3D Animation / Animate Credible and Realistic Walk Cycle easily | David Omair Fuertes Martin | Skillshare

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3D Animation / Animate Credible and Realistic Walk Cycle easily

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

26 Lessons (2h 18m)
    • 1. Hi!

      2:29
    • 2. Intro

      2:36
    • 3. Everything you need to know to animate a walk cycle

      8:17
    • 4. How set up your character

      1:00
    • 5. How to create the contact poses

      8:00
    • 6. How to create the Intermediate poses

      6:17
    • 7. How to create the Extreme high and down poses

      6:39
    • 8. How to fix your Blocking

      3:19
    • 9. Switch to Splines (bezier) and fix the knee-pops

      9:29
    • 10. Make the final changes and polish your Animation

      9:10
    • 11. Transform your walk cycle into a different one with the Graph editor

      5:27
    • 12. Opening Blender for the first time

      3:23
    • 13. How to set up blender

      5:20
    • 14. How to use Blender

      14:04
    • 15. The Timeline

      4:09
    • 16. The Graph editor

      9:48
    • 17. The Graph editor curves

      5:16
    • 18. The Outliner and the properties editor

      2:26
    • 19. The Breakdowner

      1:20
    • 20. IK VS FK

      2:08
    • 21. Blender Lights

      3:05
    • 22. Picker controls

      4:45
    • 23. How to set up the X pose picker

      3:48
    • 24. How to create constrains

      8:39
    • 25. Como insertar audio

      0:52
    • 26. Set up your scene

      6:14
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About This Class

In this course, you will learn how to do a walk cycle step by step, from scratch until completing it with a very high level of polishing,

You will learn how to give it weight and modify it easily.

And you will also have several classes in which you will learn how Blender works and everything you need to animate in it:

If you like the rigs get them with a 20% discount using the coupon code   omartutorials  https://gumroad.com/a/272397427

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Transcripts

1. Hi!: Hi, My name is a my and I'm a three D animator. I remember quite well how difficult it worst only made released the whole cycles when I was studying. So after taking into account all the problems that I had on after observing and analysing all the problems that my colleagues had, I have created the goals that I wish I had when I was studying animation on what they consider to be the best course on how to meet the release work cycle. Step by step. We work with the Expo speaker on this wonderful week. In this cause, I will focus on making you understand all the concepts that you need to muster to make awesome all cycles. We start by creating the forming. Bos is where lt choose step by. Step on in a very clear way. Have to post your character and making sure that the silhouettes weight imbalance correct. We continue by switching on those engines to Mercia, usually known as a supplies. Then I'll teach you have to polish their movements using the graph editor how to completely remove old any bumps and how justice pacing in the different parts of the body that your animation feels organic, a natural. Also, I'll teach. You have to give it an extra touch of elasticity, impunity, using the polish on this question stretch controls. And finally, I will show you how to modify its in the graph editor to transform it into a completely different works. I go throughout the course. I will show you how to identify and takes many of the mistakes that students to and for all of those completely new to blunder, have also created a bunch of lectures where I explained everything you need to know to animate with blender, from how to move around on the view port going through all the necessary technical aspects to help to set up. You're seeing to start any meeting. This course is perfect for anyone who wants to learn how to do a work cycle from a scratch on. Finish it with a very high level of polish. So what are you waiting for? Say you inside 2. Intro: uh, how Walk cycle is one of the most basic and most difficult things in animation. Basic because it has fairly simple rules that anyone can quickly learned and apply. The difficult thing is to make a good work cycle, since not only by applying the rules means that we're playing them in the correct proportions on because our eyes I used to see people work all the time. If the work cycle is not very world on, the audience will instantly see that something is wrong, even though they might not know what it is. Just by watching someone world, you can already get a lot of information from that person, how they feel the personality if they are tired, they are afraid if they are shy or extra welts, if they think a lot. It said that it said that That's why I know in how many made walk cycles it's so important , not only because in a world cycle you must involve all the parts of the body in perfect harmony, but also because with it you can show to the audience everything you want them to know about your car. In this course, you will learn how to do a proper generic work cycle. It is essential that your personal and how to properly animate that you know, equals cycle, as these will be a very strong foundations. Without later, you can see me to any type of work cycle, being able to focus in our impersonality to your character. I'm not struggling trying to get him to move in a credible and realistic way. A generic walk cycle last one second i e 24 frames 12 frames with one foods unplugged with the other one. The cycle will have four poses that will define each step. The contract pose the extreme low pose the intermediate post on the extreme hypos. And although generally you will want to have some kind of reference for all your animations because I'm going to animate the genetic work cycle, I will not use any reference this time. 3. Everything you need to know to animate a walk cycle: hi. In this class, I'm going to show you everything you need to know. To create this united Kulik cycle, the heaps will move forwards with us a magical spacing. In other words, every frame has to move forward equally as much. The highest points for the heaps will happen in the extreme high poses on its lowest point will be of extreme low poses. The heaps will move fluidly from side to side, changing direction, with a smaller slowing on a slow out on the direction change will happen one friend before the extreme high poses. It also would rotate in opposition to the hips, and it will change the direction on the rotation y axis. Three frenzy for the hips do. It will have a slight sway from side to side, but not a lot. Seems will reduce this way by moving the toast in the opposite direction toe where the rotations on the Y axis moves it. And it will also rotate the slightly forward, reaching its maximum point on intermediate poses. And right after it will begin to straighten up backwards and the little against its original position on the contact poses, the arm will move forwards rotating upwards and away from the body, and we'll move backwards, rotating in worse and getting closer to the body. The top part of the arm would change direction right after each contact post on the bottom parts, and the rest will replicate this movement with his light overlap. Keep in mind that the arms will never be fully stretched and will always have a slight bend . The shoulders will rotate back and forth along with the arms. The head will try to give itself straight, but it will still have a slight warble laterally in frontally as a consequence of the body movements. Because despite the fact that the head will rotate to stay s a straight as possible, the slyly abrupt movements on the impact received in the body should be reflected in the head, even if it is just a little bit, since it has a big joint call neck unlike any other joint, it will bend when the parts of the body to which it is attached quickly changes direction, creating then a week like overlap. The more relaxed the character is, the more relax the neck will be on the for a greater whip lipo overlap will see on the head . For example, the head notice slightly overlapped, with the vertical movements of the body starting to rotate down just after the contact pose . As here, the body starts to slow down drastically, its vertical movement down and begins to rotate up just after the intermediate post. Since here the body started slowed down drastically, its vertical movement up. However, since decide to save movements of the body I know to be go abrupt, the head will have a great capacity to stay balanced on that access seems will set up the head so that need to Stasis trade by default. In this exercise, the only thing that I will do in this access is to create a small overlap by rotating it to the side of the supporting leg, making the extreme point of this rotation approximately in the intermediate post. Since here the body will have drastically slowed down it side to side movement. The feet will move forward, Arjuna slightly outwards north in a straight line since we want to move using the least amount of energy possible. When we move the feet for worst, we won't leave them unnecessarily just enough to lift them off the ground so that we can move without the stumbling. The knees should always removing forwards and cannot move backwards nor freeze in the same point on. The last thing is that the character should be slightly unbalanced forwards on the intermediate poses. Since this imbalance is what makes our bodies move on. Keep moving forwards. That's it. Now you know everything you need to know about the work cycle, so see you next class. 4. How set up your character: hi. In this class, I will show you how to set up your workspace to start animating the work cycle for this exercise. I will set up the arms on F K and I will set up the head neck on our rotations to be independent from the body. I'll make sure the rotations are in Gimble mode. I will use these people to 20 made the front view instead of having the main camera. So I'll activate the disability off the tools, and I'll from the character to say it bigger. Since I will be using the picker, I will hide all controls on on the second view port. I will have the side view. I'll said the wrench of the timeline until from 24. Since the boats of from 25 will be the same as the one on frame one, and I'll configure the preferences so that the new key frames are created on constant mode . Okay, now we just have to start any meeting 5. How to create the contact poses: hi. In this class, I will show you how to create the contact process for your work cycle. We will start by creating the first post on frame one disposed. It's called the Contact post because it's the pose in which the front food contact with the ground will rotate the hips according to the leg that we're going to put forwards on because all the weights will still be on the back leg on the front leg isn't raised. The heaps will be rotated over the back leg. Okay, so in this post we want the but leg to be slightly bent with foot pointed slightly outwards . I'm with the hill raced. The front leg will be straight with the food points in outwards as well, with only the hail touching the ground Also till to the front food slightly to the side, using the special rotations so that the post is more natural on the food is not to parallel with the ground. Depending on the character and how big we want this tried to be, we'll have to lower the body accordingly. And for this generic work cycle will make this right neither too big no to a small now in the front view will bring both feet more to the middle, and although the body will be quite centered in disposed, it will still be slightly over the bag leg. So very slightly we moved the central control over it. Now we'll post the torso, rotating it in the opposite direction of the hips on. We will adjust its position to counteract the side movement created by the rotation on the Y axis on, thus keeping it quite a stable and reducing excessive motion from side to side because he's moving forwards on a flat surface will ban him slightly. Forwards next will rotate the arm so that the one in the front has to toe part rotated. Begin verticality on the lower part is rotated a little become parallelism with the front leg. We'll make sure that in the front view there's a small negative space between the arm on the body and we rotated to slightly inwards on the Y access. We'll take the shoulders very little so that they irritated relative to the arm position and finally will rotate the race very slightly outwards on the C axis. Very slightly forwards on a bit that was underway. Access and finally will put stiffing goes to make them relaxed. Okay, next we rotate backwards. Still, there are. We'll give it a slight bend. We leave a negative space between Darman, the body on the side view. We'll rotate the shoulder accordingly, rotate the arm slightly outwards on the Y, axis on with the Z axis adjusted. So it's just slightly behind the body posted hand rotating it back on the X axis, a little inwards on the Z axis on a little inwards on the Y axis, and finally will put stiffing goes to make them relaxed. Now we just need to post ahead on because in dispose the bodies, moving down with what they did upwards very slightly for this work cycle. Us they had isn't going to move much on. We have the head and neck configures so that they automatically compensate the torso rotation in other words, that they will stay in balance unless we rotate them. We won't need 20 made the neck, but for the record, this is an exception. Okay, so now we'll go 12 frame forwards to frame 13 and we create a contact post off the opposite food to do the second contact pose. You could copy and paste the values from dispose by activating these two options off the graph editor, then select the controls you want to go. People selecting all the key frames are from one on the graph editor. I'm based in the Values on Frame 30 and using based Flipped, although it's much better to create the posters manually, since a slight variation on the process will give a much natural feeling to your animation . Now we just have to reposition the character so that he moves for worst on We Defeat and Central Control Selected will go to the graph editor. Select the location workers off the three, since these are the ones that represent their for where movements on adjust them so that the planted food remains on the same place. This means that while he's starting the ground, it's line must be completely flat. But make sure that when you move the girls, you have the normalized option deactivated or there was. The different controls will don't move proportionally. Assume quite a bit to make sure that the line off the planted food is completely, completely flat as you can see the front food will maintain its position. But we'll go from being the front food to the back food and finally will create the contact . Telescoping the 1st 1 to frame 25. - Making sure that the new urine taters are always ahead of them on Don't stay behind. Okay, Contact post is done. See you next class. 6. How to create the Intermediate poses: hi in this lecture will create the intermediate posters on Frame seven will create the intermediate boats in which the character will rise up and we supported entirely by one leg . So we'll move the central control over the supporting leg, which will be went ever so slightly and have the food flat on the ground. Well said the hips to zero on the rotation Z axis. That's the way it is in this leg. We rotate them down on the Y axis from the supporting leg, but make sure that they elicit rotated on the Y axis that in the next contact pose the leg . Andi, I will have the food pointing down. There will be a narrative space between this food on the other leg in the front view and will be rotated at worst, a little bit in the side view. They will also be a negative space between the knee and the other leg on between both feet . But remember that you must set all special rotations 20 on post defeat with the general rotations. Finally, a lorry Anthony inwards, a little read and then rotated those in opposition to the hips on the Y axis on to keep the does assented. We move it to the opposite side, like the hips will set the Z axis 20 unrelated a little bit further on the X axis. Now we said the shoulders to zero, since the arms will be on the sides of the body. The arm on the side of the supporting leg will keep the same amount of pent well dated upwards on the Z axis until there is a small space between the hand and body. And said the rotation why access to zero produced a hand rotation on the X axis and rotated inwards on the Y and Z axis. These arm will be straighter, but it will be slightly more flexed on the other one. We'll take the top part on the X axis and Tillis, pointing back ever so slightly I rotate the bottom part, so it's a little head and the other arm in the front view. It should be away from the silhouette of the body, but very close to it, and we rotated. The slightly outwards on the Y axis finally will reduce to zero the 100 Asian of the X axis on rotated ever so slightly outwards on the Z axis and in worse on the way access to finish the Postwar. They head down a little bit on Rotated two, decide to settle it. Kenosha, since the body will have almost completely stopped the side to side movement on. Therefore, the head will rotate this lightly like a week. We could also animated decide to say rotations off the head. So we lied to the movement, which would give the character a greater sense of the termination uncertainty of where he's going. But scenes were animating a genetic work cycle, therefore more relaxed. Will any made the head in such a way that the overlap is like a whip? Now just create the same post inverted on from 19 undone Intermediate post is done, so see you next class. 7. How to create the Extreme high and down poses: hi. In this class, I will show you how to create the stream up on extreme down poses. Okay, so we proceed to great the breakdowns between each one of these processes. They will be on frame for 10 16 and 22 on frames for a 16 will have the post says who? He will have just taking the step. Therefore, the front food will be completely flat on the ground on the body will be at its lowest point this time to post the hips, and it also will use the breakdown. A since we want the rotations to be writing between the other two processes to post the center control. Since we want the hips to move with the constants, basing forwards first will use the breakdown marking the post Toby, just in the middle of the movement on seeing cities, extreme dumb post will have to lower the body accordingly. We want to bring down the body into the lower part of the leg stilted park ever so slightly because we want to have enough room so that in the following purposes, then he can keep moving forwards on every frame, thus maintaining a fluid movement next will set the special rotations to zero on the rear foot on making sure that the toe stays on the same place on the side view will post it with the food general rotations, leaving it approximately at a 45 degree angle. We'll also rotated at words on the Y and see access. And since these irritations will change the position of the toe on the front view, we move into slightly on the location X axis so that it stays at the same point that in the contact pose And, of course, make sure that the dough is not going through the ground. We'll use the breakdown I to post enduring taters to keep their curves clean, and we'll use the breakdown out to post all the arms and shoulders controls. But instead of living them in between, process will favor the previous post to create a slow it in. The movement also will rotate the slightly backwards the lower part of the arm on the X axis because the arm starts to move, forwards will drug behind the lower, but a little bit. Okay, so now we only have to post ahead in which will also use the breakdown. A to create an intermediate post on to finish will create the same post but inverted on frame 16. - Okay , so now we create the last post off the blocking, in which the character reaches its highest point. So we create a key frame on frame 10. Used to break down in the center control to make sure that the body keeps the same speed forwards. And I guess it's hard so that the blunted leg is fully straight. But, of course, make sure that it doesn't deform stretching, living at the point where the leg just get straight and then we'll go to the graph editor in favor of Extreme. Keep frame off the location X axis so that the character stays longer off the supporting leg to post a heaps will use the breakdown on favor than expose, since the upper part off the leg will almost have to reach its extreme points on the forward rotation on. Therefore, the hips will have to correspond this rotation. We place the lifted food in front of the planted foot on the side view on live it, pointing the slightly downwards. But they did England's on the y and Z axes, moving out a little so that it moves forwards great in a small visual like outwards and will keep it almost touching the ground. I remember to make sure that the urine taters are always ahead of the knees and don't stay behind to post. It also will use the breakdown, are creating an intermediate posts and in the Y axis will go to the graph editor and make the rotation on frame 10 greater than in the next contact pose. This way it will begin to rotate in the opposite direction on frame 11 giving a little more work. Strengthen awareness, toe the character, since that also will be anticipating the change of Phil Gramm before it happens, I'm finally to pose the shoulders and wrists will use to break down a slightly favoring, then exposed to create a slowing until the contact pose. Now we just need to replicate this post inverted on from 22 on. We have finished the first working pass off our work cycle 8. How to fix your Blocking: Hi. In this lecture, I'm gonna teach you how to refine your block in. Now is the perfect time to watch our work cycle, improve it, correct mistakes and show it to our colleagues to get feedback. So the first thing that I realized that I have to fix other feed in the post says four and 16 as they are rotating words too much, therefore creating a pop on the hill. So our reposition them, making sure that that does stay on the same point on the front and side. View another thing that I will modify other exhortations on the front food in the contact process. Since now, watching it again, I feel that they are a bit excessive. Then I'll adjust in your in Taito so that in the front view they need to move smoothly from side to side. Another very important thing that I need to fix is the vertical movement of the central control scenes. Now it seems that the body rises up too fast and stop this movement very abruptly. So let's analyze the graph. Editor Onda. We can clearly see we made a mistake here because in the immediate post is higher than the extreme oppose. So I'll modify the graph editor so that the race is small, slowing to the extreme hypos on the locations, the access as you can see now the big movement will still be from the extreme low to intermediate post. But now there will also be three frames off, slow into the extreme pose. Next, I will also fix the rotations off the raced forwards and backwards on the X access. Since now they stopped the movement quite abruptly at the end of the forward movement of the arm. And as we can see in the graph editor, the issue something similar to what happened in the location Z axis on the central control . So I will adjust the key frames to create a slowing on the rotation X axis off the rest. As you can see from the blocking, we can perceive the fluidity of the movement on have a very good idea of how our final animation will look like 9. Switch to Splines (bezier) and fix the knee-pops: hind. This class will proceed to switch all the tensions to best here. To do these the activate these two boxes on the graph editor to ensure that we're seeing all the curves off all the controls on all access. Change all the curves to base here on, then reactivate the options again. Next, we'll go to the preferences and configure them so that all the new key frames are created with racial tensions. Okay, so now, as you can see, everything seems to move smoothly apart from the legs, which are full of props under knees. But before publishing the legs, we have to make sure that the movements of the central control the heaps on defeat move correctly, Since any later modifications off any of thes will affect the position off the knees, the first thing we'll do is to adjust the body's way so that the central control shift direction on frame. Nine. Therefore making the leg lead the movement by one frame, bring up the curves, removing all the key frames in between leaving only the extremes. And since I'm creating a cycle and make sure that the end of the car flows correctly with the beginning off it next to make sure that the character moves forwards with a symmetrical spacing, they lead all the frames, except for the 1st 1 on last one on since the Handles to. Better to get a completely straight line, we'll all soaking up the curves of the torso rotations, deleting old in between key frames that makes up the curves. We make the food almost completely flat on the ground on the frame after the contact post. In this case, I'll reduce the rotation X axis 20 but I will leave a small slowing on the Y axis. Also, I'm going to create a little bit of DR on the tiptoes to create a bit more overlap. On the next frame, I'll post a food to completely flat on the ground. We'll make sure that the feet moves smoothly on the side and frontal view that they don't go through the ground and that when they lift off the ground, they do it. It's mostly we'll make sure that the toes to stay at the same point as the food comes off the ground, going frame by frame, adjust in it and, of course, make sure that the toes turned slide on the ground. I'm also making sure that the spacing of the food lifting up is progressive. In other words, if you track the uncle, it has to have a slow out coming off the ground. Keep in mind that generally you don't want to post a food completely vertical, since it could give the impression that the uncle joint is program. - And once this istan will proceed to get rid of the pope's, there are two key points that we have to observe carefully to eliminate the need Bob's when the leg goes from a straight to bend on when interest rates ends up, since you must create a slow out on a slowing respectively, make sure that the needs to move backwards in any frame and make sure that when the supporting leg goes through the intermediate post, they need start freeze for a couple of frames. In the same point, they must move with a coherent spacing with progressive, slowing Zonda, slow out. Use the arrows on the keyboard to move from my frame so you can actually analyze a spacing on each frame. If possible, will try to make small adjustments to the special and general rotations of the food to reduce the pope's seen. Some of the Popes are due to about positioning of the foods. I will adjust it accordingly so that both the uncle and any movie narcs throughout the animation and if we need it, which is very likely will used any polishing controls to refine them and make them movement perfectly smooth. We'll make sure that the needs move with the progressive spacing, reducing the space in until the intermediate posts on increasing the spacing after it. Because now there are several frames where the need is completely frozen on. We don't want that thinking again. Instead of bringing any inwards when they move forward and move them outwards to check. If it feels for natural and indeed, for this work cycle looks better like this now it would be the perfect time to show it to your classmates so that they can give you feedback before you do the last coalition pass. So see you next class 10. Make the final changes and polish your Animation: hi. In this class, I'm going to show you how to polish your walk cycle for this animation, one of the things that I want to correct on Polish at the shoulders since I feel they move a bit too much. So already, use the rotations on the graph editor. Also, I will slightly increase that also rotations on the Y axis so that the character bent a little bit more. Because now I feel that this having to Steve, I will slightly increase the lateral movements of the center control. Although normally we don't want to do these after polishing the knee Popes. But since divestment is very small, we won't need to republish tenis. Next, I will adjust the arms. Firstly, I'll create a slower slowing on a slow out on the forearm because now changes direction very abruptly. Then I clean up the Y axis curves off the arms and raised to make them more fluid. The idea is that the I'm should appear relaxed but should move us if the character controlled them. No, like there were two pieces of food hanging down here. I'm creating a slowing on a Z axis of the arm when it has to authoritative backwards so that it doesn't stop the movement us. If it has hit a wall next up, clean up the head rotations and exaggerate them a little bit more. And finally, to make it more organic. We love the hips irritations off the X axis, giving a little more elasticity to the spine. Because even if it is very subtle, it will improve it. Note that we will not use to hip control as it would respond animation that we have already policed on the legs and knees. So instead, we'll use the publishing controls. Every time the character takes one step, the impact will rotate the hips of it backwards, slightly, reducing the arc off the lower back. So on frame four away, going to move slightly back in the lower control. And it was most likely the middle one in the graph Editor will remove all intermediate key frames and sit back the control to its original position on the contact poses done. So next to give even more flexibility to the toast of the character will create a bit of his question, a stretch on his store. So keep in mind that although it may seem that the squash should occur on the extreme down poses, since all the different parts of the body moved with overlap, and it also will start to slow down its vertical movement. A couple of frames after the characters. Hips, too, and seeing it starts moving up right after, and it also is still settling. It's moving downwards. These two nauseous in opposite directions will cost Ato sotto continuous caution until intermediate posts, from where it will begin to stretch again until it regains its original shape on the contact poses. Okay, so now we center the perfect time to show our animation to our colleagues so that they can give us feedback. For example, they could tell us that the hips were they too much on the C axis and that they would reduce that rotation. They could also tell us that in the front view, the feet moved so far away from the body so that they would reduce, decide to save movements of the feet. Furthermore, they could tell us that they feel that the arms rotate very little forwards and too much backwards on the X axis, and they could also tell us that when the arms rotate for worse, they get too far away from the body on the front view. And since we have modified the hips and the feet, now we have to republish Denise again. That's why it's a very good idea to us for feedback to your colleagues throughout the process, much especially before starting to polish your animations to avoid having to read, Do they work that you had already done? Be smart and take advantage of the Facebook group on. Do not hesitate to assure classmates for a feedback, since they will see your animations with fresh eyes so they will see much more easily errors Popes on possible improvements. But keep in mind that each person could say different things, so you should be the one to make the final decision off. What changes and adjustments to apply. So that's it. Work cycle finished 11. Transform your walk cycle into a different one with the Graph editor: Hi. So we have finished our generic work cycles on in this class. I will show you how to prolong it. A modify it if now you wanted to extend the work cycles so that the character get working for worse. The activate again, these two options and the graph editor to make sure that all the key frames has shown select all the controls and then select all the key frames on the graph editor. Except the first key frame because it's the same post as the one on frame 25 we don't want to duplicate it and will copy and paste them at from 26. Now, to continue animating will reactivate these two boxes on. We'll expand the Temelin range to view upto from 48. But now, as you can see, instead of moving forward, it goes back to the beginning to solve. These will just have to select the Central Control defeat on the orientation controls off the knees and in the graph editor will select the location y axis curves. Since these are the ones that will let I mean the forward movement well over the key frames from friend 25 too much and follow the path of previous curves. And to make sure that we're position in the key frames correctly, make sure that while the food of the supporting leg is touching the ground, it's curve is completely flat. Now you only have to practice an experiment with different cycles until you can do it from memory. Seems to be a good animator. It is essential that you're fast and effective when you have to put your character to walk . Moving the curves of the graph editor. You can quickly modify the work cycle and transform it easily. - For example, if I wanted to turn the character into a giant who therefore waits a lot, and the first thing I will do is to slow it down quite a bit. Scaling on the graph editor curves In this case, I will extend it 12 frames until from 37 to make sure that for all the posts is I'm out in the same number of frames in between two. In this case, therefore now the work cycle will be 50% slower. I will also slightly increase the movement from side to side of the central control scenes . Cohen is lower means he has to transfer more office weight over the supporting leg so that he has time to move the other leg forwards without falling down. I will also slightly increase that also rotations on the Y axis, to convey that he needs to use more force to give the balance. And for the same reasons. I will slowly increase the movements of the arms on the sea on X axis and to really give the character have your feeling. I will modify the spacing of the central control on the vertical movements so that instead of moving brace movingly up on down, he slowly rices and comes down faster in the fall to do these in the contact post key frame , I will select the locations the axis of the central control change the hundreds to free on vertical eyes them also, I will slightly large the dope on down handles to favor the low poses because as he waits a lot, it would be harder for him to slow down his movement. So it will take more frames to settle down on being able to start moving up again. So basically this way will trust me the greater weight, since it will rest it slowly and for leaving. When it's reaching the extreme hypos, it will start to slow down, reducing the spacing. Then gravity will start to take effect so it will change direction downwards on because he collides against the ground in a more accelerated way, it will give the feeling off a great weight. Finally, we'll adjust the feed so that they're completely flat on the floor to friends after they contact pose on us before we have to report it to the Popes that have appear on Denise None . Congratulations. This is the end of the course. Helped You liked it. Now you just need to practice, practice and practice on post your animation on the group to get feedback. Hope to see your own again by 12. Opening Blender for the first time: blender. It's completely free and has nothing to envy to other three D animation programs. On Personally, Blender is my favorite. When we opened Blender for the first time, this is what we will see. The first thing we have is the file tub where we can create a new file, open a file open arrested file. Retrieve the file from the last session or the last out to, say file in case the program was closed without saving. Nevertheless, remember to save your animations constantly. You can save amplifications in the same file that you have open or saving a cinephile below . We have the options, tooling or upend, which we will use to bring the characters, objects or environment tourbillon dressing below. We have the option to reset all preferences and features to default. At the end, we can exit blender. You need it. You can, too, or we do any changes that you have done. Although the system way is to use control, Z toe under on control shift, see to redo also, if we need it, we can see the action history here on at the bottom. We have the preferences in grander we can export images off the specific frames will render our animations in video for a month. When we want to see the renders we have made down here, we can see the last render image on the last 100 video in Window. We can create new windows, which will be very useful in case we have more than one monitor. Next, we have their workspaces, we Charlie, saying, according to the task that we want to perform in Blender, so in our case will go to the workspace animation. Once we are in the animation workspace, we'll see that blender is divided into several panels. Have you put with the main camera? Have you put with the perspective camera? The outline, er, the properties funnel the dopes it on the timeline. If you want to change any panel, just go to its left corner. Click on its icon on select the one you want. You can also modify the size off the panels simply by placing the mouse over the edge of the panel and clicking and dragging with the arrows that will appear. And finally, you can split and create more panels by right clicking on the edge off one of them on selecting split area. Decide if the division is vertical or horizontal with the middle. Click on, then left click to create the division on. If you want to remove upon a right click on it. Age select, join area and left click on the panel. Do you want to remove? Okay, that's it for now. See you on the next last 13. How to set up blender: hi. In this lecture, I'm gonna show you how to set up plunder so you can only make faster. Honestly. The first thing we'll do is to set up Blender Hood case to be the same as the one used in the vast majority off animation studios. This way, you'll be able to animate with Blender a say, for example, you were animating with Marya, so we'll go to edit. Preferences came up and we'll change the drop down menu from blender to industry compatible . Next, we'll go to screen screen anything. Click on the smaller where it says total maximize area. Click in the books on breast A. So no on the contrary bottom and changed the drop down menu from any to release. Now we can quickly expand any of the panels and go back to normal by hovering over with the mouse, holding control, impressing a And so we see the panel in full screen. In case you wanted to have a clear vision for a just small details, we'll also go to three D View three D View Global on Delete the Last Turkey named Context Ogle. Since we don't need it and we don't want decorated by mistake. Then we'll go to system on set and do steps to 256. This will be the number of steps or actions that blender will save so that you can go back in time in case you want to correct something. If you have a good computer, I recommend that you said it to 256 since it will allow you to test things in your animation on do them if you didn't like them. But if you see that blender starts to slow down, I recommend that you reduce it so that it uses less ram anyhow. Ideally, you want to say, every time you make any progress or changes that you like. Okay, so now we can close the preferences window on Next will go down to the timeline to make it a bit bigger. Well activates the cookie options so that every time we modify a control on the view port, the key frames are created or modified automatically. That way, you don't have to do it manually every time. Now we'll do right click on this button and select assign Sure cut, Move the mouse over the books and press the number three on the left side of the keyboard. We'll do the same with the other button, but press number two instead on because the hard case two and three already assigned to other functions on Blender we must change or delete them so that number two on three just have the new function. Now we can jump from one key for him to another very quickly, using the hot case two on three. It will definitely save us a lot of time. Following that will change the dope sheet for the graph editor, since it will be the graph editor, the one that we will use any made. And then we'll go to view and activate the books view only selected of key frames this way you can only added the curves off the access that you have selected, and thus you'll work easily and cleanly. Finally, we'll configure the render settings from time to time. You'll want to see how your animation we'll look at 24 FPs for these will do our view. Porta Renda also known a splay blast to set up the render settings. Go to the printer icon called Output, said file four months to FF mpg video Open the drop down menu encoding on In Gone Taina Select Quick Time. Now, whenever you want to do a play blast, go to view on the view port that you want to create the platelets from and click on view port render animation And now to finish and save all the changes so that every time we open blender it will have this configuration Go to file the folds and click on Save Startup filed. Now you have set up blender for animation. 14. How to use Blender: how to use splendor high in this class. I'm gonna teach you how to use blender on how to move around in the view. Birds. The View port is where we'll see and be able to edit or animations. As you can see, we have one on the left with the main camera, which is the camera that blender will be rendering from on, through which the audience will see our animation on the right. We have the perspective, which is where we will greater animations to move the perspective. Camera present. Hold out, plus the middle click or you sit up right hand to zoom in and out. You can move the mouse well. President, hold old Bless right leak or used a magnifying glass on the top right corner to rotate the camera president. Hold out plus left leg or used to gives more appear. If you click on the bulls, apart from a line in the camera with the blender well access. You will set the camera in Ortho graphic mode, which will flat on the view. In other words, it will take away the depth of the scene. This can be helpful when you want to analyze the movements off the character because you see it at the same size and from the same angle, even though it's moving around the same on clicking on this, I can hear you can change the view from Martha Graphic to prospective on vice a versa to align the perspective camera with the main camera leak on this camera icon. If you kick it again, the camera will return to its previous position. But if you move it, this will be the new position off your perspective Camera to set the framing off the perspective. Cameras the main camera. Go to view a nine view and select allying active camera to view. This will modify your main camera, but you can continue using your perspective camera as useful. But keep in mind that due to the score proportions of the perspective camera on the focal length of the main camera, you will have to move a little for their way from what you really want to frame. The focal length will determine the depth on the scene percent by the audience. The higher the focal length, the flutter the image will look on. The camera will frame a smaller space, but the smaller the focal length is the audience will see you're seeing more three dimensional on. More space will be framed. Play the camera and, although they deal for curling for your scene, will depend on several factors. For most animations in which the whole body of your character is framed, Africa length of 30 will work to select. Things will use the left click, and if you want to select more than one object or control left, click and drag over the ones you want to select. We'll select them manually one by one by holding shift and clicking on them, and you can see select them by holding shift and clicking on them again to frame the object we have selected pressed F or go to view and taken from selected. This will also change the point on which the camera people around. So if at any time you see that the camera moves very little or move Sister Angele. So let the control or object you want to modify Impressive to frame it in the other hand to frame everything the same, press a or go to view and click on frame old. Okay, so next. As you can see, there are three access the X axis, which is represented by the red color. The Y axis, which is represented by the green color on the Z axis, which is represented by the blue color on these three access, will be represented with the same colors in the character controls, but they won't necessarily have the same orientations as blenders. World access now to move something, will select the move tool by pressing W for selecting it on the left side panel to rotate something, Select the road a tool by pressing E we're selecting. It's on the left side panel to scale something. Select the scale tool by pressing our or selected on the left side panel. And finally, if you want to draw on the screen for some reason you can sell, it depends on the left side panel. If you want, you can also hide the bus so it doesn't take up screen space. Okay, now, once you have selected the tool you want, you can use it by manipulating one of the three access that appear also in the scale and move tools. You can choose to move or scale the object on any of the three planes using the smaller squares between the three. Access on in the rotation tool By using the outer circle or by middle clicking on any points off the screen, you can rotate the control in relation to the camera that you're viewing it through. If we want to move them really in the move tool, you can use this small circle, or you can middle click anywhere on the screen and move it if we want to rotate it freely. We just have to play. Can move in between the access off the rotation toe on. Finally, if you need to make very small adjustments when this more like on appears, which represents that you're moving, rotating or scaling it without release in the mouse hole shift this way the movements of the mouse will have a much less impact, and you'll be able to make small changes with much greater precision. Depending on what we want to modify, we must select the brocket working mode to modify or creates all the cameras, lights planes. Another object without controls will use the object mode, and to post a character to animate it will use the post mode. As you can see, just as we can't post a character on object mode, we want to be able to select any of the lights, cameras or objects without controls. If we are imposed mood as any time we can change to object mode. But to change to both mode, we will first need to select the rig on, then change to pose mode. Also, keep in mind that you must select or Riggs you want to post before changing to post mode, since you will only be able to select the rigs off the controls that you had previously selected before switching to post mode. OK, also, if we are in object mode, we will have this ad option with which we can create anything from planes, cubes and bulls, two lights, cameras or even important your references above. In the middle, we have a drop down menu here. We can choose what type of access orientation will have the tools that we use the most important global no coal. Jimbo, I'm view global will align the access with the scene, which means that they will be parallel to the world axis of blender local will give the axis aligned relative to the object or control that you're manipulating. So depending on the orientation of the object, the Axis orientation will also change. Gimble will a in each access with the graph editor. In this way, the blacks is will only modify the blue curve, the red axis, the record on the green axis, the green curve. This is very useful to make sure that you're creating or modifying your animations cleanly . The only problem that you can have with this mode is that if you rotate one of the axis too much, you can find the two of them become almost pearl into each other, which in some occasions will force you to change to other mode. But as a general rule, Gimpel mode will be the one that we will use Tony mates and finally view will align the access with the camera that you're looking through, which can be helpful in some situations. Next at the dot left, we have the display options. In the first of the menu, we can select what we want to see by the activating or activating the ice on the right. On we can allow were prevented from being selected by activating or the activating the arrows next to it. The next two buttons will allow us to hide the modifiers and all kinds of controls more to the right. We have they seen the civilization options. The first button is the X rays, which will allow us to see through everything on the scene. The first circle will show everything with lines. Deception is especially useful combined with the X rays, since you will be able to see through all things with great clarity but seeing at the same time the edges off everything, which can be very useful when there are things between your character on the camera, the second circle is the default option. With this option, you can also debate the X rays. The next one will give you more illumination to go saying, But keep in mind that this lightning will be independent off the actual lights that you have created for the scene. If you open the drop down menu, you can modify the level of illumination in the direction that it comes from, and even if you want here you can activate electrolytes of the scene and finally, in the last one, you will be able to see exactly how you're saying. Well, look when it's rendered. Okay, that's it for now. See you on the next last 15. The Timeline: Hi. In this class, I'm gonna show you everything you need to know about the timeline. 20 mates. In the timeline, we can see the key frames that we have created for each control or object with the blue by . We can move forwards and backwards in time with the central buttons. We can play our animation normally or played backwards. But keep in mind the days is not a reliable way to eject animations. Time in, since it will not place 24 friends per second on the speed will depends on how powerful your computer is and how complex is your animation. So if you want to have a reliable view, do a view per render the following buttons to both sides, as you already know will jump from different Toki frame the following buttons to both sides will go to the beginning and the end of your animation. And as you know, the small circle is the all turkey, which you want to have activated on the top right. You can set the range of frames you will use to any maids, but if you wanted to render only a portion of your animation activates the clock icon and said the range that you like to render these can save you a lot of time because if you're only working on one section of your animation, generally you don't want to wait for the entire animation to run the in the second. Here, you can move back and forth on the timeline, although you can do the same action much more effectively with the blue bar or their US off the keyboard in the king drop down menu, you will be able to establish the icon that the new key frames you create will have. This is completely optional, but you can help you to have your time than organized. Since you can set different colors to Italy, differentiate between the main process breakdowns or wherever you want. Okay, next. If you want to create a new frame without modifying the control, just like the control and heat s, keep in mind that if you have the mouse on the people, it will be created instantly. But if you have the mouse on the timeline, this message will appear so just select all channels so the different is created on all the attributes. If you want to delete a key frame. Just electric Efraim, right click Delete key frame. If you want to select multiple key frames left, click on holding it drugged over all the ones you want to select. You can also add or remove difference from the selection by holding, shift and clicking on the key frame. If you want to move a key for him, just select it and drag it wherever you want. But if you want to move several key frames at the same time, once you have selected them, use the middle click to drag them. If you want to go be one or several key frames and based in at another time in your animation, select a key frame where you want to paste it on press control. V. Now, if you want to scale a group of key frames so that their proportionally separated or united , select them, impress our SK them, undo a left leg to set them. But of course, keep in mind that depending on the front you have selected when you press are there, points from which they will scale will change. That's it. This is all you need to know about the timeline 16. The Graph editor: hi. In this class, I'm gonna show you everything you need to know about the graph Editor. The graph editor is without a doubt the most powerful tool we animators have, since it allows us to say clearly the values that some key frames have in relation to others and allow us to visualize and modify what kind of transition they have between them . Therefore, the graph editor is an incredibly useful toe when animating and correcting mistakes, although at first it may be a little difficult to understand. With a little practice, you'll become an expert in the graph editor. The frames, in other words, the time is represented horizontally on the values. In other words, the movement are represented vertically. Therefore, them worker moves up and down, the more it will move rotator scale, the axis of the control you have selected. And the more it moves to the right, the longer it will take to complete the action. You want to be able to make the car go backwards since it wouldn't make any sense. And if the girl is completely flat, it means that there is no movement roll on that access. Once we have selected the control we want to animate. Have animated on the left side panel will have to click on the small arrow to display the three translation access. Call location. The three rotation access called a low rotation on the three scaling access gold scale. To move around in the graph Editor person, hold out plus middle click or left leg to zoom in and out to use the mouse wheel. And if you want to visually flatten and stretch the curves. Hold out, plus right click and use the mouse wheel to zoom in and out afterwards. Please note that this is purely visual in the graph editor and will not change anything. Your animation to move, rotate or scale licky frames in the graph editor turns. Select the axis that you want to modify, then select the key frame or key frames. And just like in the view port, we will select the tools we want to use. Then, on Lee, by moving the mouse, will modify the tangent. And when you're happy with your modification just left, Leak took it. If you only wanted to yesterday horizontally or vertically. Once you have selected, they told you want to use. Move very slightly the mountains vertically or horizontally, and then do a middle click this way. It will only allow us to move it in the taxes and just like in the view port. If we hold down shift, they will move much less in relation to the movement of the mouse. And if we want, we can move the key frame by selecting them, moving them with the left leg, and we can rotate them with the handles that appear when we select him. We can also lengthen or shorten the handles to modify the curves, and furthermore, we can modify the types of Handel's to do these selected give him. You want to modify right click and go to handle type. As you can see, we have five options. Three will separate both ends so that they moving immediately online will attach both sides box, but they move together. The victor type will also separate both sides, but will also make them straight lines. So from the moment it starts moving until the next key frame, each frame will move exactly the same. The automatic type will attach both sides together, and we'll also create a clean flowing curve from given to key frame. Please note that when there are abrupt changes of direction, it will create curves that can sometimes be excessively large. And finally, auto plant will also make the curves flow but making the hunters flat and parallel to each other. So, unlike the automatic type, the curves will never go beyond the key frame, and therefore we leave a straight line between the key frames that have exactly the same value. Also, we can modify the kind of general interpolation off the tangents to do so, right click and go to interpellation mode. You see that there are several options, but the most important at the 1st 3 The others can be useful in some cases, but are not usually used. Constant will remove the transition between key frame and key for him. You know there was. The post will remain motionless until the next day frame, and this is generally used on the blocking face of your animation. Lena. I will create a straight line and symmetrical interpolation just as the victor handles. Ambrosia will make a smooth transition between the key frames, creating an acceleration period and a slowdown period. Keep in mind that since the grafitti toe represents the transition between key frames, you can only see the cuffs off everything in which you have established at least one key frame. For example, the properties attributes of the arms since key frames want to be created on this attributes when just a tacky frame on the control, so you must go individually to the one you want to modify over the mouse over it on breast is to create its first give frame. Now you can activate the activate inanimate this attribute to adjourn Imation. Moreover, with the past pains, you can keep on top the curves in the graphical panel, which would be very useful if you need to have the curves off a specific control inside, so you can modify them at any time. Even if you have selected anything else above, we have the normalized bottom. If you activated, it will be surely united the curves. So if we have several curves away from each other, it will be much easier to work on them at the same time, since we would have to be moving up and down through the graphic little continuously on If you activate the little button on the right. It will also visually just the new changes we make on the curves. Although personally, I prefer to have it disabled seeing sometimes it can be any confusion, because when you move the key frames, they will visually rejoin the others. And finally at the top, right, we have the ghost cars button. What it does is that if you're cremated and modify occurred, it will show you how it was before the change. This is very useful when making changes are cleaning up the curves as it will give you an exact reference. So you can easily do even the smallest of the changes. That's it. This is all you need to know about the graph editor. So see you in the next last 17. The Graph editor curves: slow out. First out, slow in. First in These are the terms used to indicate how which movement begins on ends. For example, here we have five balls that have exactly the same time unit spacing. Now what I want to is to mollify the graph in It'll curves to show you what the different shapes of the curves were. Percent on an object motion, as you see by default curves I created with a slow out on a slowing. If we set the handles in vector mode, we will transform it to a straight line, and so the ball will move with an even spacing on all frames. In other words, the speed will be constant. So compared to the other balls at the beginning, it will move faster. Since it doesn't have a slow out in the middle of the animation, the other bulls will reach the point of the curve where there accelerates so they will advance to the lead. And finally, all the bulls will reach the end on the same frame, the 1st 1 without slowing on the other ones within a slowing. Now I will modify the 2nd 1 so it has a great slow out on a fasting. As you can see, the flutter the curve, the less the ball moves and the more vertical it gets, the more it accelerates. In the third, I will do just the opposite to the previous one. It will start moving with a fast out on. We'll stop with a slow in in the fourth. I will also create the first out. But this time I'll create a key frame in the middle of the movement to flatten the curve, therefore reducing the speed of the ball. And at the end, I'll create a fasting. Keep in mind that we can always exaggerate its speed by stretching the handles and moving them up and down. And remember that if the color of change direction, it means that the ball will change direction on that access. And for the last poll, I'll create a slow out and I will make the ball speed up to the last post. But instead of hitting the post in an abrupt manner with a fasting, we will create a few friends of caution. You know, there was a very small slowing and so will mentoring the perception that the bull arrives at the high speed, but removing the stiffness off. Just a fasting. - Okay , that's it for now. See you on the next last. 18. The Outliner and the properties editor: Hi. In this class, I'm gonna show you what is the old liner on the properties had it in the Olena. You'll see everything that's on the scene, the object, the characters, lights, cameras, references, etcetera. From here, you can select them easily, and it's very useful when you need to clean your seen since you can hide under leads anything from here. For example, When you bring your characters to the scene many times, they will appear with their own camera lights, another items you don't need. So to keep this in clean, you can remove them or hiding by deactivating the ice on the right. Down below, we have the properties Editor. The Properties editor has many options, but the one will use when animating will be this burn icon cold bone. The first thing we can say is the name of the control we have selected or the less control selected below. We see the exact values off the three excess of location rotation on a scale, and as you can see, they will update as we modify the controls. But if we want, we can modify them manually by writing the exact number or by left clicking and dragging until where we want. On the right, we can see some locks, icons with them. We can block the access so it cannot be modified on next to it, we can see a rhombus or a point. The rumbles means that there is a key frame sit on their axis on the frame. Your own on the point or an empty remembers means that there isn't a key frame. And if we do a left Wigan eight, it will said it or remove it. And don't worry about the points in the middle because we won't use. And and finally, if we want to, can hide these two panels on Open the Properties Editor floating panel, which has the same function as explained before. But except much less screen space. That's it for now. See you on the next class. 19. The Breakdowner: Hi. In this class, I'm gonna show you what is the breakdown on how useful it is to any made faster. The breakdown er allows you to create a key frame with values that are between the previews on the next pose. For example, if you have a ball that goes from point A to point B and we want to create a gift from where the ball is in the middle of its movements will go to the frame where we want to create the key frame. Still like the control. So you want to modify on, go to pose in between and select post breakdown? A. As you can see, the mouse arrow becomes a double arrow. Now we can decide if we want to favor one post or another moving the master. The right will get the controls value closer to the next post on moving the mouse to the left will get them closer to the previous post on finally to keep just two left leak. If we wanted to create a post exactly between the two, just do a left like without moving the mouse. As soon as you Klay composed breakdown up this tool will allow you to great breakdowns much quicker on will help you animate in a clean away, since it would prevent you from making many mistakes, such as using the wrong control or over rotating them. Therefore ensuring that the transition between the process will be smooth on. That's it. See you on the next glass. 20. IK VS FK: hi. In this class, I'm gonna teach you the difference between I k on F K. There are two types of settings to post your characters. Each month has its advantages and disadvantages, so you will use one of the other the bend. You know what you have done it, mate F K or for work in a Matics means that each joint will have a control which you can rotate but not move, and it will affect the position off all the controls down the chain. The advantage of this morality is that it's much easier to create good visual likes since joints rotate from a people point, so it will organically create arcs. Also, it will reduce the number of Popes that canopy on the joints because as long as your graphic editor curves are clean, the movements off the F K controls will be smooth. Aunt. On the other hand, we have I k or invest cinematics, which means that you can move the controls wherever you want by establishing the exact position off the last control of the chain on being the joins, the ones let it up to the movement. The advantage of this modality is that it allows you to move the control to a specific point on. No, that doesn't matter. What you moving the rest of the body as to control will remain in the same position, which is essential when your character is interacting with the environment, either by touching the ground with defeat or by grabbing or pushing something. These advantages of this modality is that it creates more Popes and you should pay more attention to make sure they're moving arcs. Since by default, the interpolation created by blender will be a straight line. So basically, you almost always want to have the arms NFK unless they interact with the environment on almost always, you want to have the legs, and I k seems willing to maintain the foot planted without the sliding most of the time. Okay, Now you know the difference between F. K and I k. So see you on the next class 21. Blender Lights: Hi. In this class, I'm gonna show you all the lights. You have to eliminate your scene To render your scene first, you'll have to create lights on. There are four types. Point Sun Spot on Area Point will create an only directional light which will illuminate in all directions. Son will create a light replicating what the sun would do with sports. You can focus the light on a certain point on with area. You can also direct the light to a certain point, but this one is designed for big areas. Moreover, you can see that the four types of lights have several configuration options, such as the color of the light on its power. But keep in mind that depending on the type of flight you have selected, it will need a difference amount of power to generate a similar lighting. Next, the speculator option allows you to adjust Igli test that the light will create, but also depending on the light you have created, you'll have additional options in point you have radius, which will determine how far the light will propagate and dissipate. The smaller the number, the brighter the light will be on the big eighties, the more it will fade out on Sunday. You have the uncle option which will let them in the size of the sun before it will affect the quantity of size that will be illuminated in the objects of the scene. And we can also establish the place and the angle from where the light is coming with. This small ball sport also has the radios modifier, but moreover, you can modify its size, which will allow you to increase and read. Use the area that the light illuminates on in blend. We can establish the degree of luring on the edges of the light in area. You have the option to modify the length and shape off the libel. Additionally, with sport point on area in the custom distance books, you can set the size of the area where the light will propagate in other world Really, me to where the light will not illuminate at all. Finally, you can decide if the light will create shadow or not by activating or the activating this little box. That's it. Now you have a basic understanding on the lights of blender, so see you on the next class 22. Picker controls: Hi. In this class, I'm gonna show you an example off a picker that I created. I recommend that before you start animating a new character, you experiments a little with its controls to see what did you end us under limitations? Okay, so the white buttons at the arms and legs configuration controls in the first option, you can configure the F K controls to be independent of the body rotations. Zero means that they will rotate with it also on one that they will remain independent. Also, you can choose if you animated with I k or f k zero being I k on one being f k. And if you choose I k here you can set the maximum a sturgeon level that the limb can have on the A K space. Which option? Or in this character called route parents, you will determine if they get controls, will move together with the central control or will remain in the same place. But almost every time you use I k, you will want to set this option to zero. So the a K controls only move when you move them. And of course, keep in mind the depending on the character you're using. The names of these controls may worry. The blue bottles are the legs and arms. F K controls on the red ones are the A K controls, of which there are two for the hands, two for the legs to set your orientation of the elbows to to set the orientation of the knees onto for the special rotations of both feet, which are designed to animate irritations off the feet when they're touching the ground. But make sure that you don't rotate the same access with the normal rotations on the special rotations. At the same time, as the special rotations will change, the people point off the generalizations, making it much harder to animate on polish the green controls of the universal ones. These can be used regardless off the configuration that you have. They are the head, the neck, the shoulders that also the central control, the hips, the fingers off the hands undertows. If we go to the central control, we'll see the two extra options appear had follow a neck follow. With these, we can determine if the head and neck follow the torso rotations or maintained or individual rotations. Zero, meaning that there remain independent on one, that they would rotate with the torso. The great buttons are the polishing controls, which you will only use when you have almost finished your animations to make small adjustments, correct Popes or our body parts. And finally, the black control below is the position in control, which you will only use to position on Orient your character before you start animating it . But you'll never create any animation on this control. Another but important thing to keep in mind is that when you're using several characters and you want to select the control from another picker before selecting the other control, make sure to first left Lee contribute bolt to the select everything. Because, for example, if you have selected won control of this rig and you want to select the control of the other one, the previous control will not be the selected. So any action you make would affect both controls on That's it for now. See you on the next class 23. How to set up the X pose picker: Hi. In this class, I'm gonna show you how to stolen. Configure the expo Speaker. The bigger is an essential toe. Be first animating, since you will be able to select the control you want without needing to have invisible on the view Bolt. These will give you a much cleaner view off your character and allow you to select the controls much weaker. Once you have downloaded it to install it will go to edit preferences and in the other section will click on a stole. Next we go to the folder where we have the ZIP file on one selected will click on Install Adan. Now we will write speaker in the search box and make sure the picker is activated. As you can see now in the floats in panel it will appear New section Cold Expo Speaker Open it. Click on pickers, Start open the drop down panel gold host preferences and activate the option Kiss Muslims reforms and remember that you'll have to check these books every time you create any blender file. Now we only have to open the picture of the character that we're going to use on a start animating. Do you see it every time you want to select the control, you must select the tool you want to use so that it appears over the joint that you're going to modify. That's why it is essential that you use the hot case W e. On our to select nettles quickly. If you're using another character and you want to have multiple pickers open at the same time, just go to file a pent up, select an open deepika you want to use click on entitled on Bleak. Okay, you also have the option to keep it at the front of the screen. Well, let it go into the background by turning on and off the past being icon if you want to create a new Pekar. Firstly, you'll have to create an image of the character, either by taking a screenshot over, rendering any mitt imported to the speaker using this icon. Then select one of its contours and click on set name space so that the bigger links with the rig now just select the controls. One by one, right click on the picker on left Lee on at one bottom below. You can set the color, size and name of the bottom. And if you want to change the position often already created button hold control. Plus left. Liken it to move it now. Just have to save it wherever you want on. That's it. You're bigger is done. 24. How to create constrains: Hi. In this class, I'm gonna show you how to create constraints for animation. The constraints are essential when you have to Majorca. After interacting with other objects in the same scenes, it will unite them and make them move together, but giving you the possibility to separate them whenever you want. Please note that the greater constrained we must have the controls of the rig visible. In this case, we're going to constrain the mop toe that K controls off the arm. So first place the object on the part of the character where you want to constrain it. So in this case, we want the character to move them up. So we will select its main control. And in the property, Senator will go to the bone constrain section, click on the drop down menu and select child off. Now, in the tragic section, we must establish where we want this control toe we constrained to. So we will select the name off our rig. Next we have to set which part of the characters body exactly. We wanted to be constrained to in this case, I wanted to be the right hand, so I'll right hand as you can see we have several options which have on our or on l at the end are means right on l means left. So there are several options that could work. But since we're animating the arm with that K will go simple and save and select the option Hand sk are, As you can see, the more pass moved elsewhere. So we'll have to click on setting verse so that it returns to its position below in the influence while we can establish the degree off influence that the hand will have away them up. But normally we always want to have it at maximum. As you can see with this configuration, any movement off the hand will move them up. But you can continue animating them up individually so you can make small modifications easily. But if we wanted the object to the term in the position of the hand will have to create the constrain in the hand. But to make the constraint this way, we need to have the arm said so I k. Since, as you already know, the F. K mo does not allow determine in the position of the hand, but instead of the angle of rotation of the joint. If we want to eliminate, the constraint, will do it by clicking on this X. But if we just want to deactivate, it will do it with this I with which we can activate it and the activated on any frame this way, for example, the character were to throw an object and pick it up again. I would deactivate the constraint in the frame. I want the character to release the object on, activated again in the frame. I want him to grab it to do. These will go to the frame where we want the constraint to be activated. Place the mouse over the small I and press is too great a key effeminate. Now we'll go to the frame where we want the constraint to be deactivated and click on the I to set a key frame to the activated. However, there is one thing that you should keep in mind in the frame where you deactivate the constrain. The constraint control will go back to its original position, so we'll have to relegate it, which is not very difficult, just a minor inconvenience. And if for any reason, you need to change the frame in which the constraint is activated or deactivated. You will see that as soon as we create a keep him on the small I in the graph editor and you curve called Disabled Child Off will appear which, although we can move up and down indefinitely, it will only recognize to values below zero being deactivated on above one meaning activated. Okay, so if, for example, we want to the character to take up his cup, we would just need to great another constraint where the cab is constrained to the hand, thus creating to constraints. Want to the head on the other one to the hand on key. Frame them so that when one is activated, the other one is deactivated on. When the object is in, the both of them are deactivated. It's very important that you make sure that you never have to constraints activated at the same time for the same control because it wouldn't know where to go. This method is ideal when you want to go accessories to your character or make simple constraints, since it has its limitations. So to make more complex constraints, you'll have to use the next method. Imagine that we want the character to move them up with both hands and since we want the hands and the mop to have the freedom to move individually, will need 1/3 control that moves the hands and them up together in such a way that there is not a direct constrained between the others could be mined that for this method you will also need to have the arms in I k. So firstly will go to object mode, create an amateur and press F to frame it. As you can see, it has a bigger side on Athena's side. The ball on the big side will be its people. So depending on what you want to any mate and how it will rotate, you'll have to place the amateur accordingly. And if you need to modify its size, go ahead on a scale it. In this case, after analyzing how them up moves in my reference, I think that to have a good control over the movements, the people should be on the people of the stick. Now we'll select them up the character under mature and change everything to post mode next I'll select the mops main control and constrain it to the armature. We could write its name as in the previous example, or we can also use the tool on the right, which is used to select the target on the view boat and in the section below will select the only option available Cold Bone and, as before, to reposition it, click on setting verse. Now we'll do the same. With both hands on done, we have created the constraints. As you can see, we can rotate both hands and them up individually. We're all together with the army to, lastly, to make things easier and cleaner will create a new Pekar for this amateur so we can animate it without having to continuously hiding and hide all the controls. And remember to click on set name space before great in the beaker. Otherwise, it won't work. But what if, instead of a mob is a box on? I wanted to be attached to the chest or hips of the character right now, with this configuration, we would have to go frame by frame, making sure that the box doesn't get into the characters body. But it's always probably torching it to solve. These will just have to create a constraint on the armature to which the hands and the books are already constrained on Constrained this amateur to the chest or any other. But we wanted to be attached to done. The books will not move with the chest as long as it has this constraint activated. Okay, so now you know how to do constraints. So see you next class. 25. Como insertar audio: Hi. In this class, I'm gonna teach you how to bring your old your files to blend up to insert audio or sound effects in your scene. Just change momentarily. The graph editor for the beat, Your second self drug, the old you inside and placed it at the moment you want in your animation. As you can see, you can put multiple sound effects on different trucks and remember that generally you want to listen the audio a couple frames After what grates. The sound happens in your animation on. If you're doing lip sing, you will surely want the order to be heard when you drug the mouth through the timeline. So just go to the playback drop down menu on Activate the old describing books When you finish, Put the graph editor back on. Done. That's it. See you on the next class 26. Set up your scene: Hi. In this class, I'm gonna show you how to set up your seen to start animating. First, create a floor for you seeing by going to add mash plane. And if you want to create the world's too or you can also buy or download on already created environment. Now organize and create your entire saying A pending all the props and characters that will appear in your animation to do so. Goto file append. Select the folder where you have the rig, click on it, open the object, fold up, select everything inside and click on upend from library. I recommend that you move each one of them out of the original position before upending the next one to the scene. Otherwise they will stand on top of each other, and it would be more difficult to select them next or in the character so that is aligned with them in direction. Off the action that is going to do place and orient the main camera selected there under mode to see how the rendered animation will look like. But before set up the new lights, the leads, old occurrence lights off the scene so that they don't interfere with the ones that you're going to create. And don't worry if you have to modify it later, but at least create a provisional lighting. In my case, I will create a light that illuminates the character and another one that will be strategically placed too great, a greater on the floor on dust, giving the impression that he is worth. But since this light will illuminate areas that I don't want them to illuminated, I would create a couple of planes to block the lights and create a shadow. Next, select all the character, some props, so you're going to animates and change to post more, said the access to gimble mode. Open the floating panel unopened, the bigger off the character or characters that you're going to use. Remember, took debate these books the activated, the third icon on the top, right to hide all the controls on the US Clean up your scene. If you're going to animate the arms. NFK. Configure them so that they rotations are independent, so you want to break the animation, blurring the arcs that you would have polished if you make any modifications on the toe. So when you're animation is that an advanced state. But if you're going to animated the arms and I k configure them so that the position of the hand is independent of the movements of the body and finally also configure that had a neck so that the rotations are independent from the door. So now, to bring your reference to blunder, go to object mode and then goto ad image reference. For now, select any image from your computer since in this step we cannot select videos. Now, change the source option to movie and click on the folder above to select your reference video. Furthermore, you have several display options on frames. You can determine how many frames of your reference will be seen on a start. You can determine the frame off the timeline in which the reference will start playing on Enough said you can determine from which room of your reference it will start Plane. The finish will place it where we want on activated that I can to see a reference but in additional options deactivates everything else so that only the extras are visible. Now I just arrange your frame seen on the timeline so that it fits your reference. And if you're going to create the blocking with constant tangents, go to edit references animation on make Dungeons constant by default. But remember to switch it back to best here when you finish block in. If you want to save the render you create, click on the printer icon in the property. Senator, don't below click on the folder and choose where you want it to be saved. If you don't do this, it will save it in a temporary folder, and you will only be able to see the latest version off the render that you've created to finish. Minimize the side panel so that you have more space. I remember to save and create new versions periodically to protect your progress. Okay, so now you're ready to start animating