WEBVTT

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Hello, this is Minyong Lee from Anijak Corporation

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Last time, we first looked at the character modeling

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and the basic process of rigging for character animation

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This time, we will take a closer look at

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Spline IK,

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which is often used in cartoon-style animation

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And we'll take a look at the character rigging

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made by using that

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Finally, we will look at

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Finally, we will look at how these characters should be prepared

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as assets like backgrounds and props in production

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Spline IK & Twist

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Now after FK and IK, it's time to learn about

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Spline IK, which is used the most next to those two joints

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Let's create some joints so we can rig an IK spline

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I clicked on Create Joints, and I'm in the side view right now

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So one, two, three, four, five

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I think this is about enough

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So there's six joints

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And because Spline IK is based on curves

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specifically the NURBS curves in Maya

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I should create a NURBS curve as well

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And to make the number of vertices on the
NURBS curve and IK joints exactly match

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to make it easy for the controller later

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One, two, three, four, five, six

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So now we have six joints on six vertices

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And a NURBS curve,
based on those same vertices

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Now with the curve and joints we created

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let's try creating a Spline IK

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Like this

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As you can see, if you click on Reset Tool

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Auto create curve will turn on,

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which could automatically create the curve for you

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But to make sure the curve's vertices match those of the joints

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I manually created the curve

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So let's create a handle

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after turning this option off

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And now there's ikHandle1 on the Outliner

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Unlike IK rotate plane solver, the one we used for the arm

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You can't just move the joints to create movement

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In this spline solver

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movement is created

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using the vertices of the curve

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So it's good for creating very natural and organic movements

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But as you move these vertices

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the joints might not be able to follow

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the entire length of the curve, which you can see now

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To solve this, you can add a setting to add joints

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To do that, you have to know the length of the curve

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The tools we're going to use are almost the same as before

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They're the same as IK and FK

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So we need to know the length of this shape

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The shape of the curve

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I'll type in 'createNode'

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and summon a node

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called nodeinfo

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Now connect the length of the curve shape

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and the inputCurve of this node

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to find out the curve's length

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Now I'll connect worldSpace to inputCurve

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and now I can find out the length of the curve
as seen in the world coordinates

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Now if I open the Connection Editor

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You can see arcLength is in curveinfo1

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So the length of this curve

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and the length of the joints will now be connected

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To get some more visualized information on joint distance

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And turn on Local Rotation Axes

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from the Transform display

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to see how the local axis is flowing in the joints

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Of course if something like phrase transformation occurs

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the direction of the axes can change

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But in Maya, by default if you draw some joints in the viewport

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You will see that the joints' axes by default align with the x axis

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In this example, I haven't modified the joints

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So they are also flowing along the x axis

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I will now connect the arcLength value to the x axis of the joint

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So now I am taking arcLength

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so the length of this curve, to the other 6 values

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Connect to translateX

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And now that is done

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The curve length seems to be 10
But now that I connected it to the x coordinates of joint 2

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the joint just shot out
Which is not what we want, so why did it happen?

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The entire length of this arc

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consists of the joints, which evenly distribute along it

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So we now have to divide the arc length

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between the remaining joints

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So we now have to divide the arcLength value

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Type in 'createNode multiplyDivide'

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This is an operator that literally multiplies or divides

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Now let's establish a connection again

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Between curveLength and this x value, which is 10

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Now what do we divide that value by?

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Because there are six joints, there's five spaces between them

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So we should divide by 5

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And there's no change in the viewport yet
because the output still has to be connected

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So now let's take outputX

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and connect it to joint number 2's translateX

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Oh, the value became 50
And you can see the joint moved even further

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The multiplyDivide node should be set to Divide, not Multiply

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Now the node should divide the value

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Let's check if that's the case

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The input value in joint 2 is back to normal

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So we have got the length value,
divided by the number of spaces between joints

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And connected that value to translateX of joint 2

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And the same should be done for all the remaining joints

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Now the joints look as they did before

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But now if we move the vertex

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The joints will elongate

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And if you look at the value

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the value increases as the joints elongate,
allowing the joints to stay in a better position

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The IK Spline solver has a cool function
which is the ability to twist joints

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Like you would twist your hip or arms
So let's take a quick look at that as well

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First set a standard using Creator>Locator
So create locator1 and locator2

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And place them at both ends of the joints
Now this IK joint is like the spine or arm of a person

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and we can animate twisting motions very smoothly

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If you take a look at the IK handle, which is closed right now

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And click on Advanced Twist Controls, below IK Solver Attributes

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The axes will get weird, but we can ignore that for now

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The most often used options are Object Up and Object Rotation Up

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For arm joints you would use Object Up

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Let's take a look at that first

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How did the joints look before?

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The joints were aligned along the X axis

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And the Z axis of the joints were aligned with that of the world's

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I slightly offset the locators' Z coordinates

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To make it easy to see

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So Object Up within Advanced Twist Controls

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And if you want to set the joints' directions

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so that the Z axis is the up direction
first set the locators' Up Axis

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to Positive Z

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And also set the World Up Object

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to locator1

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and locator2

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Then the joint local axes are now set

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to the same direction as we drew before

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And now if we try to move the joints sideways
They will twist like this

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So now for example, the joints were aligned to somewhere
such as an arm

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you can create a very smooth depiction

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of the arm twisting

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In the other hand, if you were using this
to animate someone's hip twisting

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Let's change the setting to Object Rotation Up
which will mess the axes up again, but ignore that for now

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Now place the locators where they should be

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and as we did before

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change the Up Vector to the Z axis

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And it should change like this

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so now it looks as it did before
But what controls the rotation is not the translate value

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But the rotation value, like this

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This is a very useful tool, depending on how you use it

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This can be used for a large variety of body parts
such as the tongue, arms, or hips

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Which is why it's often used in rigging

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So now let's take a look at how

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the IK, FK, the switch between them, and the Spline IK

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are used in actual character rigging

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This is the character I had finished last time
Let's take a look at how it's rigged

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I'll hide the polygons so we can see the rigging better

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If you see here

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this is the IK Spline solver

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that we just learned about, and it's being used on the hips

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While also being bound to this FK joint

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And for the hands and feet, almost all characters these days

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and most old characters, are set to switch between IK and FK for those

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And over here you can see once again

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There are still some hidden rigs
If we take a closer look we will see

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that there's another IK Spline solver added here as a module
to the hand and foot joints

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Why don't we take a closer look?

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The IK Spline solver can be used

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to create some very bendy, cartoonish movements

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In this case, I rigged it so that it could go even further
and made the arm so that it can stretch

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So you can see that even with just

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the IK, FK, switch, and the IK Spline solver

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you can create these useful riggings

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Production Assets

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Before this, I talked mostly about some stiff technical stuff

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But from now on, we're going to learn about more easy and fun aspects

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So you can take your hands off the mouse
and just have fun watching

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From the perspective of the animator, who has to
provide the modeling and rigging of a production asset

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it is very important that you understand perfectly
the storyboard and animatics, that you have learned about

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So this is part of a project called Skull King(스컬킹)
and it's only a minute and a half, so let's watch it together

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and after that I will tell you which parts I found important

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A soldier was cleaning this room when he heard a sound

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and a stamp falls from its place

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Then the hysterical Skull King enters the room

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And he grumbles as he sits down

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which he immediately regrets
And now the stamp has impaled the desk

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So you can see that when creating the desk asset

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you have to put a stamp-shaped hole in it

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And when the king sits down

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it would be fun if the desk would jiggle up and down a bit

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Because there's a cut in this angle,
there can't be any flaws in the modeling

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And after that, the soldiers run in to see what happened

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The king pretends nothing happened and is singing
while looking at a musical sheet

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He shoos the soldiers away

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The stamp is now stuck to his back

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so as he comes down from the desk, the desk is toppled

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And that causes everything on it to fall down

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Scenes like this are a lot of work for those who do
the rigging and key animations

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Well, director's orders, I guess

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So, Cut 11 would require a lot of rigging and animation

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And now

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The king should be able to move while
that stamp is still stuck to him

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He has to be flattened by the desk

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and then move around a lot

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in an effort to get the stamp out

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Then he runs outside

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But the stamp will still not give

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The pain is killing him, but he still pretends nothing happened

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And passes by the soldiers

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The time has changed from day to night
and the Skull King still couldn't get the stamp out

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His loyal soldiers bring him his paperwork

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which would require him to use the stamp

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The soldier leaves the paperwork here

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and notices something is off,
but his king orders him to leave

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Now the remaining motions

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are the Skull King on his desk

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having no choice but to stamp the papers with his butt

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So what we have to create here

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is the objects falling from this desk

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And the desk having a hole punched in it

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You would also have to create this musical sheet

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and also the background outside

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Of course there would already be some basic assets
so you would just have to tweak them a bit

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But you do have to keep in your mind
what you need to animate

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And this stack of paperwork that the soldier brings
should probably wobble a bit

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And in the end there are these stamped documents
that sway as they fall down

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So now let's take a look at the assets
First is the background

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Before we look at the assets required for this specific episode

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First let's look at the background of the whole series

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Then we will see the requirements for the episode

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Project Skull King is a very light, short-cycle project

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So the techniques used in the models

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are not that difficult

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As you can see, excluding the skull, which serves as a signal
the outside shot consists of very basic models

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And the movement path of the model,
created jointly by the director and animators

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I should turn on the wireframe

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Because the background will mostly consist of

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the front space here, or the yard here

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A lot of effort went into making sure there weren't
any visual flaws

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as the camera moves through these two open spaces

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As for additional explanation on the outside view

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Outside the Skull King's yard, or away from this empty space

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there is a sharp decrease in the density of wires

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The horizon was done with matte painting

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If there is any instance where the camera
has to move around the horizon

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It would be better to just create a new background

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If you put all of the backgrounds in the same file

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That would make it very data-heavy
which is not good for the animators

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which is why it's wiser to make everything that's
not the center of focus very light

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Especially the sky

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00:21:11.693 --> 00:21:14.193
You can see that it's all texture images

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00:21:14.193 --> 00:21:15.950
If I zoom out like this

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00:21:17.450 --> 00:21:24.209
You can see that the sky and horizon are very low polygon

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00:21:24.209 --> 00:21:26.889
Another thing I want to mention at this point

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There are a lot of open source textures these days

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00:21:34.490 --> 00:21:41.130
But in the long term it really helps to have your own texture library

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00:21:41.130 --> 00:21:45.410
That image of the sky wasn't found online

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00:21:45.410 --> 00:21:49.249
I went outside myself on a sunny day

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00:21:49.249 --> 00:21:56.209
took a photo of the clouds, and touched it up a bit

258
00:21:56.209 --> 00:22:01.050
The horizon I drew myself as well

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00:22:01.050 --> 00:22:10.249
If you want it to truly become your own work and portfolio
you need to put some time in

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00:22:10.249 --> 00:22:13.130
Now let's go indoors

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00:22:13.130 --> 00:22:18.529
And one thing you have to be careful when creating interior spaces

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00:22:18.529 --> 00:22:21.850
You obviously won't be able to do this all the time

263
00:22:21.850 --> 00:22:24.850
but you should design indoor spaces to be

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00:22:24.850 --> 00:22:26.770
Let me go indoors

265
00:22:26.770 --> 00:22:29.130
So this is the indoor modeling

266
00:22:29.130 --> 00:22:32.470
and you can see all of the furnitures are there

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00:22:32.471 --> 00:22:36.000
You should try to match the scale, or hookup

268
00:22:37.150 --> 00:22:44.130
of the indoor and outdoor spaces

269
00:22:44.130 --> 00:22:49.969
Because there might be instances where the camera moves

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00:22:49.969 --> 00:22:52.529
all the way between the two areas in a long take

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00:22:52.529 --> 00:22:57.690
To prepare for those instances,
you should match the scale in advance

272
00:22:57.690 --> 00:23:03.369
Now with the key points from the animatic we saw

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00:23:03.369 --> 00:23:07.270
Let's take a look at how I did the modeling
Creating Production Assets

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00:23:08.620 --> 00:23:11.619
This is the interior scene that is shown often

275
00:23:14.219 --> 00:23:19.650
And the first thing I had mentioned was the desk

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00:23:19.651 --> 00:23:20.609
The desk

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00:23:22.243 --> 00:23:24.443
As the Skull King sits on it

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00:23:25.350 --> 00:23:29.850
should have a wiggly motion

279
00:23:29.850 --> 00:23:34.410
I did some additional rigging to make that happen

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00:23:34.410 --> 00:23:37.150
The desk wasn't rigged before

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00:23:37.650 --> 00:23:41.850
But as I created this episode, I saw that scene

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00:23:41.850 --> 00:23:45.809
And added wires to the desk that weren't there before

283
00:23:45.809 --> 00:23:52.139
and used lattice to bind a controller to the desk

284
00:23:52.139 --> 00:23:55.210
Of course, it doesn't matter which deformer you use

285
00:23:55.210 --> 00:24:01.249
As long as you can meet the requirements of the animatic

286
00:24:01.249 --> 00:24:05.170
And a hole was punched through the desk after that

287
00:24:06.770 --> 00:24:13.050
so I added a property to the controller that allowed me
to switch meshes

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00:24:13.051 --> 00:24:15.529
So there's 'normal' and 'broken'

289
00:24:16.000 --> 00:24:22.879
And you can switch between those to create the scene
just like in the animatic

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00:24:25.429 --> 00:24:29.170
And that hole has to fit with something

291
00:24:29.170 --> 00:24:32.929
which is the stamp that made it

292
00:24:33.442 --> 00:24:34.442
And so

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00:24:35.792 --> 00:24:38.492
this stamp object

294
00:24:39.679 --> 00:24:42.549
should be able to fit right into it

295
00:24:44.249 --> 00:24:51.359
Another important rig was the one in Shot 11

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00:24:52.209 --> 00:24:56.929
Let's see the animatic again
Skull King gets up from the desk

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00:24:56.929 --> 00:25:01.179
which topples the desk and everything on it

298
00:25:02.372 --> 00:25:11.492
More technical tutorials will tell you to process this
using rigid bodies or collisions

299
00:25:11.492 --> 00:25:15.522
But this project is a cartoon animation

300
00:25:15.523 --> 00:25:18.752
So you don't know what the director might order later on

301
00:25:18.772 --> 00:25:27.012
Rather than simulating every single instance like this
it's more efficient to just use key animation

302
00:25:27.012 --> 00:25:32.122
So I just prefer to manually bind controllers for the animator

303
00:25:33.372 --> 00:25:36.902
Then how many controllers do you need?

304
00:25:36.903 --> 00:25:39.692
You don't know at this stage

305
00:25:40.652 --> 00:25:46.581
if all that paper will be made to flap around
But the most important part here is the Skull King

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00:25:47.731 --> 00:25:53.262
The detail on the falling objects will receive less attention

307
00:25:53.263 --> 00:25:56.762
So by consulting the director

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00:25:56.762 --> 00:26:01.781
I got confirmation that there won't be any detail like that

309
00:26:01.782 --> 00:26:03.892
and was able to save time

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00:26:04.957 --> 00:26:08.857
on rigging the objects

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00:26:08.931 --> 00:26:17.281
According to their feedback, this amount of motion was enough

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00:26:17.282 --> 00:26:20.095
which is very light movement

313
00:26:23.531 --> 00:26:32.461
Actually, this is a very common rigging style in
cartoon type animation

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00:26:33.442 --> 00:26:35.692
We should take a look at it for a moment

315
00:26:36.711 --> 00:26:43.011
I separated this stack of paper so it's easier to see

316
00:26:43.011 --> 00:26:48.052
This is a lattice, which is a type of deformer

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00:26:48.053 --> 00:26:53.882
that is very popular
So this object is bound with lattice

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00:26:53.902 --> 00:26:59.031
and the lattice is bound to the joint on this controller

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00:27:00.542 --> 00:27:03.642
which allows this movement

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00:27:04.241 --> 00:27:12.011
This makes it much easier than putting skin directly on to the model

321
00:27:12.011 --> 00:27:17.841
And it also makes it easier to make cartoonish curved motions

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00:27:21.291 --> 00:27:24.481
So that was some very light rigging

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00:27:26.841 --> 00:27:28.991
that I animated the paper stacks with

324
00:27:29.131 --> 00:27:35.742
And this is the tower of paperwork in the ending scene

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00:27:35.743 --> 00:27:39.491
It's very tall, but it's rigged the exact same way

326
00:27:39.642 --> 00:27:43.581
So let's hide everything else again

327
00:27:44.731 --> 00:27:50.472
There's lattice bound to it

328
00:27:52.141 --> 00:27:55.541
which allows you to easily rig this complex model

329
00:27:56.241 --> 00:27:59.541
The lattice is bound to the model

330
00:28:00.422 --> 00:28:06.211
And the joints skin the lattice

331
00:28:06.211 --> 00:28:11.861
which greatly reduces the effort required
from the asset team preparing it

332
00:28:12.662 --> 00:28:18.991
It also allows the animator to create the key animation more easily

333
00:28:19.011 --> 00:28:20.872
It curves very easily

334
00:28:22.332 --> 00:28:25.362
So this rigging style

335
00:28:26.741 --> 00:28:28.091
fits the cartoon animation style

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00:28:29.812 --> 00:28:34.152
We don't even have to see the lattice

337
00:28:36.452 --> 00:28:40.772
It allows you to create key animations very freely

338
00:28:43.691 --> 00:28:46.091
This is my favorite type of rigging

339
00:28:46.701 --> 00:28:53.652
You don't need special techniques, you can use it anywhere,
and it won't even cause any errors

340
00:28:54.202 --> 00:29:05.011
Now for the more simpler objects
I just added a controller that animators usually require

341
00:29:05.011 --> 00:29:07.202
which is the one that lets you change coordinates

342
00:29:09.091 --> 00:29:11.141
Especially, when creating objects like these

343
00:29:11.902 --> 00:29:20.651
I don't freeze the controller but rather leave some offset

344
00:29:20.651 --> 00:29:27.981
For example, Rotate Y is offset by 30 right now

345
00:29:29.331 --> 00:29:34.542
This is so that the animator

346
00:29:34.543 --> 00:29:41.678
can make full use of the object axes

347
00:29:42.092 --> 00:29:47.532
The same for this piece of paperwork,
which is at a slight angle

348
00:29:47.533 --> 00:29:53.407
If I freeze the controller, the animator will have a hard time

349
00:29:54.532 --> 00:29:56.931
because the axes would look like this

350
00:29:56.932 --> 00:30:08.361
So I will leave some offset here as well
so that the animator can easily move the object

351
00:30:09.041 --> 00:30:10.291
in the direction that they naturally would

352
00:30:11.100 --> 00:30:14.100
A bit of consideration for the animator
will be greatly appreciated for sure

353
00:30:14.100 --> 00:30:17.500
Now let's look at the props

354
00:30:17.500 --> 00:30:20.300
Props in a play mean

355
00:30:20.300 --> 00:30:25.420
the objects that interact mostly with the characters

356
00:30:25.420 --> 00:30:27.899
or are a symbol of a character

357
00:30:27.899 --> 00:30:31.409
which is why you should look at it alongside the character

358
00:30:33.659 --> 00:30:35.860
The most important thing in this episode

359
00:30:35.860 --> 00:30:39.260
I am certain

360
00:30:41.010 --> 00:30:44.160
is this stamp

361
00:30:45.610 --> 00:30:50.379
which has to stick to Skull King's butt

362
00:30:50.379 --> 00:30:56.899
Skull King's hands are modeled to be quite big

363
00:30:56.899 --> 00:31:02.180
Due to that, the stamp is this big while in his hand

364
00:31:02.180 --> 00:31:06.100
But the stamp

365
00:31:06.100 --> 00:31:08.500
that gets stuck here

366
00:31:08.500 --> 00:31:13.219
can't be that size

367
00:31:13.219 --> 00:31:14.619
Due to the nature

368
00:31:16.219 --> 00:31:18.459
of this character's design

369
00:31:18.459 --> 00:31:22.179
So for just this episode

370
00:31:22.179 --> 00:31:28.060
I just stuck a smaller stamp here

371
00:31:28.060 --> 00:31:30.700
and added a property to it

372
00:31:30.700 --> 00:31:32.959
so that depending on the scene

373
00:31:34.090 --> 00:31:36.340
it can be shown or hid

374
00:31:36.459 --> 00:31:41.139
From the animator's perspective
adding features like this for them

375
00:31:41.139 --> 00:31:44.579
lets them feel much better while working

376
00:31:44.579 --> 00:31:47.340
Because they will notice

377
00:31:47.340 --> 00:31:51.420
that the asset creator was being thoughtful

378
00:31:51.420 --> 00:31:54.579
And adding a constraint

379
00:31:54.579 --> 00:31:59.020
To stick a stamp here

380
00:31:59.020 --> 00:32:00.300
is actually

381
00:32:01.640 --> 00:32:03.290
a bigger deal than you might think

382
00:32:03.700 --> 00:32:06.060
Because, if more than one animator

383
00:32:06.060 --> 00:32:09.340
had to stick the stamp in the king's behind

384
00:32:09.340 --> 00:32:11.940
They could scale the stamp differently

385
00:32:11.940 --> 00:32:13.020
Isn't that right?

386
00:32:13.020 --> 00:32:15.219
Which is why in this case

387
00:32:15.219 --> 00:32:19.380
the assets team attaching the prop in advance

388
00:32:19.380 --> 00:32:23.009
can prevent in advance

389
00:32:23.009 --> 00:32:27.380
the animators causing the stamp's size to vary

390
00:32:27.380 --> 00:32:31.540
That's also true

391
00:32:31.540 --> 00:32:36.300
for this duster that the Skull King's soldier

392
00:32:36.300 --> 00:32:39.419
is using in the beginning scene

393
00:32:39.419 --> 00:32:40.939
This duster has a very short appearance

394
00:32:42.640 --> 00:32:45.090
in this episode as well

395
00:32:45.139 --> 00:32:50.000
So I just did some light rigging using lattice

396
00:32:52.740 --> 00:32:55.579
And one thing that is important
when creating something like this

397
00:32:55.579 --> 00:32:58.020
Because depending on the character

398
00:32:58.020 --> 00:33:02.619
the animator might have to adjust its size

399
00:33:02.619 --> 00:33:07.540
You should add a controller

400
00:33:07.540 --> 00:33:09.779
that allows you to scale size

401
00:33:09.779 --> 00:33:15.300
But it's better if you adjust the size

402
00:33:15.300 --> 00:33:20.329
to fit the character using it in advance

403
00:33:20.329 --> 00:33:24.579
And it would also help to compare with the animatic

404
00:33:24.579 --> 00:33:26.740
Now if you look at the key animation

405
00:33:26.740 --> 00:33:29.059
completed through this process

406
00:33:29.059 --> 00:33:30.900
it really makes you feel good

407
00:33:30.900 --> 00:33:33.180
Now let's view the complete episode

408
00:33:33.180 --> 00:33:35.699
created using the rendered animation

409
00:33:35.699 --> 00:33:38.139
and with sound added

410
00:33:38.139 --> 00:33:41.139
and that's the end of this lesson

411
00:35:16.459 --> 00:35:18.980
Though I only taught two lessons

412
00:35:18.980 --> 00:35:23.299
you have seen the process

413
00:35:23.299 --> 00:35:24.739
of modeling, rigging

414
00:35:24.739 --> 00:35:27.540
and completing a character

415
00:35:27.540 --> 00:35:31.299
And you have watched an animatic

416
00:35:31.299 --> 00:35:34.339
created in cooperation with the production staff

417
00:35:34.339 --> 00:35:37.100
How the cast of characters, props

418
00:35:37.100 --> 00:35:39.100
and models

419
00:35:39.100 --> 00:35:40.980
have to be used in real projects

420
00:35:40.980 --> 00:35:44.420
So you have seen the big flow of production

421
00:35:44.420 --> 00:35:45.700
It was a very short lesson

422
00:35:45.700 --> 00:35:50.219
But I hope you were able to get something out of it

423
00:35:50.219 --> 00:35:52.660
And that is the end of my lesson

424
00:35:52.660 --> 00:35:53.580
Thank you for watching

425
00:35:54.239 --> 00:35:55.140
1. Spline IK and Twisting
Spline IK

426
00:35:55.140 --> 00:35:56.148
Use Create Joints to create 6 ik_joints
Use Curve Tools>CV Curve Tool to create 6 NURBS curves

427
00:35:56.148 --> 00:35:57.239
Click Create IK Spline Handle, then deactivate Auto create
curve to create one ikHandle
Use vertices of curve to create movement

428
00:35:57.239 --> 00:35:58.189
If joints cannot keep up with length of curve, add setting to increase joint length

429
00:35:58.189 --> 00:35:59.439
Twisting
Set start & end point using two locators(Create>Locator)

430
00:35:59.439 --> 00:36:00.519
Object Up: Local axis in same direction as joints form, twisting joints when they are moved

431
00:36:00.520 --> 00:36:01.269
Object Rotation Up: Adjusted using Rotation value, used mainly for animating hips

432
00:36:01.289 --> 00:36:02.739
2. Production Assets
Crucial for production asset provider to understand storyboard and animatic

433
00:36:02.739 --> 00:36:04.039
Background
Background in trajectory of primary locations should be 
modeled in detail

434
00:36:04.039 --> 00:36:05.489
Non-important spaces are rendered in low polygons
Putting indoor and outdoor backgrounds at same scale is recommended

435
00:36:05.489 --> 00:36:06.789
Production Asset Modeling
Desk with hole in it: Used Mesh Switch function

436
00:36:06.789 --> 00:36:08.219
Pile of paperwork: Bound with lattice, then bound with controller joint
Simple props: Added 3 controllers to adjust location

437
00:36:08.219 --> 00:36:09.439
Props that interact with character: Rig to scale with character's hands