin, the neck shadow,
[4:25] body, clothes behind the body, hair
[4:28] behind the body. Make sure to name the
[4:31] layer so it doesn't get confusing later
[4:33] on. Label the left and right side of the
[4:35] body part as L underscore and R
[4:38] underscore, or you can just type left
[4:41] and right. The line art and the color
[4:44] should be combined when you finish
[4:46] drawing. Like the arms should just be
[4:49] the arm layer. The hair should just be
[4:52] the hair except for the lip line and the
[4:56] face line art. Those should be
[4:57] separated. Now, this part is optional.
[5:00] We can draw a mask to erase the face
[5:04] line art during rigging when the
[5:06] character faces a different direction.
[5:09] You can use an airbrush to make this
[5:11] mask and then turn off the visibility.
[5:14] As for the face shadow, at the moment it
[5:17] look like a mess because it's out of the
[5:19] border. But don't worry, this is
[5:21] intentional since most art program have
[5:23] the ability to use clipping mask. When I
[5:26] click on the layer and turn on clipping
[5:28] mask, the shadow will only be inside of
[5:31] the layer underneath. Now it's not
[5:34] messy. And during the rigging, using a
[5:37] clipping mask will make the shadow look
[5:39] pretty dynamic. Then proceed to change
[5:42] the shadows blending mode into multiply.
[5:46] What multiply does is that it removes
[5:48] the white color from the layer that you
[5:50] set it to. This is what a lot of digital
[5:53] artists use to make easy shadow. And
[5:56] that's it for the main parts of the
[5:58] model. Here are question that I had
[6:00] while running like what about different
[6:03] clothes or expression. You can rig to
[6:06] change expression like blushing, crying
[6:10] or draw extra hand that turn on and off
[6:12] later. If you want those part in, you
[6:15] can draw those part and then turn off
[6:17] the visibility for now. And now we're
[6:19] done. Save the file as Photoshop file
[6:22] and it's time to head on to the next
[6:24] program or you can take a rest, get some
[6:27] snacks and come back later.
[6:29] Live 2D cubism. Overall, I'll be going
[6:32] in these orders. Interface, mesh, tools,
[6:37] parameter for rigging, physics, then
[6:40] exporting. The timestamp will be in the
[6:43] comment if there are specific parts that
[6:45] you want to skip to. Open up live 2D
[6:48] cubism.
[6:49] Click new and on this box drag the
[6:53] Photoshop file in. It will ask what
[6:56] resolution for displaying the model
[6:58] image. This doesn't affect the actual
[7:01] model. So just click one out preview.
[7:07] Now you see this interface but make sure
[7:09] that you're in the correct interface.
[7:11] Over here, there will be a dropown that
[7:13] you can pick modeling, animation, form,
[7:16] animation. Make sure you're in the
[7:18] modeling because this is where we'll
[7:20] begin rigging. All right. Now, looking
[7:23] at the part window, this is where all
[7:25] layers that you had in the art program
[7:27] will be shown. The part window will be
[7:30] on the top left of the screen by
[7:32] default. However, if you can't find this
[7:35] window there, go to the window menu here
[7:39] and it will show all the windows that
[7:41] are available that you can turn on and
[7:43] off if you can't see it. Back to the
[7:47] model, the recognizable difference is
[7:49] that my shadow is not being clipped
[7:51] masked. We'll need to reassign all the
[7:54] clipping mask again. Go to where the
[7:56] shadow is in the parts. Once you click
[7:59] on the shadow part, the setting for this
[8:01] part will be shown in the inspector
[8:04] window. This is where you can edit the
[8:06] name and clipping ID of the part. Go to
[8:09] the pop- down of the clipping ID and
[8:12] find the body part that the shadow is
[8:15] going to be clipped to. In this case,
[8:17] the neck. Once selected, this shadow
[8:21] part will be clipped inside.
[8:23] Now repeat this process for the other
[8:26] shadows or part that have to be cliff
[8:28] too like the face shadow and the
[8:31] blushes.
[8:34] Now before I move on, if you have edited
[8:37] or drawn in new parts in the art program
[8:40] and want to update it here, you can just
[8:43] drag the newly updated Photoshop file
[8:46] into live 2D over here and it will give
[8:50] you an option to create new file or
[8:52] choose the already existing file. Click
[8:55] that and after that the part that have
[8:58] the same name will be replaced and the
[9:00] part with names that didn't exist before
[9:03] will be added in a new folder. So you
[9:05] don't need to be afraid if you want to
[9:07] make changes to your model. Another
[9:09] window I want to explain is the project
[9:12] window. It looks similar to the parts
[9:15] window but it's there for a different
[9:17] purpose. You can see what Photoshop file
[9:20] is in the current live 2D model. The
[9:22] useful thing about the project window is
[9:25] that if you accidentally delete a part
[9:28] in the parts window and you want it
[9:30] back, you can head to the project window
[9:33] to find it and add it back in by
[9:36] right-clicking and clicking create art
[9:39] mesh. This part will then be readited
[9:42] into the part window. Now that you have
[9:44] gotten the model in live 2D, don't
[9:46] forget to save. Press Ctrl S on your
[9:50] keyboard or go to file save as. The file
[9:54] for editing in live 2D is C O file. So
[9:59] if you're tired and want to edit another
[10:01] day, this is what you want to open to
[10:04] edit it again. And with that, we move on
[10:07] to the mesh. To be able to make the part
[10:10] flexible, you have to give every parts a
[10:13] mesh first. What is a mesh? a mesh or
[10:16] these spiderweb looking thing. When you
[10:19] move the dot, it will move the image
[10:22] that it's assigned to. This is what help
[10:25] the make part looks a lot more flexible.
[10:28] Now to add a mesh, click on a part. Then
[10:32] using this two tools up here. The first
[10:34] one is called manual mesh edit. You can
[10:38] use this to add mesh point one by one.
[10:41] However, it's very inefficient. So,
[10:43] we're going to be using the second tool
[10:46] more often, the automatic mesh
[10:49] generator. Instead of creating a mesh
[10:51] point by point, the program will do it
[10:53] for you. When pressed, the toolbox will
[10:56] appear. You can choose from the press
[10:58] and drop down standard deformation
[11:01] little deformation heavy. The less
[11:04] certain mesh is, the less fluidity there
[11:08] will be.
[11:09] So I suggest using deformation heavy for
[11:12] important parts like the face, the eye,
[11:16] the hair, the lips and standard for
[11:19] parts that won't move as often. Now make
[11:22] sure that every part you have in the
[11:24] file has a mesh by selecting all the
[11:27] parts and clicking on the automatic mesh
[11:30] generator.
[11:33] Now we want the face part and the face
[11:35] line art part to have the same exact
[11:38] mesh so that when we move one the other
[11:42] move the exact same way. If it have a
[11:44] different mesh it will not sync with
[11:47] each other. So create automatic mesh
[11:51] then go to manual mesh edit.
[11:54] Select all of the mesh and on your
[11:57] keyboard press Ctrl C to copy all of it.
[12:01] Then click the shack button. Now we go
[12:03] to the faceeline arter parts. Click
[12:06] manual mesh edit and if there's already
[12:08] a mesh in there, select them all and
[12:11] delete it. Click by clicking the delete
[12:13] button. Then press Ctrl +V to place what
[12:17] we just copied in. And after that, click
[12:19] the check button. And now these two
[12:22] parts have the exact same mesh. Do the
[12:25] same for the neck. If you separated the
[12:28] line art and the skin,
[12:32] if you're done with adding mesh for the
[12:33] parts, we can move on to edit texture
[12:36] atlas. This is what texture atlas look
[12:39] like. This is where we'll lay all the
[12:41] parts into a page for export. When press
[12:44] the edit texture atlas button, it will
[12:47] ask name, size, and default layout. For
[12:50] the name, you can just leave it as
[12:52] texture atlas one. For the size, it
[12:55] depends on how big your canvas size is.
[12:58] Once again, there's different pixel size
[13:01] for each one. Recommend that you make it
[13:04] square size. If you're using this test
[13:06] model, you can just use48
[13:09] *48.
[13:11] For default layout, picked do not place.
[13:14] And now we go okay. And this is a window
[13:17] that will appear. On the right here is
[13:20] the model image list. It is all the
[13:23] parts that you have in your model.
[13:25] Double click on the part to place it in.
[13:28] You can move it around in this texture
[13:30] atlas. What we want to do here is place
[13:33] the textures into this sheet without
[13:36] rescaling and without overlapping the
[13:38] parts.
[13:40] [Music]
[13:41] Now, if all the parts aren't enough to
[13:44] fit in a single page, you can add
[13:46] another page by clicking the add texture
[13:49] button up here. With the second page,
[13:52] you can place the remaining parts that
[13:54] couldn't fit in.
[13:58] [Music]
[14:01] And once you're done, press okay.
[14:04] As said on the bottom right, if you
[14:06] press T on your keyboard, you can swap
[14:08] between what the quality look like
[14:10] before and after texture atlas. If
[14:13] nothing change when you press the T
[14:15] button, that's mean you did a great job.
[14:18] But if it looks different and it looks
[14:21] weirdly wonky, then maybe you
[14:23] accidentally overlap some parts or
[14:26] descale the parts to make it look a lot
[14:29] more blurry. Now, after you're done with
[14:31] texture atlas, we move on to the other
[14:33] tools you use to rig your model.
[14:36] Starting with the warp deformer, select
[14:38] on any part and click on the warp
[14:40] deformer. This panel will pop up. Just
[14:43] click create. Now, there will be this
[14:45] green grid box. This is a deformer. If
[14:49] you move the point on this deformer, it
[14:51] will move the mesh below. You'll be
[14:53] using this tool a lot. Now, when you
[14:55] click on the deformer, the setting for
[14:57] the deformer will appear on the
[14:59] inspector. You can redeem deformer here.
[15:02] Trust me, you won't regret naming things
[15:04] since there will be a lot of deformers.
[15:08] Another thing in the inspector is
[15:10] changing the number of division. So if
[15:13] you want to make there be more division,
[15:16] you can play around with these numbers
[15:19] and it will make you have more control
[15:22] points. To see every deformer that has
[15:25] been created, you can look at this
[15:27] deformer window on this bottom left.
[15:30] This is like the folder system for the
[15:32] deformers. It help you see and rearrange
[15:35] what deformer is in each other. It's a
[15:38] very helpful window and you'll be using
[15:41] it a lot. The reason to use deformer to
[15:44] wreck instead of controlling the mesh
[15:46] directly is because you can create a
[15:48] deformer on another deformer. It works
[15:51] quite like a folder. Like I can have a
[15:54] deformer for the eye and another
[15:56] deformer for the face turning which make
[15:59] it to where the eye deformer which is
[16:02] under the face deformer will get
[16:04] deformed along as well. And by stacking
[16:08] things up like this, that's how we make
[16:10] our model become alive.
[16:12] Next is the rotation deformer and
[16:15] rotation deformer creation tool. Just
[16:17] like the warf deformer, it will control
[16:19] the mesh and be put in the deformer
[16:22] window. However, instead of moving the
[16:24] points, you rotate instead. The
[16:27] difference between rotation deformer and
[16:29] rotation deformer creation tool is that
[16:32] the first one will spawn the rotation
[16:34] deformer in the middle of your parts
[16:37] while the second one lets you create the
[16:40] rotation deformer wherever you want. And
[16:43] that's the tree deformer tools. Now we
[16:46] head to arrow lasso and brush tool which
[16:49] is pretty self-explanatory.
[16:51] You use the arrow to select different
[16:54] tools. You use the lasso to select
[16:57] multiple things at once and you use the
[17:02] brush selection to select things like a
[17:04] brush.
[17:06] And now we go to deform pad edit. This
[17:11] allows you to make a part used to edit
[17:13] the mesh in a line easily. This is great
[17:16] for the lips, the eyelash and the
[17:18] eyebrow. Now we move on to actually
[17:22] rigging the model. For that knowing the
[17:24] parameter is very important. When you go
[17:28] to parameter window you can see these
[17:30] defaults parameter given. These
[17:33] parameters are empty and you'll have to
[17:35] fill them up. Let's start with angle C.
[17:38] This is for rotating the head. So what
[17:41] we have to do is select all of the head
[17:44] and create a rotation deformer creation
[17:48] tools. Now drag the rotation deformer
[17:51] from the shin to the head.
[17:54] Now go to the arrow tool instead. Click
[17:57] on angle C and press this tree green dot
[18:01] button. They are the key forms. The
[18:03] middle is looking straight. The left is
[18:07] for rotating to the left and the right
[18:10] is for rotating to the right. So when we
[18:12] move the red dots around to the left, we
[18:15] can rotate the deformer to the left. And
[18:19] when we move the red dot to the right,
[18:22] we can rotate the deformer to the right.
[18:25] And now when we move the red dot around
[18:27] the parameter, it will rotate the head
[18:30] around as it should. And this is how
[18:34] parameters work and what we're going to
[18:37] be doing for the rest of it. To
[18:39] summarize again, select all parts and
[18:42] create a deformer. Click on the
[18:44] parameter. Add key forms. Go to the key
[18:49] form you want to edit. Move the deformer
[18:52] around. And there we go. That's how you
[18:55] rig every part of the model. Now, angle
[18:58] C is the easiest one. Let's move on to
[19:01] the harder ones like angle XY. Angle X
[19:06] is for looking left and right, while
[19:08] angle Y is for looking up and down. Now
[19:11] we want the model to be able to look
[19:13] towards the upper corner as well like
[19:16] upper left, upper right, lower left or
[19:18] lower right. To do that we have to
[19:20] combine angle X and Y by pressing this
[19:23] link button right here. When we press it
[19:25] the parameter will now look like this
[19:28] graph. Now let's get to rigging by first
[19:30] selecting all the head parts and create
[19:33] a new deformer. Call it BF angle XY
[19:38] head. Then select the angle XY parameter
[19:41] and click this three green dot icon
[19:43] again. Go to the left in the parameter
[19:47] and make sure you snap to it by right
[19:49] clicking. Right clicking is how you snap
[19:51] to these dots. Now turn the face to the
[19:55] left. It will look pretty bad right now
[19:57] cuz we have a lot of adjusting to do.
[20:02] And after you're done turning it left,
[20:05] you'll want to turn it right.
[20:09] And now your face is turning. It doesn't
[20:13] look so good right now though because
[20:15] you want to move individual facial
[20:17] features to create more dimension like
[20:19] the nose. So we can go to the nose and
[20:22] create another deformer. Call it df
[20:27] anglexy
[20:29] nose. And then when you look to the left
[20:33] the nose may protrude a bit more.
[20:36] [Music]
[20:40] And now you're going to write it may
[20:41] protrude a bit more as well. So now it
[20:44] looks better.
[20:46] And do the same for all the other side
[20:48] as well. Looking to the top
[20:51] and looking to the bottom. Just adjust
[20:55] it around. This will take quite some
[20:57] time. And then after you're done with
[21:01] left, right, top, bottom, instead of
[21:04] working on the corners right away, we
[21:07] can have the program try to work on it
[21:09] first. Go to the center of the
[21:12] parameter. Then in the menu, click
[21:14] modeling parameter, set the size corner,
[21:19] and okay. So the software have now
[21:23] created the corners for you. When you
[21:26] move around the angle XY parameter, the
[21:30] model will face towards that direction.
[21:32] You can fix them manually if it looks
[21:34] bad though. And with a lot of adjustment
[21:37] and on a lot of time, angle XY is kind
[21:41] of dumb.
[21:44] Now remember the face mask, we can use
[21:48] that here to make the face line
[21:50] disappear a little at a certain angle.
[21:53] Turn on the visibility of the mask.
[21:55] Second, select the face line art and on
[21:58] clipping ID, make it clip to the face
[22:01] mask.
[22:02] [Music]
[22:04] Then we click this reverse mark button.
[22:07] Turn the opacity of the face mask to
[22:10] zero.
[22:12] We can create a deformer for the mask
[22:15] and in angle XY add the key form and
[22:18] move the mask around. This isn't
[22:20] necessary, but I see most Btuber use
[22:23] this technique. You can check out the
[22:26] preview of the model by going to the
[22:29] menu modeling physics settings. Ignore
[22:33] the weird setting on the left right now.
[22:35] Looking at the screen on the right, when
[22:37] you click and hold the screen, the model
[22:39] will look toward your cursor. This is
[22:41] where you can go to check whether your
[22:43] model is working or not. Moving on to
[22:46] the eye parameters.
[22:48] First, we'll only be doing the left eye.
[22:51] And then after we're done rigging the
[22:53] left eye, we'll then copy paste the left
[22:56] eye to the right and flip it. So that
[22:59] will be less work to do. Looking at the
[23:02] IL open here, you will see that the left
[23:05] is zero and the right is one. Previously
[23:09] in angle X, Y and Z, the parameter can
[23:13] go to the negative to indicate left or
[23:16] bottom and positive to indicate right or
[23:19] up. For the eye, however, there's only
[23:21] close and open. Close being zero and
[23:24] open being one. Now, if you want a
[23:27] surprise eye, you have to increase the
[23:30] parameter to 1.3 so that the eye would
[23:34] widen more. To change that, you can
[23:37] right click the parameter and edit.
[23:40] Change the maximum to 1.3.
[23:45] Starting with the eyelash, select the
[23:48] eyelash and since it's a line instead of
[23:51] a deformer, we'll use the deform pad
[23:53] edit tool instead. Click along the
[23:56] eyelash to create control points. These
[23:59] control points will let you move the
[24:01] eyelash freely. Go to the arrow tool on
[24:04] the box over here. Type one so we make
[24:07] sure we're in the one and add key form
[24:11] at this exact location. And instead of
[24:13] clicking the three dots in the
[24:15] parameter, click the two dots instead.
[24:18] So now zero is I closed, one is I open
[24:24] normally, and 1.3 is I being wide. And
[24:29] we just move it around at these
[24:31] locations.
[24:34] And now we go to the upper eye skin.
[24:38] Create a deformer for the upper eye
[24:40] skin. and add the same key form to the
[24:43] parameter
[24:45] 0 1 1.3 and drag the deformer so that it
[24:49] covers the eyeballs when the eye is
[24:51] closed or open.
[24:53] [Music]
[24:54] Now go to lower eye skin and do the same
[24:58] process
[25:01] and after that that's it for open
[25:04] parameter.
[25:06] Next is IIL Sumal. Here we can make the
[25:10] blush more visible. Go to the blush part
[25:13] and turn it on if it's off. Now add two
[25:16] key forms using the two green dot button
[25:19] here. On zero we'll turn the opacity of
[25:22] the blush to zero. And on one we'll turn
[25:26] the opacity to 100. So that's how we
[25:30] make it seems as if the model is
[25:33] smelling. Next is eyeball XY.
[25:36] X is for looking left and right. Y is
[25:40] for looking up and down. Connect the X
[25:42] and Y together so that we can look at
[25:44] the corners as well. Select the pupil
[25:47] parts and create a new deformer. Click
[25:50] on the three green dots and start moving
[25:53] the pupil around. This is basically the
[25:56] same thing we did for face turns of
[25:59] angle XY timeline.
[26:03] [Music]
[26:05] And there we go. And then regrue the
[26:08] eyebrows. Create a deformer for eyebrow
[26:10] Y for moving up and down.
[26:15] And another deformer for bro L form.
[26:19] Negative one is sad, zero is normal, and
[26:23] happy is one. We can just delete bro
[26:27] angle and bro X because YouTube Studio
[26:31] doesn't really detect eyebrow moving
[26:34] left and right or bro angle. Also, you
[26:37] can make a deformer for the entire eye
[26:41] and move it around ankle X line to see
[26:44] if different direction the eye looks
[26:46] good and or not. Okay, now that your
[26:49] left eye is nice and done, we're moving
[26:52] on to copy pasting it to the right.
[26:55] Select all of your right eye asset and
[26:58] just delete them cuz we don't need them.
[27:03] And then select all of your left eye,
[27:06] copy paste.
[27:08] [Music]
[27:11] Now after you're done copy pasting it,
[27:13] go to modeling, edit form, reflect,
[27:18] click reflect horizontally, then click
[27:21] okay. Now we managed to create the right
[27:24] eye. Okay, we have to transfer the
[27:28] parameters from left to right as well.
[27:31] Starting with IIL open, click the number
[27:34] box and choose change.
[27:38] Go to IR open parameter. Now when you
[27:42] move the IR open parameter, it should be
[27:46] the right eye. Now also do for same for
[27:49] eyebrows. Click BR L Y change to Bro R Y
[27:56] and also Bro L form change to bro R
[28:00] form.
[28:02] [Music]
[28:04] Now as for the eyeballs, it's now
[28:07] looking at the opposite direction. In
[28:10] eyeball X parameter box, click adjust
[28:13] instead. In value after change, put in 1
[28:18] 01
[28:21] and click okay. Now the eye should look
[28:24] the same way. If it looks weird, you can
[28:27] adjust it around. If you edited the IL
[28:30] open parameter to 1.3 for surprise eyes,
[28:34] don't forget to do the same for IR open
[28:36] as well. And you can also make a
[28:39] deformer for the eye shines when it
[28:41] looks at different angles as well. Make
[28:44] sure to rename the folder into I write
[28:47] instead. And we want to rename
[28:49] everything else in this folder from left
[28:52] to right as well. To change it easily,
[28:55] go to edit search and replace on
[29:00] condition. Type L underscore or left.
[29:04] And now we have to select all of the
[29:05] copied left eye to make sure that it is
[29:08] the copy part. on the left parent column
[29:11] it should say that the parent is R I
[29:15] select all of it and on the bottom here
[29:18] before replacement as L underscore and
[29:21] after replacement to R underscore then
[29:24] click replaced now all the left part
[29:27] that got copied will be named right so
[29:30] that it won't be confusing but now the
[29:32] eye should be completed
[29:34] now we move on to lip sync if you manage
[29:38] to come this far then the mouth isn't so
[29:40] different. Link the mouth form and mouth
[29:44] open together. The bottom middle 0 0
[29:48] should be mouths closed. Up one should
[29:52] be mouth open normally. To the left in
[29:55] negative is sad and to the right is
[29:59] happy. Now use the deform pad edit tool
[30:02] for the lip line and move it as you
[30:04] want. You don't have to make it exactly
[30:08] the same. and can go freestyle with it.
[30:14] After you move the lift, then you move
[30:16] the upper lip skin to conceal the mouth
[30:18] inside. You can also use the deform pad
[30:21] edit for the mouse skin as well by
[30:24] creating the pad along the lips. And
[30:26] then timelapse. It's going to take some
[30:29] times to move things around, but I think
[30:32] now you get what to do. It's all the
[30:36] same process, just um different parts.
[30:39] And tada, we we did it. The mouth.
[30:44] And moving on to body X, Y, Z. Body X is
[30:49] moving the body to left and right. And Y
[30:52] is moving body up and down. And C is if
[30:55] you tilt your body like the hips and the
[30:57] shoulder. And since we don't have the
[31:00] lower body here, we will just ignore
[31:03] body scene. Now go to the deformer
[31:05] window, collapse the deformer tabs and
[31:09] select every part. Now make one big
[31:12] deformer and call it deformer_bodyxy
[31:18] underscore body. Link the power meter
[31:21] together. Create key forms and move the
[31:25] deformer just a bit left, right, up, and
[31:28] down. Synthesize the corner. And now
[31:31] we're done with body X and Y. Next is
[31:34] the breeding parameter. This is a
[31:36] parameter that will play on
[31:38] automatically. Zero is normal, one is
[31:41] breed in. So select the body XY deformer
[31:45] and create another deformer on top.
[31:48] Create two key forms and on one just
[31:52] move the deformer up a little bit. And
[31:55] now when we check in the physics
[31:56] setting, we can see the character
[31:59] breeding automatically.
[32:01] And with that, you filled in all default
[32:04] given parameters. Don't forget to save
[32:08] extra segment. If your model has extra
[32:12] objects like different hand, a mic, or a
[32:15] pet that you want to be able to toggle
[32:17] on and off, you can make a toggle by
[32:20] creating a new parameter.
[32:22] Click on the plus button down here and
[32:25] name it whatever extra object that is
[32:28] and make the minimum zero. All there is
[32:31] to do is select those extra parts and at
[32:34] zero make it zero opacity and at one
[32:38] make it 100 opacity and that's it to
[32:41] create the toggle which we can use to
[32:44] later turn it on and off in YouTube
[32:46] studio. And there we go. The model will
[32:49] work. In fact, you don't even need to
[32:50] use this next step. But if you do, it
[32:53] will give your model some life to it.
[32:56] Physics. Physics is where the magic
[32:59] happen. It makes this turn into this.
[33:02] [Music]
[33:05] First, the hair is where there is most
[33:07] physics. Seect the front hair and create
[33:10] a deformer. Name it something like um
[33:13] DFP
[33:15] front hair. Our hair is really simple,
[33:17] so we can just use a default hair move
[33:20] front parameter. Negative one is sway
[33:23] left and one is sway right. To make it
[33:26] easy after moving negative one parameter
[33:29] go to modeling motion mirroring.
[33:34] Okay. And the program works on the right
[33:36] side of the parameters for you. We then
[33:40] continue to do the same for hair move
[33:42] side and hair move back. Go to physics
[33:46] setting. That's on the modeling physics
[33:49] setting. Now we don't ignore the setting
[33:52] on the left. Click the add dot dot dot
[33:54] button and name it hair
[33:58] input present as head input physic model
[34:01] presence as hair short. Then click okay.
[34:06] Now over here click the output setting.
[34:09] Then click the button add underneath it.
[34:12] Search for the parameter that we just
[34:14] made for this part. Check it on. Then
[34:17] click okay. Now you'll notice when you
[34:19] move the model left and right, there is
[34:21] now physics on your part. If you think
[34:24] it moves too much, then you can adjust
[34:25] the number in the pendulum setting down
[34:27] here. Tweak the number around and see
[34:30] what you like. Repeat this step for
[34:32] every parts that you want to have
[34:34] physic. Like this jacket strings doesn't
[34:37] have a default parameter, so we need to
[34:39] create a new one. Click on the plus
[34:41] button below the parameter and okay. and
[34:45] do the same thing where you sway it left
[34:47] and right and then add it into the
[34:49] physics settings. This time it's the
[34:52] body input.
[34:58] [Music]
[34:59] Now if you want the hair to flow more,
[35:02] we can create another deformer on top of
[35:04] the same hair part. Let's try this with
[35:07] the back hair. Then create a new
[35:09] parameter for another physics on the
[35:12] part.
[35:13] Move it a little on the tip of the hair.
[35:16] Then add this new parameter into the
[35:19] physics settings.
[35:26] Create another pendulum.
[35:28] Change the pendulum number of the new
[35:30] parameter to two. And now you can see
[35:34] this hair part moves more than before.
[35:36] If your model has many long hairs, you
[35:39] can add as much pendolums as you want to
[35:41] give it more physics. And with this,
[35:44] we're pretty much done with the model
[35:46] and can move on to exporting. To export,
[35:49] just go to file, export for runtime,
[35:53] export as OC3 files. Make sure the
[35:57] export physics setting file is checked
[36:00] on as well. Then press okay. Choose the
[36:03] folder that you want to save to. Create
[36:06] a new folder, named it, and save it
[36:09] there. This is what it should look like
[36:11] containing the texture atlas and
[36:13] everything. And we're good. We studio.
[36:17] Now we move on to the third needed
[36:20] program, YouTube Studio. This is it,
[36:22] guys. We're getting to the finish line.
[36:24] On PC, download the software from
[36:27] Stream.
[36:29] When you open the software, it will be
[36:31] blank. Double click on the screen so
[36:33] that you can open the menu. First button
[36:36] is for choosing the model. Click on the
[36:39] button and a character selection will
[36:41] appear on the bottom. The software
[36:42] already has a default model for you to
[36:44] test out. If you click on any of them,
[36:46] it will show that model up. To put in
[36:49] your own model, click import your own
[36:51] model and open folder. Now in the
[36:55] folders as open, copy paste the stuff
[36:58] that we exported from live 2D wherever
[37:01] you saved it.
[37:04] Now go back to the solver
[37:06] and click unload model to refresh.
[37:10] Clicking the model button again and
[37:12] scrolling through there should be a new
[37:14] model and choosing it. Our model will
[37:17] appear. There will be a popup to s auto
[37:19] setup. Okay. Now your model is in the
[37:23] server. If it's not moving, that would
[37:26] be because you have not connected a
[37:28] webcam or your iPhone yet. If you're
[37:30] using a webcam, first connect your
[37:32] webcam. Then click on the setting here.
[37:35] On the upper left, choose the webcam
[37:37] button. Then on the right, choose the
[37:40] blue choose camera button. Choose your
[37:43] camera and just click okay to whatever
[37:45] pops up. After that, it's done. Click
[37:48] the blue camera on button. It will
[37:51] calibrate your face.
[37:54] [Music]
[37:55] Close the calibrate. Now you have a
[37:58] working V2 model. And if you're
[38:01] connecting through an iPhone instead,
[38:03] first download V2 Studio on your iPhone.
[38:06] Go to setting and head down. You'll see
[38:09] connect through Wi-Fi or connect through
[38:11] wires. This is your preference. I picked
[38:14] Wi-Fi so that I can still charge my
[38:16] phone while streaming. Have your
[38:18] computer connect to the same Wi-Fi as
[38:20] your iPhone and it will automatically
[38:22] detect. Turn the button on and off if it
[38:25] doesn't work. Now, when you move or make
[38:27] facial expression while looking at your
[38:29] phone, the software on your PC will also
[38:31] detect that and follow along. Now that
[38:34] you connected it, it worked. There's
[38:36] still a little more things like changing
[38:38] the icon. To change the icon, you have
[38:41] to put an image into the same folder
[38:43] that contain your V2 file.
[38:48] Then back on V2 Studio, go to settings
[38:51] and on top click on it. Click on the
[38:54] image you put in the folder. Now the
[38:56] icon will be updated.
[39:00] Moving on to expression. This is how you
[39:03] can add a trigger if you have an extra
[39:05] object in your model. If you don't, then
[39:07] you can ignore this part. On the setting
[39:11] menu, you'll see this clap or button.
[39:14] Clicking on it will lead to the
[39:15] expression editor. Click on the blue
[39:18] button called expression editor. Then
[39:20] click create new expression.
[39:25] I have a mic on and off parameter for my
[39:28] own model. So I'll name it mic. Now then
[39:30] I scrolled all the way down where that
[39:32] parameter is. When we turned on the
[39:35] switch, it lets us adjust what that
[39:38] parameter will be stuck as. So I turn
[39:40] the slider all the way up and click
[39:43] save. Now going back, we have to add the
[39:46] hot key. So to tell the software how to
[39:48] trigger this expression, click on the
[39:50] plus button and a new hotkey panel will
[39:53] appear. Name it.
[39:56] Then click on the blue hotkey action
[39:58] button. Select set and unset expression.
[40:03] And then on the blue button under
[40:05] expression, select your expression.
[40:09] Key combination is if you choose a
[40:11] button on your keyboard, it will trigger
[40:14] the expression on and off. Then below is
[40:16] a screen button hotkey, which is what
[40:18] we'll be using. Click on the slot you
[40:20] want. Then make sure the switch on top
[40:23] of the hotkey setting for use screen
[40:25] button hotkeys is turned on. And now the
[40:29] screen there will be a button that you
[40:31] can click to trigger this expression on
[40:33] and off. Finally, how to get transparent
[40:36] background. First, on the menu, click
[40:39] the background button. On the list of
[40:41] backgrounds, scroll down until you see
[40:43] color picker. Select it. As you can see,
[40:48] under the color picker, there is a
[40:49] switch to turn on transparent in
[40:52] capture. What this does if if you turn
[40:54] it on when you connect this to OBS or
[40:56] other recording software you won't see
[40:58] the background only the model which move
[41:01] us over to the next and the last
[41:02] software OBS open the software that will
[41:06] be this window scenes if you can't see
[41:10] this window on the menu above docs is
[41:12] where all the window is kept at first
[41:16] add a scene by clicking on the plus
[41:18] button name it whatever you want it to
[41:20] be I'll name it YouTube scene
[41:23] Now in the next window called sources,
[41:25] click the plus button and select game
[41:27] capture.
[41:30] Click on create new and name it YouTube
[41:33] source.
[41:34] [Music]
[41:36] Now in the property here, change the
[41:38] mode to capture specific window. Then in
[41:41] the window, select YouTube studio. Under
[41:44] the check box, turn on allow
[41:46] transparency and turn off capture
[41:48] cursor. And there we go. The model
[41:51] should be shown in OBS. If you want to
[41:54] add a display behind the model, click
[41:56] the plus button again and select display
[41:59] capture.
[42:03] And now it will appear in the scene. You
[42:06] can click and drag the source up and
[42:08] down to arrange what appears on top and
[42:10] bottom.
[42:11] Now if you want to crop out the buttons
[42:13] on the side, you can right click V2
[42:15] source and select filter. Click plus
[42:18] button and select crop and pad.
[42:24] Now on the right, you can enter how much
[42:26] pixel you want to crop out to look nice
[42:28] and clean.
[42:33] And voila, it works. Now you can stream.
[42:36] Test it out just by recording to
[42:38] yourself first. Hit that record button
[42:40] and move around.
[42:43] [Music]
[42:49] Once you're done, stop recording and you
[42:51] can check where the file your recorded
[42:53] file is in the setting.
[42:57] [Music]
[42:59] Go to output and you'll see where the
[43:01] location is linked to. You can change
[43:04] the location to where you want it to be
[43:06] as well. And then you're actually done.
[43:09] That was a bunch of information that I
[43:12] wouldn't blame you for taking a break or
[43:14] even giving up. Now with this hard
[43:17] earned knowledge, what else can Live 2D
[43:20] use for? It can be used for animated
[43:23] movies. You can go farther with the
[43:25] animation feature and export as video
[43:28] instead. Make it like looping
[43:30] illustration for waiting screens or
[43:33] animating stickers and stuff. As for how
[43:36] to use the animation, here's a quick
[43:38] tutorial by going back to live 2D cubism
[43:42] in files, new animation.
[43:45] SDK Unity is what we use for V2 Studio.
[43:49] And just drag and drop the model you
[43:52] have into this window over here. And
[43:56] then drag it all the way down here.
[43:59] And now the model will be shown on the
[44:02] screen and all the parameters going to
[44:06] be here. And if you know how to edit
[44:08] videos, it's the same thing where you
[44:11] got the timeline and then you can adjust
[44:14] the parameter
[44:15] [Music]
[44:19] and then save the animation and export
[44:22] the file by going file export image
[44:25] video video
[44:27] [Music]
[44:28] and there we go. You've got a video now.
[44:32] Otherwise, if you want to export the
[44:34] animation to use in V Studio, you can
[44:37] click file, export for runtime, export
[44:40] motion file,
[44:43] [Music]
[44:47] drag it into your V2 model folder,
[44:52] [Music]
[44:53] and just like the expression, just add
[44:56] in the animation instead. Click on that
[44:59] plus button. hotkey action. Go to play
[45:04] animation, select animation,
[45:08] and then choose the one that we just
[45:10] paste in.
[45:12] Assign hotkey. And there we go.
[45:16] [Music]
[45:19] Thank you so much for watching the
[45:21] video. I've been planning to create this
[45:22] video for a very long time, but it takes
[45:25] some time to learn the software and make
[45:27] sure I didn't miss anything important
[45:28] myself since there are a lot to cover.
[45:31] If you want to commission me from
[45:33] drawing characters to rigging, I have a
[45:36] fiber page or you can just DM me on
[45:39] Instagram, Discord, X, etc. I hope the
[45:43] video wasn't too complicated. If there's
[45:45] any question, you can ask in the
[45:47] comments below. I stream from time to
[45:49] time on YouTube and Twitch. So, if you
[45:51] come to hang out, I'll be very happy.
[45:53] And thanks so much for watching. Hope
[45:55] you have a great day. Bye-bye.