3D ANIMATION, Create a Cool Loop Dance from Scratch to Polish | David Omair Fuertes Martin | Skillshare

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3D ANIMATION, Create a Cool Loop Dance from Scratch to Polish

teacher avatar David Omair Fuertes Martin

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (50m)
    • 1. INTRO

      0:50
    • 2. Blocking pass. The Main Poses

      13:12
    • 3. Blocking + First pass. Start adding the in-betweens

      5:01
    • 4. Blocking + Second pass. Finish to create the in-betweens

      4:07
    • 5. Bezier/Polish 1st pass. Polish the hips and torso

      5:25
    • 6. Bezier/Polish 2nd pass. Polish the arms & shoulders

      8:33
    • 7. Bezier/Polish 3rd pass. Polish the head & neck

      1:45
    • 8. Bezier/Polish 4th pass. Polish the legs and feet

      10:57
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About This Class

In this class you will learn how to animate a simple loop animation, I will show you how do I analyze my references, my workflow, the things I take into account when creating the poses to make them clan and dynamic and how do I polish the animation.step by step.

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Transcripts

2. Blocking pass. The Main Poses: Hi. In the following lectures, I will show you how to animate this animation. When you have an 18-year head of what you want to animate, you shouldn't references. But before the first thing you need to know is who is your character? As you can see, I have made a small biography or foods my character going to be for more complex animations. Or when you're working in a studio, you will need to know a lot more details about your characters biography. But for the purpose of this animation, this information is enough for me. Cosa character, a boy, 25 3D animator, happy at home, celebrating his won the lottery. How he feels contained with energy. He's overflowing with joy and wants to dance, records, lots of references and be on the lookout for a special, unique or visually appealing moves. As many times are those little unique, original moves that we sometimes unintentionally making references. We'll take our animation to a much higher level and also be on the lookout for references that have a higher contrasting time in AKA that the whole animation is not happening in a monotonous rhythm. For this animation, I'm going to animate the stance has seen its animation. I don't only once anyway, the movements, but also the emotion behind it. And as you can see in these two references, by taking into account who are character is our animation will go from just being realistic movements to having a layer of personality dv in an extra touch of originality and making our animation, I'll either more entertaining. Once we have prepared the scene to start animating, we will create the first pose. But although you probably will be creating it in the perspective view, remember to make sure it looks good on the render camera, and vice versa. Although the most important thing is how the process look on the render camera, you must make sure you create coherent process from all perspectives. As you can see, the first pose is very similar to the one in the reference. You can see how the hips and the torso are related in opposite directions. But you can also see how he made his small modifications in the positions of the arms and the rest leg so that the pose is a little more dynamic and a stylized. Creating the main process, the things that you will modify more often in relation to the reference would be the silhouette and the line of action scenes for example. Many thanks. In our references, we will not be moving, living a minimum space within the arm and the body. So the silhouette is gain. Neither we will worry about how fluid I'm beautiful. The curve of the contour of her body is neither we will accelerate our line of fortune while moving. That's why we will have to pay close attention to improve them and to accelerate them in the process that we create. In fact, I highly recommend that you spend a lot of time creating the first pose, as it will be easier for you to create better poses moving forward as you will have set a much higher standard. And when comparing them with the first one, you will be able to feel the difference in quality. For the second pose, I have decided to select this frame because this is the one where the food is just touching the ground and the boating generalist us to change the direction of the movements. So I think it's a key point to create the main pose. As you can see for the second pose, I have decided to accelerate the lethal the lateral movement and the position of the wrist foods because looking at my reference, whatever the things that they want to say rates is the intensity and the size of the movements. I will use the hotkeys 2 and 3 that we can figures at the beginning of the course to jump from frame to frame. And thus seem much easily the relation between the movements of the reference and my animation. And don't forget to post and adjust the shoulders. For the next pose. Instead of selecting the contact frame of the food, I decided to select this one as it is the one that defines the change of direction of the body. And also visually is much more attractive in terms of line of action. As I have already mentioned, you will have to show your first animation paths to your supervisor or animation director. So you will have to show them the potential of your animation, not just the extremes of the movement. So in these past, although it's obviously very important to define the movements by creating a post in the extremes, sometimes you will have to decide to create a post several frames after or before the three aims to establish a more dynamic pose, either because it has a nicer line of action or any other reason. As you can see, I have also accelerated the position of the food in relation to the body to give more intensity to the animation. Because the more I exaggerate the size of the movements, the faster they will be. And another thing that I also guessed it in the reference, you can see how it goes down on the screen. However, in the post that I created, it goes up very slightly. And I do that because I want to accelerate the pose and make it more dynamic, more intense. I went to accelerate the motion of the character. Nevertheless, whenever I make a change from the reference, I always analyze the pulses with the hotkeys to E13 to make sure that the surrounding poses I coherent with the changes that I made and that they still create clean arcs on the render camera. Also remember to set this special rotations of the feet, 200 whenever you lift the foot off the ground. And as always, watch carefully what rotations are produced on the axis that they're not easily perceived on the camera. For example, if I go to the side view, you can see that they have accelerated the curvature of the bag and the rotations of the hips frontally. And a do these because if you pay close attention to the reference, you can analyze that this is what's happening in my body. And since this is animation, I accelerated by rotating them even more to create more contrast. But as you see, I rely on reality to find those points of deterioration. And whenever I post the heap same deblocking, I'll do it with the central control instead of the individual hip controls that because this is the only correct way to do it. But personally I prefer to post them this way. And then I just did those opposition as I feel that these usually give me, but they're less olfaction, easier and in general, make some movements more believable. For the fourth post, I not only recover the previous curvature of the bag and the rotation of the hips hydride to accelerated debit, therefore grade and a greater contrast and a stretch in effect on the pose. This way we already grades in much more contrast in this question, estranged from the blogging. I have also accelerated the lateral rotation of the torso to create more contrast we don't poses. And as you can see in this case, I didn't select the frame where the food context of ground either biting steady, chose the next frame because that's when the heaps finished and movement and also the arms just as Delta slowing before a change in direction. So in general, I think this pose, we better define the character's movement. As you can see, I have also modified the arms a little bit, accelerating the height of one as separating the other one from the styloid. This is basically for aesthetic reasons. As I know that I want to make a more intense animation than my reference. And therefore I know that I wanted to create bigger movement. And the other arm, I separate it to try to leave the silhouette as clean and as clear as possible. And finally, I have modified the position of the food to make the movements a bit bigger and make the silhouette a bit cleaner. For the fifth pose, I decided to use this frame, a CDS, the frame in which the heaps and several parts of the body juices diet change in direction. However, I also quite like the one on frame 26, I see this the last frame of the food touching the ground. And the footing year is in the last frame of a slow out just before having a much bigger spacing. Also, the benefaction is a bit nicer in this one. I see this the last frame of the dorsal rotation to the side. So maybe it would have been a better choice as a main pose. But well, I think the other one was also a good choice. As always, the first thing we will pose are the heaps, meaning the central control. And as you can see, I have decided to accelerate the downward movement to create a little more contrast and also to be able to extend the leg allele on model was derived, creating a more stylized pose. In order to stay alive. Suppose I have also accelerated the curvature of the body to create a stronger line of action. And at the same time, generating more contrast between these bows and the previous pose. And as you can see, I have also slightly separated the Arabs from the body to keep a clean my silhouette. And since these books is perfect to accelerate, this was seen CDC extreme low point of the movement. I accelerate the different orientations of the torso on heaps to create even more contrast. Okay, now let's go to the next pose. For this one, there is no much to say. Just as always, I will try to see how can I improve the line of action and clean up the silhouette for the following pose. I selected this frame because it was the extreme point of the heaps and the food was just beginning as low in. So I thought it would be the best friend to choose. Although I also liked quite a lot, the 10 frame 36. But, oh, well, the one that I chose was this one. In this case, I decided to accelerate the rotation of the torso not only to create a beautiful line of action, they create in a much bigger movement. I'm creating a bigger contrast, both in the size and the speed compared to the previous two poses, which is ideal. And as you can see to be consistent with the acceleration, I also accelerated the height of the raised leg, which in return help us create a better line of action. To clean up the silhouette, I rotated slightly downwards, matching the direction of the movement. Since in animation, we want to avoid posting the arms and legs pointing directly at the camera as we would lose sight in their volume, losing clarity in the pose. And remember a, pay close attention to the axis of rotations that are not easily perceived on the camera. In this pose, I have accelerated the line of action a little more, moving this protein foods a bit more to the right. And also in this case, I decided to post both arms closer to the body scenes in this animation, there is an explosion of joy in the character, not just a simple dance. So I think it is a perfect moment to transmit for a few frames how his body tenses and contracts as if he was accumulating or compressing his energy, his joy, more or less as your body would. There's just before shouting that you have won the lottery. In this way, we create a small section where we would keep the movements of the character a little more contained, which will allow us to generate much more contrast when we make his movements much larger and explosive. And also I think this pose conveys his emotion much better than if we just post DRAMs exact less than the reference. And for the last post, I will not worry about the reference scenes. We're creating a loop animation and give a style. So I will copy the first post and pasted in the last frame. This way the animation will repeat this move villi. As you can see, since there is a lot of movements in this animation, and the character feasts are closed all the time. I have only created one, both for them and the same for the face. For the purpose of this animation, one pose will be enough. 3. Blocking + First pass. Start adding the in-betweens : Looking Glass, first pass. Okay, We have already created the blocking. Now it's time for the blogging glass in these bars. As I told you, we will define the movement. For these, we will do one or two passes depending on how complex the movements are. But at the moment, for the first pass, the idea is to create a breakdown pose. We do each one of the main poses. Something I like to do is to change the type of keyframe icon when I started creating the breakdowns. So agonistic identify what each keyframe is later on. And just so you know, it doesn't matter which one you select the name is given. I just references. Now, the grade breakdowns, the fastest and safest way is to use the boss breakdown. A Turing machine if you're using Maya, because this way we make sure that we are using the correct controls and rotations. And then it will simply be a matter of making the burden enter adjustments according to the reference or for aesthetic reasons. As always I recommend as typos in the central control and work your way out from there. Try to accelerate the overlap so that if for example, instead also leading the movement, do not copy it exactly as you see it in the reference. Exaggerate that torso leadership in the movement to make the overlap more evident or vice versa, if the dose or drugs alluded from boast to pose, exaggerate that drag to create a bigger overlap. And don't forget to analyze the feet adjustments no matter how small they are, SPs will make your animation much more valuable wall and organic. And remember to set all the special rotation as 200 if the food has already been lifted off the ground. Other important factors that many people tend to forget at the shoulders, because as their movements are minimal data and to leave them as the breakdown or opposes them. But you can't create a much better overlap and density in the movement. If you give them the attention they deserve. The orientation of these would be another important factor. Make sure you move the perspective camera to check that the knees and not doing anything weird. Because if you don't make sure now that the knees move coherently, when you switch the animation to 24 frames per second, you might find yourself with a little headache. And well now it's simply a matter of campaign from keyframe to give him with the hotkeys 23 that we previously configured and check that the relationship of the breakdowns with the main poses match both sides. When drained out and you don't know which one to select the grade breakdown, observe which one is the one that best represents the direction of the central control and DRX created by the joint insured. Try to find which pose gives the most information about the movement. At this stage, feel free to modify the main process if you consider that appropriate, since nothing is made of this town. And if you realized that, I mean, post is not accelerated and half lives to lead on my gene to create a slowing. Something else. You can always adjust them. But if you do check the deposes around the boss, you have modified ISD coherence and steal creating arcs. Although I know that definitely at the moment there will not be creating arcs. Make sure that they have that button so that you can visualize slash. Imagine what our animation will have when finished. As always, check your posters from different perspectives to make sure that you are creating a coherent 3D animation. And that it doesn't just look good from the render camera, because when you switch the animation to 24 frames per second, all of those and adjusted errors will become evident. And believe me, it is much easier to clean up your animation now than later. 4. Blocking + Second pass. Finish to create the in-betweens: Second pass. As you can see for the second pass, I have also changed the timeline symbols to know later on which ones are the second path keyframes. In these paths, I will do the same as in the first pass. Basically, I will create the remaining poses that I think are necessary to finish to define the movements in this phase is very, very important that you pay close attention to every little detail like the overlap of the head, the small heap rotations, or if there is question extra edge in any parts of the body. Because in these phase scenes we will also use the breakdown or it is very easily to blindly trusted and think that the post that they break down and they gave us is good enough. But keep in mind that all those tiny details, even if they only make a rotation is dataframe earlier or that it also stretches as slyly just before this question again, or a subtle overlap on the head, those tiny details will make your animation much better, making your animation much more realistic and believable. And as always, pay close attention to the rotations of the feet and shoulders, as these are parts of the body that beginners tend to forget. In this path, you could also create some question as to H in the body of the character, although we could also do it as well. In the next phase. In this case, I decided to add some squash on the extreme low POS is accelerating the squash pose of the character and therefore giving a little more flexibility to the torso. Once the second pass is finished, make another pass through every single part of the body isolated makeup us just focusing on the heaps, make a pass on the arms and the legs, on the wrists, on the nice, on the elbows, shoulders. So that when you pass the curves to Bezier, each control mooks is smoothly. So basically make sure that they don't do anything with it in any perspective. And that you will be able to easily create RX when you switch the animation to 24 frames per second. For this, you can create a motion path for each control to ECC. Where do you have to adjust their doses? Although as I said, keep in mind that for the most parts and use t cannot create RX because you do not have enough keyframes. But it is important that you make sure that there are no sudden changes of direction or bumps without a reason and that you can easily visualize the RX attenuation will create when finished. 5. Bezier/Polish 1st pass. Polish the hips and torso: Cl polish. Now it's time to convert the curves to Bezier splines if you're using Maya. So we will convert all the keyframes and change the preferences so that all the new keyframes are created on Bcl-2. Depending on how much time you have dedicated to create a good blocking. Plus, this phase will take you more or less time. In fact, there are animators who directly call this phase polish, since the adjustments they have to make are very small. Well, the first thing will always be to give a pass on the central control to make sure it moves coherently and in arcs. Since the fluidity of the movements of all the rest of the parts of the body will depend on the fluidity of these control. Okay, So we will create a motion path and clean up the movements. As you can see, there are some parts where I exaggerate the height, a little moral. And this is because now that I have passed the animation to Bezier, I feel it likes a bit of a panda movements. And in the same way, if I feel that I can accelerate some other paths to create bigger or modifying our x. I will accelerate them always making sure it doesn't break degradability orientation of the animation. When you polish the central controls, make sure that the abandons I coherent with when the foot is planted seeds, although in many locations are planted, food will not mean a change in direction of the central control. It will definitely affect the speed. In other words, it's a spacing. So analyze it frame by frame in the graph editor to make sure that each step or impact is reflected, even if it is very subtle in the central control. Once this is done, we will polish the movements and rotations of the telescope, making sure that the spacing is consistent with the notion of the character. And if necessary, great in a little more of a lab at the dub Tech, for example, when the characters top some organs abruptly exaggerate the effect of the torso or grade a bit more drag on the torso when the body makes fast movement as many times in blocking within to be a bit more conservative, I would accelerating the overlap of DSO. So now is a good time to explore, always remembering the intention of the animation and making sure that it remains consistent with the inertia of the character. Now it's also a good time to accelerate this question as to which of the torso I already did it in the previous phase. However, now is the time to clean up the graph editor curves that represent this question, a trade to make sure they are fluid. And also in addition, you could add a small squashes on the torso every time the character's body stop a downward movement. Meaning every time the character plants are food, I will create the smallest squash. And depending on the level of intensity of this top, this is squashed. 6. Bezier/Polish 2nd pass. Polish the arms & shoulders: Now we can continue with the arms, make sure that they move with slow and slow outs and the latency into heat invisible walls. Because many times we can to Polish territory terrorists, but we forget about the elbows. And it is essential that you give a pass to your animation watching the elbows. Because there might be times when the upper arm changes direction or abruptly stops, even when having their wrists perfectly polished. So we must analyze your animation from all perspectives to ensure that the movements of the arms are fluid in all three dimensions. And that they bend and straighten coherently with the direction of the inertia. For example, here you can see how in these movements, the elbow moves with a very biggest spacing and then suddenly stops. We have to make sure that the three axes of rotations of the arms have the respective slow in and slow out. And the best way to analyze that is paying close attention to the elbow. In this particular case, I have not created a motion path for the elbow since I know what I have to do and is relatively simple, but I do strongly recommend that you analyzed the elbows with motion paths as well. Remember that if you modify the first or last pose, you will have to make sure that you copy and paste it to the other one. Because as this is a loop animation, we need both process to be identical. For example, here, although from the front view it seems that everything moves correctly and the rest makes good RX, the movement of the upper arm is not coherent. Scenes in the middle of the movement backwards. It moves forward for a few frames and then backwards again. So you have to adjust their rotations of both parts of the arm, the upper arm and the lower arm, so that both move coherently with the inertia of the movement. So yeah, then just rely on having good RX on the wrists. And now's a good time to give an extra touch to the risks of what I will do is to look for changes in direction of the model, in the opposite direction. The amount of rotation would be more or less depending on the speed of the movement. In this way, I will remove a stiffness and give a little more fluid into the animation. Next, we'll release the shoulders, making sure that there are no bulbs on accelerating where we think we're going to accelerate. But if we have paid close attention to them in the block in these bonds would be relatively fast. 7. Bezier/Polish 3rd pass. Polish the head & neck: Now we can continue. Now we move on to police the head and neck. For the neck, I will simply make sure that there are no pubs under the doesn't do anything with to polish the head. What I will do is to create a motion path for the nose, since it is the best reference point for this character. Although keep in mind that if, for example, your character has a hat, super big E is or is a unicorn, you will probably want to analyze the effects of those specific parts of the character, since those would be there wants to withdraw the attention of the audience if there were any Popes, are any ways movements. 8. Bezier/Polish 4th pass. Polish the legs and feet: Only the x remain to be polish. But first I recommend you to explore a little, if you went to give a little more elasticity to the body of the character using whatever the independent controls of the hips, you can give an extra attach a fluidity to your animation. Exaggerating this question as to which of the body, meaning just after the food touches the ground, what I will do is to raise the independent control of the hips to emphasize the heat given to the heaves or settlements affect this way we will not only accelerated this question a stretch, but give a subtle cartoony effect to your animation. Almost all the body. Now we only have delays on feed left as with everything first, we'll give them Abbas with the motion paths to make sure that the feet will be not x. Keep adjusting accordingly. If you see that the orientation control is in an a strange point causing them to rotate too much or do a stirring things. That's why I generally like to have the nice controls Fran often linearise to be able to move the feed comfortable and freely without having to worry about Denny's going crazy. Perfect. Now that the RX adequate Polish, I'm going to make sure that the feet coming out of the process smoothly. Again, no popes and good, slow out and slowing. Shaking that the rotations on making sure that was the good of the ground, this visual rotations. And then disposing the food with the general rotations. I'm keeping in mind that if you're struggling to polys or food transition from being on the ground, doing lifted, or vice versa, it is possible that you have too many controls involved. So sometimes it's better to eliminate this around imposes on instead to post them from scratch. Instead of trying to make the movement fluid by adding even more rotations to the bows. Okay, once the feet and moving smoothly and the rotations, I go here and fluid unbelievable, will do well as boss to make sure that these don't appear to be heating invisible walls at any point. This can happen when the leg bands, so frame-by-frame will make sure that the needs have their corresponding is low and slowly throughout the animation. Okay, One less bus to make sure that there are no boxing Denise at anytime using the controls if necessary, until we have finished our animation.