Advanced Body Angles | Live2D Tutorial

[00:00] Today we are going to be working on

[00:03] advanced body angles. So we have done

[00:07] the beginner tutorial for body angles in

[00:10] which we covered the simplified forms

[00:13] and in this one we are going to be

[00:16] covering all of the forms all of the

[00:18] advanced stuff. So these are the body

[00:22] forms that we are going to be covering

[00:25] today. Uh, we have torso X, torso Y,

[00:29] torso Z, hips X, hips Z, position X,

[00:34] position Y, and position Z. It's a lot

[00:37] of forms, but we are going to try to get

[00:40] through this relatively quickly. So, the

[00:43] first thing you will need

[00:46] is all of these parameters.

[00:50] So what we're looking at is uh the input

[00:53] parameters which is body X, body Y, body

[00:56] Z, position X, position Y, and position

[01:00] Z. And as for the output parameters that

[01:04] we want is torso X, torso Y, torso Z,

[01:07] hips X, hip Z, lean X, lean Y, and lean

[01:11] Z. Torso and hips are minus30 to 30,

[01:15] while the leans are -10 to 10.

[01:19] Okay, first we want to start with the

[01:22] torso, which is relatively easy to do.

[01:26] Uh, so I already made a

[01:31] deformer torso angle. So in it is just

[01:36] the standard torso without anything

[01:39] else. So what we're going to do is we're

[01:42] going to bind this to torso X. And on

[01:45] the input, you do not want to bind

[01:47] anything on the input because we're

[01:48] going to be using that as physics input.

[01:51] All of the angles we're going to do is

[01:53] going to be bound to physics. Okay. So,

[01:56] we are going to do the same trick as we

[01:59] did in the uh basics tutorial. So, I'm

[02:04] going to speed through this. And for the

[02:06] mapping,

[02:08] uh we want torso X.

[02:11] And uh for the Y direction, I'm going to

[02:15] go lean Z. And this is going to make

[02:18] sense. So we want to add the torso angle

[02:21] to the

[02:22] object. And I am going to change this

[02:26] to yes

[02:29] 10° by 10°. We are going to update the

[02:33] key forms. So what that

[02:36] does is it gives us a plane of rotation

[02:41] and this is going to be a base to start

[02:43] working

[02:45] from. Now this is a little bit strong.

[02:49] So we are going to change that to maybe

[02:51] five. Going to update that. Yeah, that's

[02:55] better. Okay. And this is going to be

[02:59] the lean forward and lean backwards. So,

[03:02] we've got a good base to work from now.

[03:04] And we are going to ignore the lean Z

[03:07] and just focus on the torso X right

[03:09] now. So, what we're going to do is we're

[03:12] going to select uh the layers that are

[03:17] sticking out from the body, which would

[03:20] be the bust in this case. Right.

[03:24] So, let's get that. I'm going to I'm

[03:27] going to try to speed through it.

[03:33] [Music]

[03:41] [Music]

[04:03] Okay. Reflect motion. See how that

[04:09] looks. And as you can probably see, I

[04:12] have glued

[04:14] down the shoulders. We're going to be

[04:16] fixing

[04:17] that. Okay.

[04:20] So arm

[04:25] left, not arm right. And the reason for

[04:28] that is that it's her

[04:30] left. So this is arm right because it's

[04:33] her right. So we're going to fix the

[04:36] arms. So when she moves this way, we

[04:40] want

[04:41] to move it

[04:44] up. Now I need to fix the glue on that.

[04:46] Um but just bear with me. And then when

[04:50] she moves this way, we're going to

[04:52] rotate in a little bit

[04:54] and down.

[04:57] And that's how the arm kind of moves

[05:00] with the rotation there. And we got to

[05:03] do something about that glue because

[05:05] it's a little bit

[05:09] harsh. And it's only connected here. Um

[05:13] I'm not connecting that all the

[05:18] way. And this is essentially

[05:22] uh torso X. And what we want to

[05:26] do now is um and this this step is

[05:30] actually important. Uh I've I've been

[05:32] messing around, but this step is

[05:34] actually

[05:38] important. We're going to select the

[05:40] bottom of the model. Um control shift C,

[05:45] control shift V.

[05:51] And that way, anything below the hips

[05:54] does not move. We do not want movement

[05:57] below the hips because we're just

[05:59] working on

[06:01] torso. Okay. Now, torso Y is going to be

[06:06] incredibly simple. So, we're going to

[06:08] make a new deformer for this. And we're

[06:12] going to put this on torso Y.

[06:16] And when she looks

[06:19] up, so I actually want the arms in

[06:24] there. Okay. So when she looks up, we

[06:30] want the

[06:31] shoulders to

[06:33] drop and the chest to

[06:36] rise. And this is just torso Y. We're

[06:39] going to go with the big Y movements on

[06:42] position Y.

[06:44] This is just the torso. Then when she

[06:47] looks down, we raise the

[06:50] shoulders and we drop the chest. Going

[06:53] to make sure the the ribbon stays kind

[06:56] of in the same place. Uh we do not want

[06:59] too much ribbon movement here. And this

[07:02] is looking up and down. This is what her

[07:04] chest is doing. Her chest and

[07:08] shoulders. And if you do this in real

[07:11] life, um, or you have someone else do it

[07:14] while you observe, you will see that

[07:16] this is pretty accurate. It's an

[07:18] exaggerated version of it, but this is

[07:20] pretty accurate to what your body does

[07:22] when you look up and down. So that's why

[07:26] we're on torso Y here. Okay. Now,

[07:29] speeding through torso Z. So, what we're

[07:32] going to be doing for torso Z is she's

[07:36] going to lean left and right. It's that

[07:39] simple. So, we are

[07:42] taking

[07:44] everything above the

[07:47] skirt and we're going to say this is

[07:54] uh torso Z. Now that we have our

[07:58] deformer, we're going to bind it to

[08:01] torso Z. And then what I like to do

[08:04] personally

[08:06] is I like to

[08:09] select the top of that with the brush

[08:13] tool. Uh shortcut is B by the way. And

[08:17] then we

[08:21] rotate. Make sure that's positioned

[08:24] properly. And this is the easiest way to

[08:27] do

[08:28] this. I don't know if I can reflect

[08:30] motion on this. I can get

[08:35] crates. Okay. And now what I want to do

[08:40] is I want to select the bottom cuz I saw

[08:43] it deform a little bit too far down. So

[08:47] we're going to

[08:49] copy and paste. Uh control shift C and

[08:55] control shift

[08:59] V. Okay. Now I'm going to take the arms

[09:02] and just kind of adjust those a little

[09:11] bit. And that is looking

[09:14] good. Now before we get into

[09:17] hips, I'm going to save this. Uh very

[09:20] important, save every 5

[09:23] minutes. And then we're going to go into

[09:25] physics settings.

[09:28] And she already has all of the head

[09:30] movement, but none of the body movement.

[09:33] So, we're gonna say torso

[09:38] X. And I have a preset for this kind of

[09:42] kind of it's kind of a preset. Uh, body

[09:45] physics, but I want reaction

[09:48] speed to be uh

[09:50] 0.4. Convergence

[09:55] uh I'm going to say 1.5. Okay.

[09:58] So we want to add body X and this is

[10:03] going to be

[10:04] angle 100% effective and I want to make

[10:09] this

[10:10] minus60 to

[10:12] 60. Okay. Then for the output settings

[10:16] we want to add torso X.

[10:20] So, we're going to swing this around,

[10:22] get the maximum output, and then

[10:24] increase

[10:25] it and then lower

[10:28] it because that's how we

[10:31] do. And as you can see, has a little bit

[10:35] of

[10:35] a delayed bounce back on it. Now we got

[10:40] the torso X

[10:47] in. And we're going to duplicate that.

[10:50] And we're going to say torso Y. Input

[10:53] settings is going to be body Y. Output

[10:55] settings is going to be torso Y.

[11:02] And you can see it's

[11:04] um moving the chest and shoulders on the

[11:07] Y position and not doing much else at

[11:09] the moment. But that's okay because we

[11:12] have a lot more parameters to go. So

[11:15] we're going to say torso Z. Um and then

[11:18] this is going to be body

[11:21] Z and that's going to be torso

[11:27] Z. And now you can leave it like this.

[11:31] But what I like to do is I like to

[11:32] reflect

[11:35] it. So this is what this is doing. And

[11:38] now we

[11:40] have the torso

[11:44] movements. Okay. Now what we're going to

[11:48] be moving on to is

[11:50] hips. What we're going to be doing for

[11:54] the hips is I kind of want the torso in

[11:57] it. So, you know

[12:00] what? We're getting the entire

[12:04] body. I can't do that, can I? I can't

[12:09] can't do this. Let me um figure out what

[12:13] I'm doing

[12:15] here. This skirt is throwing me for a

[12:18] loop. It's a very pretty skirt, but it

[12:20] is throwing me for a loop here. So, what

[12:23] I don't want in this is the arms. If I

[12:27] throw this in torso Z, how does that

[12:37] look? Not great. Not great, but we can

[12:40] fix it. We can fix her. This is fine.

[12:44] This is

[12:46] fine. You know what? This is fine. Okay,

[12:50] we're going to keep the skirt here

[12:52] because I want to select the torso with

[12:56] this as well. So, we're going to say

[12:58] this is

[13:01] hips. Great. So, now what we're going to

[13:05] do for the hips

[13:08] X is we want to rotate. We are rotating

[13:18] hips. Okay, cool. So, um I like that

[13:22] rotation. So, what we're going to do

[13:24] now, bear with me. So, we're going to

[13:27] throw this over here. Why are the arms

[13:29] in there? Hold hold

[13:31] [Music]

[13:33] hold. Why are the arms in there? We

[13:35] don't want the arms in there. Let's try

[13:37] this.

[13:40] That certainly is

[13:43] better. Okay, so we want the hips to

[13:47] swing

[13:48] out. Rotate and swing. Maybe I'll swing

[13:52] to the other side, actually. So, what if

[13:54] I swing this to the other side, but

[13:57] still have it rotated to this

[14:00] side? I actually kind of like that. I

[14:02] have to fix the top, obviously, but

[14:05] okay. You know what? Kind of like that.

[14:09] Kind of like that. I definitely know

[14:12] what I'm doing, by the way. All right.

[14:15] And then we're gonna reflect motion on

[14:17] that. So, now we're going to grab the

[14:21] legs. And we want to grab one leg at a

[14:25] time. We want to bind those to the

[14:30] hips. And that goes out as we swing this

[14:34] way. And when we swing the other

[14:38] way, we go

[14:42] in. I don't think we need to go down,

[14:46] though.

[14:50] So, we swing out and

[14:53] in. We want to make sure that is

[14:58] smooth all the way. The toes do not

[15:01] move.

[15:02] toe movement. Not good. Now, we take the

[15:06] other leg. And for the other leg, we

[15:07] want to uh give it a little bit more of

[15:10] a subtle movement. So, we're going

[15:18] to bend this

[15:21] in. And when we go to the

[15:25] sides, we bend it

[15:28] out. There we go.

[15:31] And this is how the hips swing on the

[15:35] X. Now we want the hips swing on the

[15:39] Z. And this is going to be a little bit

[15:41] more

[15:42] dramatic. I do like dramatic hip

[15:46] swings. So what we're going to

[15:53] do is this.

[15:56] We're swinging

[16:01] up.

[16:04] However, we want to make sure

[16:07] that the top does not move. So,

[16:12] um, control shift C, control shift V.

[16:17] And then we reflect motion on that.

[16:23] And then we uh controll 4 which is

[16:28] synthesize corners. We're going to do

[16:31] that. Now we want the legs as

[16:35] well. So when the hips swing this way

[16:39] because the hip is raised to one side,

[16:42] she's probably going to go on her tippy

[16:44] toes on that side to get the leg up.

[16:46] Right? So that's what we're going to do.

[16:52] [Music]

[16:54] And now when she goes down, because the

[16:56] hip is all the way down, she would

[16:58] probably bend the knee a little bit

[17:03] [Music]

[17:04] here. And now we do the same on this

[17:08] leg. Okay. So we want to select both

[17:10] legs and then again Ctrl 4 to synthesize

[17:14] corners. So, now that we have the

[17:16] corners, as you can see, the hips are

[17:20] doing their thing without the upper body

[17:23] moving at all. So, we're going to save

[17:26] again. And before we go into the

[17:30] lean, we're going to go into physics

[17:32] settings and we are going to add hips X.

[17:38] I don't think I have a hip swing here,

[17:40] do I? I do not. I do not have a hip

[17:44] swing. I'm going to have to do that uh

[17:47] manually unless it's body custom.

[17:50] It that might be it. Hold

[17:56] up. It's not going to be that though.

[17:59] Okay. So, what we're going to do is

[18:02] we're going to add input. We're going to

[18:04] say this is body

[18:09] X 100.

[18:14] I don't know if I want to put this on

[18:16] angle. I think I'm going to put this on

[18:18] angle. Okay. So, we're going to do this

[18:21] - 60 to 60. And then we're going to be

[18:25] adding oop uh hips

[18:31] x. You can see it moving a little bit,

[18:34] but we want to uh really get the output

[18:38] going.

[18:45] What if I reflect

[18:49] this? Okay, you know what? I think the

[18:52] reflected version is actually better.

[18:55] Okay. So now we're going to say uh

[18:59] duplicate hips Z and we are going to say

[19:04] uh body Z and the

[19:08] outputs hips C. There we go. Now these

[19:12] are some basic

[19:17] angles. And now we are going to move on

[19:20] to

[19:23] position. And position is fun. Position

[19:26] is fun to work on. For

[19:30] this we want to take the entire

[19:34] body and we are going to

[19:38] say position and this is going to be the

[19:42] left and right lean if that makes sense.

[19:45] We we are leaning left and right.

[19:48] with our entire body, not just our

[19:51] torso. So, what we're going to do is

[19:54] we're going to bind that and then do

[19:57] this little trick in modeling

[20:00] uh temporary deformer and then

[20:04] distort and we're going to drag her

[20:07] over and then reflect motion on that.

[20:11] Now, you could leave it here if you so

[20:14] desire. Personally, I want to anchor the

[20:16] feet cuz I do not like floating feets.

[20:19] Okay, you could leave it here. However,

[20:22] you could also make this into a step. I

[20:26] have a step toggle tutorial somewhere on

[20:30] my channel. Um, and if this makes it

[20:33] into a tutorial video, I will probably

[20:36] link that right here. I am not going to

[20:40] put a step

[20:42] in. That is not something that I'm going

[20:45] to do right now, but you know, if you if

[20:48] you want this step, it would have to be

[20:50] on lean X for it to look good. Now, a

[20:53] lean Y is basically just her body going

[20:58] up and down. That's it. That's what lean

[21:01] Y does. Lean Y is the bounce. So, we are

[21:05] going to grab uh the torso Z and we're

[21:09] going to put that on uh lean Y.

[21:14] And now we drag her

[21:18] up. And then on the minus 10 we drag her

[21:24] down. And that's what that does. And now

[21:27] we want to have the

[21:29] legs. We want to

[21:32] make new deformers for

[21:35] that.

[21:37] Uh lean

[21:40] leg left.

[21:42] We're going to make one for this one as

[21:44] well, which is going to be lean leg

[21:50] [Music]

[21:56] [Music]

[22:00] right. And that is how lean Y works.

[22:04] Very simple, very bouncy. Now the last

[22:08] one, lean Z. And this is uh the famous

[22:13] lean in and out. Now, I like to keep it

[22:16] subtle personally. I know a lot of

[22:18] people like to go for like the crazy

[22:20] leans, but we're keeping it subtle.

[22:22] We're keeping it classy. I think if you

[22:25] want a crazy lean, you got to make it a

[22:27] toggle. Um for the subtle leans, you can

[22:30] make it in tracking. Okay. So, we

[22:33] already have the torso leaning in and

[22:36] out.

[22:38] However, me select

[22:41] that. We want to adjust this a little

[22:43] bit because when we lean out, it goes

[22:46] too far down. So, we want

[22:52] to push that

[22:55] up. And

[22:57] then we push this down.

[23:02] [Music]

[23:08] And this is the lean forwards. And

[23:10] that's the lean backwards. And you can

[23:13] already kind of see that take shape.

[23:15] What we don't want is for the bottom to

[23:18] move. Hips

[23:21] uh need to stay where they

[23:25] are. So, we're going to anchor that.

[23:28] I need to

[23:31] uh get the head

[23:38] involved. So let's say head lean uh 21x

[23:45] [Music]

[23:49] 21. Okay. So

[23:51] below the rotation deformer on the head,

[23:55] we want to make another deformer and

[23:58] call it head

[24:02] size. And this is very straightforward

[24:05] on what it does. When

[24:08] we lean in, we want the head to be

[24:12] bigger.

[24:15] And if your character has long hair, you

[24:17] are going to need to adjust the hair,

[24:19] just so you

[24:21] know. And when she leans back, the head

[24:26] will be smaller. That might be a little

[24:28] bit of an exaggeration. Nope, it's

[24:30] actually

[24:30] good. Now, we want uh the arms.

[24:43] and we drag those

[24:45] down. However, we're going to um

[24:48] temporary deformer and then we're going

[24:51] to go

[24:53] perspective. We're going to increase the

[24:56] width of

[25:04] that when she leans

[25:07] in. And then when she leans

[25:11] back, going to do

[25:17] perspective. We're going to make the

[25:20] shoulders a little bit smaller.

[25:25] Okay. And this is the lean.

[25:28] [Music]

[25:44] Now, let's see how this looks in

[25:46] physics. If you're not sure about a

[25:48] movement, the best thing to do is just

[25:50] put it in those physics, see how it

[25:52] moves, and then decide if you need to

[25:55] change something. Okay, let's start

[25:58] putting in the leans. So, let's start

[26:01] with lean X and put this on

[26:05] angle. I don't think

[26:08] uh I have the cursor tracking active for

[26:12] that. I do

[26:17] not. Okay. So, we want to take input

[26:21] position X. And this is one that you

[26:23] have to add manually. Uh we covered that

[26:25] in the beginning.

[26:28] So, we want to add a position X on angle

[26:32] at

[26:34] 100%. And I want to do this minus 30 to

[26:39] 30 on the angle. And for output

[26:41] settings we

[26:44] are too far down. Lean

[26:51] X. We want to swing this around, get the

[26:54] maximum output, and then

[26:58] increase. Let's say

[27:03] 15. And this is how that

[27:06] looks. We won't see this very often

[27:09] because it takes a lot for the tracking

[27:13] to register one way or the other. That

[27:16] is the lean X. And I'm actually going to

[27:21] take that off of the cursor

[27:25] tracking because you rarely ever see

[27:27] that when you're actually tracking.

[27:30] Okay. But we duplicate that and we say

[27:33] lean

[27:35] Y and we change this to position Y. And

[27:38] the output we change

[27:41] to lean

[27:44] Y. And there's the

[27:47] bounce. And we duplicate that. And we

[27:51] say lean

[27:54] Z. And we say this is position

[28:00] Z and lean

[28:07] Z. And as you can see we are uh doing a

[28:11] subtle lean here.

[28:17] And this is the full range of motion

[28:23] here. I I spot a

[28:27] mistake here. Right here. Here's the

[28:31] mistake.

[28:32] Okay. Interesting.

[28:35] Interesting. It's probably the torso Z.

[28:38] It's probably the torso

[28:41] Z. Try that. Try to synthesize those

[28:45] corners. Yes, it

[28:48] was. Takes a little bit of experience to

[28:51] know exactly where you messed

[28:53] up, but I I spotted that. And this is

[28:58] the full range of motion.