Dramatic Scenes through Camera and Character Movement | EduCraft Ideas | Skillshare

Dramatic Scenes through Camera and Character Movement

EduCraft Ideas, 3D Animation with your imagination!

Dramatic Scenes through Camera and Character Movement

EduCraft Ideas, 3D Animation with your imagination!

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25 Lessons (4h 18m)
    • 1. CamMoveintro

      0:41
    • 2. Download Blender

      0:43
    • 3. Blender Basics

      5:15
    • 4. Blender Animation Basics

      8:39
    • 5. Setup

      5:39
    • 6. Making the camera-body

      11:21
    • 7. Making the lens

      27:16
    • 8. Making the body

      9:25
    • 9. Making the screen

      9:45
    • 10. Making the chest

      8:40
    • 11. Creating materials

      7:02
    • 12. Creating lower torso

      13:41
    • 13. Making the arms and legs

      13:41
    • 14. Making joints

      6:32
    • 15. Making the hands

      11:33
    • 16. Making the neck and feet

      8:24
    • 17. Giving names

      11:45
    • 18. Rigging left side

      14:38
    • 19. Naming bones

      9:07
    • 20. Bone constraints

      12:06
    • 21. Bone assignment

      14:16
    • 22. Getting the foot right

      7:52
    • 23. Posing

      20:47
    • 24. Rendering

      19:01
    • 25. All done

      0:13
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About This Class

If you're here it means you have a story to tell through animation.  This class is the easiest way to learn how to create a character for animation.  You'll learn how to model and pose a character from scratch.  After you take this class you'll be able to put any character in any pose, and tell a story worth a thousand words.  You're also going to learn how to bring your scene to life by animating the camera and creating a 360-degree video.  This is all done with the absolutely free Blender 3D software.

 This class focuses on the fundamentals of creating a character for animation.  Characters that walk, jump, run, and fall are all possible if you use the methods taught here.  If you want to jump straight to making a character move, check out my walking character class.  There, I provide you with the model so you don't need to know how to create one.

If you're interested in the fundamental aspects of modeling and animation, check out my other class.  

Be sure to read the project description to get the reference file you'll need to create your captivating poses.

This class does not assume any prior knowledge.  You simply need a reasonably up to date computer.  It can be Mac, PC, or Linux.

Start by Downloading and installing Blender Here.

Get Blender 3D

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Meet Your Teacher

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EduCraft Ideas

3D Animation with your imagination!

Teacher


Modeling and animation are all about your imagination.  Here at EduCraft Ideas, It's our pleasure to teach you how to bring everything in your imagination to life.

In the pic above you'll find Linda.  She's the next subject of our upcoming classes.  William, one of the EduCraft Ideas team learned to do character modeling in a very reasonable amount of time.  Coming soon, I'll show you where I started and you'll be amazed at how far I've come and how you can do the same even faster.

It doesn't stop there either.  We're going to cover many facets of modeling and animation and it'll always be on free software.

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Transcripts

1. CamMoveintro: if you're here, it's because you wanna learn to make interesting scenes straight from your imagination. And I know you've seen three D movies that you've been inspired by with amazing character than complicated machinery and backgrounds. But, you know, creating a great scene is not on Lee about complicated. You can tell a great story with a single pope. Join me as I teach you how to create the story from your own boat. We'll be using Wonder three D, an open source program that is bringing to you. I'll see you on the other side. 2. Download Blender: so before we can really get started doing any of this cool animation, we need to download blender so we're already downloaded grinder. You can go ahead and skip this video, but in order to download, but they're going to go to www dot blender that or and once you're there, you're going to go to down load so you could go automatically to to this link. But you could also go to the down those green and then click download blender. From here, you can select what kind of operating system you have or this 64 bit or 32 bit and what operating system versus Mac OS or Lennox? But from there, you can just follow the directions and install it. 3. Blender Basics: If you're born in new to blender, One of the most frustrating things is to learn how to select with the right mouse button. Yes, you heard me Correctly Bundled default is to select with the right mouse button. But a couple years after I learned how to use Blunder, I realized that it doesn't really have to be that way. So I'm gonna show you how to select the left mouse button. That way, everything else is going to be much simpler. And the learning curve won't be a steep. So in order to do that, you're going to go to file user preferences and under user preferences, you're gonna go to inputs here and then under inputs, you're gonna say, select with the left mouse button. From there, you're going to save your user settings. You can close, and now you can select everything with the left mouse button, which is probably what you're used to. Now let's talk about how to navigate around in three dimensions. So you couldn't see here that I have the boot up screen. This is what loads when you first start up blender. And, like before I can click on different things but because I'm working in three dimensions, I need to be able to move the environment. So I need to be able to rotate, and I need to be able to shift things right. So that's called. So one is rotating. The other is panic. Now you can rotate by using the middle mouse button on Mike. In my case, the middle mouse button is a wheels. If I hold down the middle mouse button mouse button and move my mouse around, you can see that it rotates about the environment. Now if I want to shift around in the environment, I pulled down shift and I hold down the middle mouse button as well. And then when I move the mouse around, you can see that it shifts it without rotating. And I could do that left to right or up and down. So that's how you move around the environment when you're trying to model it. Now let me show you something that's useful when you're trying to do a lot of modeling with a lot of different objects. So let's say that you have a lot of different objects and don't worry about how I'm doing this I'll show you how to do this later, but we have lots of different objects that we might be working right. So I'm doing this with Shift D, which is duplicate, but that's really not important right now. So let's say that I want to work on this object and you can see if I rotate around. It's kind of hard for me to get it at just the right location, because I'm centered on this center cute here. But when I haven't selected, if I meant hit period on my numb pad, you can see now that it acts like it's the center of the environment. So now, as I'm working on it, I've been trying to ignore this stuff in the background, and I can work specifically on this object. But it doesn't just work for objects that also works for Verdecia. So if I select avert asi, I hit period on the num pad. Now I'm centered on that object. So as I rotate around, you can see that that point kind of remains station stationary. Now, as soon as I pan, I undo that. So when I pan around, the center is some place to the side based on how it how how I panned. But the moment I select something I hit, period, then it's back in the center and hopefully that'll make things a lot easier as you're trying to move around the environment. Now let's talk about zooming. Zooming is what allows you to go in and out of the scene. And right now, because I have three mouse buttons, I'm using the middle mouse button to do this. Another way you can zoom out is on the num pad to use plus and minus. This allows you to come in and out of the screen. Another way you can still do. This is if your object is selected, you can hit period on the num pad and that will take you in, and it will sense her the view on the environment. Yet still another way to do zooming is to take shit plus B, and you can make a box and you can see that it selects or it zooms into the area you're talking about. Now let me show you a quick change in user preferences that you can make to make your life a lot easier. So if you go to file user preferences, and then on interface, you click. Zoom to mouse position and rotate around selection. Save user settings. Now, whatever you select, it will rotate about and even more useful to that. It'll doom toe where the mouse pointer is so you don't have to do those things. Typically, I don't do them. I just recently kind of learned that that was an option, but you can certainly do that. It will make getting around the environment a little bit easier. 4. Blender Animation Basics: Now, finally, we're going to start talking about actually doing some animation and the first type of animation we're going to talk about his rotation. So in order to do a rotation, we first need to select our object. So I'm gonna left click gives. We change that early on on the object. And now that it's selected, I can hit the R key. And that was I hit the R key. I can then rotate it around. But as you can see here, if I rotated around, its really, really unpredictable. So what I can then specify is the access. So by X, you can see that the red line is the X axis. And if I then move my mouse around, it rotates about this x axis. I could do the same thing for the why access and I can do the same thing for the Z access. Another good way to rotate things is with this panel here. If you end, it opens up this panel, and from here you can actually change the rotation here so you can do the X. You can do the why, and you can do the Z. It allows you to also be able to do it from a much more specific and exact bases. You can do the same thing when you are, you can type in 90 degrees and it will rotate it. That's the same thing. If you actually hit the axes, I rotate about Z and I hit 45 it rose takes it 45 degrees. Now let's talk about some things that are specific to animation. So you're gonna notice down here at the bottom of your view port or just below your report ? There's what we call the timeline. Now. If you've never done animation, you probably never pay too much attention to this. But this is the number of frames and the line by which time progresses. So here you can see it starts at frame one, and it ends at Brain 250 that you can change this to whatever you like. If I want to stop it, 100 frames I can type in 100 times. I can leave it at 250 I can hit this button here to make it play. I can also, if I want to play hit control a and this goes through the animation that I have. So let's make a really quick animation. So we have our cute here that's been rotated. Let's put it back to its original orientation. I want this to rotate just 90 degrees. So I need to go to the first frame, and I'm gonna use what's called a Keefe right here. So I'm going to type Hi, right. And I allows me to lock a certain key fame, so I'm gonna lock the rotation. In this case, you can lock a bunch of different things here, but we're gonna specifically look at rotation. So I left the rotation, and what this means is that this block will be this rotation at this point in time. So no, if you look down on a timeline, you can see at frame one. There is now a little yellow line here, and that's I came from. And key frames in general don't mean rotation or translation in specific. They just mean value in time. So now if we go to frame 10 and I could click on it or I could just type 10 directly fear and I rotate my block in the Z So are Z 90 degrees and because it's a black When I rotated 90 it's really hard to see it. So why don't we rotate it slightly? Estimate rotated 45 45 degrees about Z and I'm going to again hit I lock rotation. And now I have another key friends. So if I go back and forth, you can see that the box moves. Now, if I hit play, you can see that it starts to spin, and then it stops. And since that goes for the first time frames, if we want only look at that we can change our in frame to 11 and we can play it. And you can see that it keeps rotating over and over again. Congratulations. You just did your first rotational animation. Now what I want to talk about a little bit more specifically is how come we control this animation? So I'm going to introduce you to the curb editor in order to do that, I just went down to the left hand corner here, and you see these sideways stripes and I opened it up and I'm not gonna look for the graph editor, And if you look at the graph editor. You can see if we expand this here under rotation. I have X Oiler. Why Oiler and Z Oiler And yes, I did pronounce that right It Even though it's build, Euler is actually pronounced Oiler. And if you look at this curve, you can see that this is the rotation about Z. And if you remember, this is the access we rotated it about. So now I can actually look at what I'm doing here, and I can see that this is how it's rotating. I'm gonna talk more in depth about the animation curves a little bit later when we talk about translations because it's much easier to see some of the things I'm gonna be talking about. But let's say hypothetically that we have this cute, I guess not pathetic because we actually do have a cute And if I hit play, you see that the Cube turns a little bit and then stops. But there's a lot of circumstances where we might want the Cube to continue spending. So if we want that to happen, we want to make sure that the channel, which is this entire curve here for rotation we want to go to channel extrapolation and shoes. Linear extrapolation. So now if you look at the Cube, it continues to spend. And that's because the computer figured out at what it has to do to keep the curve going at the same slope it was going before. And if you everything about your high school or college physics, you know that the slope of position and rotation defines the velocity. So let's say that we wanted to speed it up there a couple of ways we could do that. One is to pick the actual key that we have here and G for grab, and then we can move it around. Now you can see as we move it around, it increases or decreases the speed. And if you look down at our timeline, you can see that it's moving. All right, we're adding a timeline. We're adding a key frame, and the key frame is moving because removing it across different frames. So let's put that back to where it waas. Another way to change it if we just stop it here, is to put it precisely on the frame that we had before, which is the 10 frame and change how much was rotated. So like we did before I can hit r Z. I can change this rotation here, or I can go over here to the panel on the right side neck and change it. This time I'm gonna do it different. I'm going to change it to the panel here. I'm gonna increase it. Now if we increase it here, it means that we're increasing the speed because in these 10 frames, it's gonna rotate more than it did before. But instead of hitting I in this one, though, I'm going to a slightly different I'm going to hover over these values and I'm going to hit high. And if you look down here, you can see that some things have changed because, in fact, we did create a key frame. Now I do this because I want you to know that with any of these values, almost any of the values and blender you can do the key frame for them, but hovering over them and hitting the key. I now this is really powerful because not just can you animate different locations and rotations, but there's lots of different values that you can change, and you can get the computer to interpret late between the points 5. Setup: the first thing we're gonna do is set up everything so that we can work much faster and be able to see what we're doing in the render room when we want to check some things. So let's go ahead and change this. We're going to go to the top and we're going to change this to cycles render I find the cycles render is the easiest way to get really good results when it comes to rendering. The second thing we're going to do is position our block because this is what we're gonna use to make sure you make the head of our camera. So I'm gonna just move it up and I'm going to scale it down just a little bit because it will someday be ahead. I'm gonna get rid of this light because we're gonna put our own lights in now. I'm going to hit end to open up this panel. I could also have went to this right side panel and click the plus sign. I'm going to go up and click lock camera to view. So now when I hit zero to go into camera view, the camera moves along with the view port. So however you were moving in your view port like I showed you in the earlier videos, you can do that. Same way to move the camera. So I'm gonna get this just the perfect way that I want it now for you could have it anyway you want. But it's best that it be kind of to the side so that you can see everything and you can see how the light is playing off of everything. And once you have that the way we want it, you're gonna go over here and uncheck lock camera to view. So now when you pan around, the camera will stay there. The second thing we're gonna do with third, I'm not really counting. Let's add some lights. So I'm going to say I'm gonna left click just to put our curse up there because the lights were gonna go above everything. I'm gonna hit shift A and I'm going to add a plane. I'm gonna pull up on this blue arrow so it's not sharing the same space. Is that cute minute tab to go into edit mode scales? I'm It s for scale X to skillet in the X and I'm gonna make it just a little bit wider. That's a bit too wide. And my wife someone hits s for scale again and why I'm gonna make it just a little bit thinner. And what I'm trying to do here is create more of a fluorescent light Look, not necessarily with the way we're going to light it, but the structure of the lights. Like if you were in a classroom or you were in a lab many of times, many times they have these long fluorescent lights and that's what we're doing here. And I'm you know what? I'm gonna make this even been there, some of it. I'm gonna Tab, they're going to edit moan. It s for a scale. Why? To make it even thinner. And we want ah, bunch of these. So it easy way to do that is to go over here to our right side panel, go to be modifiers pounds, and I'm gonna hit add modifier and array modifier and you can see that this whole thing got longer, but it didn't actually get longer. We just added one. And you can see that because if we change the distance here those and comes back, but we don't really want it in the X. What we wanted in is in the why. So I'm going to make this 1.2 and looks like that little bit more. So I can also just place the mouse over over this, and then I could slide it back and forth. So right now, I wanted to be about like that. Maybe a little bit more. Yeah, And let's go ahead and make a bunch of these, right? And they're not quite over our objects. I'm gonna quick this green arrow and move it over. And now we have some lights. But you know what? I think we want them a little bit more a little bit tighter packed here, so we're gonna move them in just a little bit and increase the number. Now you're gonna see why I chose to do this this way a little bit later, but right now we're almost finished setting up our scene. Now, if we did Orender by hitting F 12 right now, what we would get is a really dark scene. And why are we getting a dark scene? You my ass is because we didn't make these lights actually light or we didn't make them actually admit. So let's give them a color of material that will emit light. So I have been selected. It's really important that you make sure you have everything selected that you're trying to make changes to and you can for materials. You can only do one at a time. I'm gonna quit new because I haven't made a material yet. And under Shader or on the surface instead of diffuse, I am going to quick emission. Now this means that this material, whatever has it, is going to admit this color life. So right now it's admitting white light, and it's exactly what we want. So now we hit at 12. We can see that I've seen is indeed illuminated. All right, we're all set to start modeling 6. Making the camera-body: the next thing we're gonna do is create our camera body. So we're gonna select that cube that we moved up before That used to be our deep all cube. I'm gonna go here to the objects icon and bring up the objects panel, and I'm gonna pick. I'm gonna slick that portion there on the right side, and I'm gonna call it camera Body. The next thing I'm going to do is get rid of these sharp edges. So as you're creating models, something that you should always remember is that nothing's perfect in the real world. So as we look at this box, we see that these edges are perfectly sharp, and that is basically an impossibility in the real world. So we did a quickie rendered by hitting at 12 and everything's already set up for us. We see that? Yes, the cube looks right, but it doesn't look right. You know what I mean? It doesn't quite look realistic, so we can give it a little bit of realism by just giving it a little bit of curb for the edges. So in order to do that, I'm gonna go to this right side panel. Go to the modifiers icon add modifier and choose devil modifier. And we're going to use that a bunch while we do this smiling. So right now you can see that it took away some of those edges by adding a bevel. But we want the bevel to be a little bit more gradual than that. So we're gonna increase the segments to three. Now, you can see that we have more rounded as another thing we're gonna do is we're going to tweak this with here until it looks like something that you like. So the wit you can tweak and then the profile you can tweak as well. So now that's something that I am satisfied with. We're going Teoh. Now give it a little bit of color. So we're gonna goto our materials icon here on the right side. And right now it's the only color that it can't have. I'm gonna quick Yes, use nose, and I'm gonna change to this, too. I met White, so I just clicked on that area. It allowed me a select it and then we can quick Matt White. So right now I'm OK with it being diffuse and white here So if I hit f 12 to get a quickie render and it's not bad now you can see that it looks much better than it did when it had the really rough edges. So right now, I think I want a little bit more light something I so like the lights and under strength. I'm gonna put that to three point open other than I'm going to do because I want this to render a little bit faster is changed this to GPU. Compute Now, I may have done that earlier, but I want to read Do that here. And if you have a good or reasonably good graphics card, that's something that you're also going to want to and make sure you have on throughout. Everything's now it's hit at 12. Take a look at it. And yes, it looks much better than it did before. So we didn't really need to let that finish bow. We did, and it's OK. The next thing we're gonna do now that we have some color here, actually, we haven't, you know. OK, so we did give it color. It looks okay. Let's give it some more color. So I'm gonna tap to go into edit mode a minute. Control are. And this is kind of a way to subdivide a sum. Divided is the wrong word, but kind of loop cut. So control are. And you see this purple square here. So this is where would add another set of burgesses. Now we want to of these. I'm gonna use my middle mouse wheel, and I'm gonna move it to give us to enough. I'm moving a bunch. Give us a bunch. If I move in a little bit, it gives us that little bit. So I'm going to hit enter, and now it lets us slide it. But I wanted to stay dead center. Someone had escaped because it automatically puts it dead center. Now, I want to make this band here dinner, so I'm gonna hit s for scale Z so that it stays in the why. And I'm going to make this part been here, and you can see that we go to thin. It affects our bevel, and we don't want to do that too much. But I'm OK with that amount. So now, like I said before, we're adding some color to this. So we're adding black. We want to add a black bar there, so I'm gonna hit Plus here, and this allows us to add more than one material to the same object. So now I'm gonna hit new, and I'm gonna allow it to stay diffuse. But I'm gonna change this to black and you don't want You don't actually need it to be complete black and in general, you don't because you won't be able to see detail, which is not a big deal for us. But a lot of times, if you make something complete black, you won't be able to see detail cause it's absorbing too much of the light. Now I want just this section to be black. So well, I need to do is hit a sign. But the best way to do this and make sure you have all the rights of selected is to go into base select mode. So that's it. Down here we click based select mode, make sure that Onley those faces are selected. And then now we click us sign and we can't really see it because if we go to our view, poor shading were in solid moan. But we're gonna change to material mode. And now we can see that we, in fact, do have this. We do have these by forest, but there's a little bit ah, uh, issue going on here if we go to our panel are modifier panel and we increased the faces toe for that. Fixed it. Uh, if we do with that didn't really fix it very much. The profile didn't fix it, but it looks like if we take the segment up, it allows us to get the look that we're going for. So I'm okay with this here. Now, the next thing I want to do is give it just a little bit more coming out. This is you. And you like the box here with just a single line around it. That is perfectly fine. But if we take a look at the one that we're making, we see that I gave it kind of this black line and then another color underneath, and we're gonna go ahead with that same idea here. So it's tab to go back into edit mode. I hit one to go in the front view and then five to get into Ortho. Graphic view I'm gonna go back to my Verdecia, select a two months elect, be toe box like I'm selecting just the bottom hat Vergis is. Then I'm going to go to based Select won't now. So you see Onley The front face is selected even though we tried to psych everything. And that's because this here, this icon on the bottom limit selection to visible is collect. But we don't want that quick. We want to be able to select everything that's behind it, even if we can't see it. So now you can see that everything is selected, even our most bottom face. Now we're gonna go to the materials tab and we're going to hit the plus again because this is still the same object. We want to give it one more material and we're going to select. Actually, we're gonna cook new material, and this time we're going to do Principal B s d. Now, I could have done the same way we did the others, but I chose this one because this is the way we're gonna do a lot of our materials. And in fact, most materials you can use you can use the principal principal BC the APP beat. Now you see it? This is this a tongue twister? I'm looking at it. I'm still saying it wrong. Principal B S. D f shader And it's because you can make metallic beings and die electric things and you can change different parameters here. And I know this looks like a lot, but actually were on Lee going to use two of them. So in our case, I'm gonna call. Let's give it a name first, Let's call it Let's call it new pains for lack of OBU pain. I'm tempted to keep it that way, but let's comic let's call it blue paint. And so what's important when you're working with the principal? BST Shader BST F shader is how, if it's a metallic or it's a dialectic, so die electric include things like rubber and ceramic and plastic and metallic, obviously steel and copper and iron. But this is going to be as if it's painted plastic, so I'm gonna leave the metallic all the way down to zero. Now, the only other perimeter we're going to use today, for the most part, is this roughness. So if you wanted to be mirror shiny then you want the roughness all the way down. And if you want it to be dull or not, have any shyness, shiny nous? Then you put the roughness way up. So we want this to be a little bit shiny. So we're gonna increase this just a little bit. And, you know, you could make yours whatever color you like, but I'm gonna go with from the So now, in order to make that take effect, I need to hit a sign. So now we have our box here. I tab took a lot of it. Looks pretty good. Let's get a quick ing render and see what that looks like. Not bad. Not bad. Kind of got a pokey box thing going on here. I realize it's not quite the right color for Pokemon ball. And it is a box, but kind of the same thing. Anyway, Let me on. I'm gonna call it a pokey box. All right. Next part is the lenses 7. Making the lens: So let's get started making the lens for your camera head. The first thing we're gonna need to do is make sure the cursor is where we need it. So we wanted to be dead center here, So I'm going to place it by going into edit mode on the camera. And as soon as I pick something that has a center in the same place that we want a center to be, I'm gonna hit shit. Yes, and I'm gonna say cursor to select it. So I selected this face here. And because this base has the center in the same exact place where I want my cursor, I just hit shift s. And that moved the center to that location. That's a good way to move things to precisely the location that you want it. Now, if you have any questions as to what I'm pressing, if you look down here, you can see the letters and numbers and things that I'm typing. All right, so we have our check. We have our person at the right location. So because we're making the outer parts of the lens, I'm sure that has some technical term. I feel free to leave something in the comments if you know what that's called. But we're going to make cylinders right now. So I hit shift A. I go to cylinder and I see side view by hitting three, and I see that it's not face quite the way I want it. So I'm going to go into edit mode by hitting Tab are for rotate. I'm gonna hit 90 using my keypad. Now did this in edit mode because I wanted to be the default rotation. When you rotate things in object mode, which is when I had tapping in, which is what we're in right now, it means that it's default. Rotation has been changed. So some weird things can happen when you're doing animation. If the defaults are not where they need to be, so that's just a little word of caution to you. So now I see that this is in the right location. I'm going to hit Tab and go back into the edit mode, and I'm going to scale this down. But I'm going to scale it down Onley in the wise I'm gonna hit s for scale. Why? To make it just going or why and I'm going to scale it down. Now I'm gonna take I'm gonna go back into tableau cause I wanna move everything, including this origin here. If you move things when it's in the edit mode, the origin actually doesn't move. And Blender thinks the center of the object is where the origin is. So now I have that at the place where I want it. It's still rather big, So I'm gonna hit scale, and this time I'm gonna hit shift. Why? Because I want it to remain the same length. So shift, why locks the scale in the wild where it is, and it allows me to scale everything else so you can see that it didn't get any shorter. But it did, in fact, get smaller in all the other dimensions. So that's about where I want it for the diameter. Now, this is gonna be the part of the lens that has a little bit of grip for the hand. So in order to do that, we're gonna extrude out these sections. So what you're gonna do is shit select every other face and if you are not in this mode, it means you're probably in Vertex airline moment. So in order to see switch that you're gonna go down here to your selection menu and you're gonna quick base select. So if yours looks like this, it means you're in Vertex Select mode. It looks like this and you can Onley so, like the lines you're in line, select mode or edge select mode. And if you hit the last one urine base, select most. Right now, we want to be in base select mode, and that's good from when we want to select basis. Big surprise, right? So we want to go to every other base and luckily, we don't have a huge amount of basin, so this is not extremely tedious. Blender does have a means for doing Checker select, but I was not able to get it toe work, particularly for this example. But feel free to give it a try on your own and then let me know in the comments. If you're able to make it work, it's down here on their select. It's one of the options called Checker Select right there, but it didn't work for me. If you can get it toe work, please let me know So now you can see that I have all of these faces selected. And I did that would shift select. So I'm going to hit extrude just like we did before. Except I'm gonna hit enter, cause I don't want to actually extra at this very second. I want to scale it. And this is what's going to be interesting. If I hit s for scale, you can see that the edges come outward and that happens because it's scaling in all the dimensions. But I don't really want that Someone had shift ze from undue I'm gonna hit s for scale again. Is that this time I'm gonna hit, Shipped. Why? And this is going to make sure that the why just like before remains unchanged with locks, bs and that gives us this Look here. This is almost what we want, but not quite. What we really need is for these edges to not be so sharp. So the first thing we're gonna do is go to our modifiers panel. We're gonna add modifier, and we're gonna pick bevel just like we did before. I tell you, we're gonna use this a bunch of times, and just like we did before. I'm going to increase this to the re. So now if my tab out of that to get into object mode again, you can see it looks much better. I'm going to actually increase our with, though, and I say that I'm not really getting any effect there, and that's because things were just too probably tight. But I do get some effect with the profile and feel free to put that to whatever you think works best for you. I'm okay with what we have there. The next thing I want to do is create and opening and an edge. So I'm going to go back into edit mode by hitting Tab. And this time I'm going to hit I for inset face. So this allows me to put a face inside of another face. And then as I move my cursor, I can scale what that face is gonna look like. So right now that looks about right for me. The next thing I want to do is on the back side. I'm going to do that X aim exact laminate. I inset bases and I'm going to scale it down. So there's an edge there. And now we need an opening because we need somewhere to actually put the lens. So I'm still in face of, like, mode, and I got to face the light mode. If you remember, by hitting this little icon down here, I had X, and it's important that you picked bases, right? So now you can see that I have this opening. I'm going to do the exact same thing for the back. I had X and faces. So now I haven't opening. But I don't want this edge to be visible to the people who are watching. So the next thing I'm gonna do is make sure that that is not a hard edge there. So I'm going to select all of these burgesses and loop. So I'm gonna hit Ault and then left click to select. I'm gonna hit extrude. But I don't want extruded in the normal way. I just want to create. That was very deceased. I'm gonna hit cancer, so we're not in extrude mode anymore. And then I'm gonna hit, grab, And then why? So that I can pull those burgess ease back. And now you see that we have an edge and it looks much better, Much better. The next thing I'm gonna change, I feel like this is just a little bit long for what it's supposed to do. I'm gonna hit a 1st 1 to un select mint again to select everything that I'm a hit scale. Why? So this little on me to make it shorter and it's completely up to you how you do that. But that's that's a definitely above look that I was going for. So now let's add our seals. We're gonna have that kind of multi stage lens here. The next thing I'm gonna do is hit Shift A for ad Olympic cylinder again. I'm in a tab to get into edit mode. I'm gonna rotate by hitting our about the X this time 90 degrees by hitting 90 and are numb pad. Then I'm going to scale in the why So s why. And now I'm gonna scale and then shift. Why the lock? Why in the same place, right? And now I'm gonna move this. I'm gonna go out of tab. I'm gonna go out of edit mode into object moves. I want that origin that come along with it and I see that it is a bit long. But instead of scaling at this time, when hit a two run select everything instead of scaling at this time, I'm just gonna move these back Burgess ease. I'm gonna move them forward here because we're just making a seal like a metal steel that's in between the different stages and that looks a bit small to me. So I'm gonna hit a toe on select and then again to select everything I'm going to hit s And I'm just going to scale the whole thing up like this. And that looks okay to me. I'm gonna hit s for scale and why I'm gonna make it a little bit dinner, and that looks good to me. So now you can see that the origin is not where the object is, and that's probably not going to be a big problem. But let's go ahead and fix that so easily, move the origin toe where the geometry is. We make sure that that objective selected we hit set origin and we do origin to geometry. So now the origin is in the center of the geometry recreated. So now we're going to do the same exact thing that we did before. We're gonna select the face. I went into face select mowed down here. I'm going to select this face. I hit ah, high but inset faces and I go to the front side. And after I selected, I make sure that that is in fact, what selected And I can see that this little bit of edge of orange here is in fact selected . So I'm going to say I for inset base. I'm gonna make it about the same. But just from what it looks like, it doesn't need to be exactly the same. And then I'm gonna select bet inside face, and I'm gonna say x for delete faces and I'm gonna do the same thing to that backside base . So I select the Face X bases and now you can see all the way through its That's pretty much exactly what we want. And we're going to make more than one of these. So before I do anything to and I'm gonna go ahead back into edit mode back into Sorry object Moon, I mean it Shift D And then why so shifty for duplicate? And then why so I can move it on that same access and everything could stay centered. So now let's make this the seal. Yeah, let's make this just a little bit. Been there. Actually, you know what? I'm perfectly fine with that. Let's make the next piece here. It's going to be slightly bigger. So it's first of all, let's make a little bit bigger, but not And you, actually, let's make the whole thing bigger. So we're gonna hit scale. We're gonna let the whole thing get bigger and right about there. Now, I'm going to go into verdict select mode. So that's down here on the left side, This icon down there and I'm gonna say scale, and why I'm gonna make it just a bit wider. That's just about perfect from there. We're going to shift D. Why 50 for duplicate? And then why? For moving along the X axis, the Y access and then shift d for duplicate again. And then why? Right there. So this gives us a kind of multi staged looking lens or lens casing. I'm not really sure if you know that. If you know what this call. Please leave a comment. Let me know that I would like to feel a little bit smarter than I do now send lens cover thing. But now, as we're trying to make this lens cover thing, let's make these slightly different sizes. So let's go back into edit mode, and we're gonna make it a little bit smaller. But I want the length to say the same. So I'm gonna say scale, shift. Why, Till block the scale in the white and I'm gonna bring it down just a little bit. And I'm liking the way that looks. And you know what? I'm gonna take the one on the back and I'm gonna make that one a little bit bigger. So I'm gonna tab to get into edit mode scale. I'm gonna hit shift wide of locked the blink and make it a little bit bigger. Yeah, and I think I'm okay with that. Now, if I was making this from our reference, I would spend a lot more time trying to make it look like something that you would actually see. But since our main purpose here is animation, we're not going to spend a whole lot of time on the modeling. Now it's modeling. Is something that you're interested. I would be happy to spend more time on that and future classes. Leave me a comment and let me know, and I'll be happy to oblige. So right now, let's get rid of these gaps on the hit three to go into side mode G for grab. Why I to make sure I move it along? That why move it along the y axes? I'm gonna do that again. For the next stage. I'm and make sure I hit three and then I'm going to make sure it's selected. Then I hit G for Gragg. Why? To move it along. That access, I do the same thing again. Grab G for grab wide will be along the access and then for our outer stage grab. Why now? That is precisely what we were looking to create. Nothing ex being we are going to do is make the actual glass part of the lens. We're gonna do a little shortcut here. We're not gonna actually use a glass material because that's to take us longer. Or it could take longer to do some of the renderings. I'm gonna show you a trick to kind of make it look like glass but without actually dealing with the different different technical issues that go along with rendering real see through glass. So in order to create that rounded look that a lens has, I'm gonna hit shift A and we're gonna use a UV sphere. So make sure you are in object mode when you do that, so that it is a separate object and you do that by tabbing to get out of edit mode. So I'm gonna tap into edit mode this time and see that this is not face the way I would like it to be face. Yes, it's true that this is a round part of the face, But if I would delete any part of this, it wouldn't really leave me with a circular cross section. So what I'm gonna do is hit our for rotate X. So it rotates about the x axis. I'm gonna hit 90 so that we rotate about the X axis, and now you can see it makes a lot of sense because it should be like B I, and that is in fact what it looks like now. But we don't need this entire sphere, so I'm gonna hit. Be for box Select. And I'm gonna select everything behind about their nuts. Not important, precisely what you If you took these Vergis eases back from here, any of these, it would have been fine. Just basically go with what makes sense to you. Like I said, the main point of this is for toe look kind of like a camera. It's an animation SOS. Not important that it be photo realistic, because that's not the point here. So I'm gonna delete all of the vergis ease, and that leaves me with just this portion here and I'm going to select. I hit one to go into front mode, hit a to select everything s her scale, and we want it. We don't want to be able to see the edges, so we want to make sure that the edges are outside of the edges of the visible part of our outer lens. So I hit three to go back into side moan and what I've seen now, if you remember what I was talking about before with the origin and the geometry being in two different places, let's go ahead and fix that now, by going to the left side panel going to set origin origin to geometry. So now we're back in business. We've got that origin there and I'm gonna pull it back. I was pushing forward just a little bit. I'm doing that by clicking and dragging on those arrows to make sure I put it where I want . I don't actually have to hit G when I do that. Now, I want this to be smooth, so I'm just going to make sure it's selected and it is selected because I see this orange line here, I'm gonna hit smooth. So this is an easy way to make your geometry smooth without having to add a lot of render time. If you're familiar at all with subdivision surfaces, which is in your modifier menu, this comes at a price because it actually adds some geometry when you're doing the render and that can slow down your rendering and depending on how you use it, you can also slow down your view port so we don't need to do that right now. We are doing most everything with just smoothing and devils. So the next part let's go ahead and smooth all of these because it wouldn't really look realistic if it had these faceted faces. So I'm just going through and smoothing each individual section. Now let's give everything a name. So I'm going to go to our object icon here, and I see that is called Panel. I'm going to call it Outer Lands, and I might be misspelling things. I am a terrible speller. Uh, you can let me know in the comments if you like. I don't know that I'll go back and fix that, but, you know, I definitely would appreciate the info. Next. I'm going to change this. To when? Actually, let's let's just call it seal And how this in her case, because I know I can spell case it will say Outer case. Look here and I'll call this CO two. So now they all have names. I'm also going to go ahead and call this one lens. All right, now that all have names, let's give beings some Let's give them some materials, so we're gonna leverage some of those materials that we already made before. So let's call one. We have a material that's just called material, but let's give it a better name. Let's call it Matt Black. And if you don't have this one, you could have You can easily create it by hitting the plus sign. It will already be on diffuse. And you just want to change. You just want to drag this down till it's dark or if you want to go get exactly what I have here, it's 0.334 red, green and blue. Now for these seals, we want them toe look metallic. So I'm gonna hit new material. I'm going to call it metal. I'm gonna go to the Shader surface and I'm going to select principal BST. So we talked a little bit about that before. You can make pretty much anything with this, and we want this to be a metal seal. So we're gonna up the metal nous all the way here, and we want there to be a little bit of roughness. We don't want it. Toe have a mirror finish. So we're gonna up that roughness just a little bit if you want to make yours exactly what I have mine at its at 0.153 with metallic all the way up there at 1.0. And for our next year, we're gonna just use the exact same thing. And that's going to save us a little time. Where the next middle piece here, that part that we called inner tastes. I'm gonna make that this same matte black. And for this one, this one is gonna be slightly different. When I go to the mat white, I'm gonna hit Plus, to make it slightly different. And I'm just gonna call this one white and I'm going to make it just a little bit more white, someone to drag it, all of it to the top and we'll see what that looks like. I wanted to be a little bit different from what you saw before. Now for the lens. So we look at the lens. It doesn't really have anything that looks exactly like what we want, but it's most similar to the metal. So we'll start by selecting metal. But we're gonna hit the plus sign to make it new. But so when you had the plus sign, it makes a copy of whatever was selected here before, we're gonna call it glass. This time we're gonna take the metal nous all the way down. So the way the principal Shader works, things are either metallic or die electric and glass is in fact a great die electric. So we're taking it the dialectic all the way down and we're gonna have the roughness be pretty low here. Just a little bit of roughness because we wanted to be really reflective, like its glass. Now the next trick we're gonna do is to take the darkness all the way down. Because if you ever look at a camera lens because everything inside the cameras dark, there's no light coming from out of it. Blends often looks black. You can't really tell. I mean, you know that it's clear and it's just not letting any light out. So it's black? Yes, it looks black. So now if we look from the camera here, we hit at 12. Give us an idea of what the Renner is gonna look like, and so far that looks okay to me when you hit F 12 them. Depending on your computer, it could be taking much longer. And don't worry about that. If that's the case, um, sometimes it depending on what kind of computer you have it takes longer. Now let's take another look at the renders. I go here. It's one of you poured shading quick Foreign Durkin's I want you to get a good idea of the reflectiveness. So people look at this here now it doesn't quite look like a lens, but it does look like glass and you can see the reflection of those lights above. And that's why we put them up there, because it does really well with reflections. And if we look at our seals to see that our seals have this nice summary high gloss. But you know what? I think it's actually too high gloss. So the cool thing about being in render mode is that I can select this and I can verify that I have the right being collected because the material is metal and I'm going to increase the roughness some because it's a little bit to mirror finish for me, right? And that looks much better. So now there you have it. That's your camera head. If you'd like to add anything else to that, like a little flash here like you saw on my version, I pull that up. If you'd like to add anything here like a little flash or a little antenna. Feel free to do that. I think you know enough about modeling and materials to completely pull that off. Now, if you want to put something here that's a little bit see through all you need to do, I'll show you here. If you wanted to do that is under new material surface, you would do translucent. And then you can make a see through material, So feel free to do whatever you write and then please do. Orender, let me show you really quickly how to do Orender. You're gonna go to the camera icon here, right? And when you actually you can hit F 12 surrender if you like, You can also hit this friend of button. And why don't we do that? So if I hit F 12 and this is just taking a moment here, perhaps I'll speed this up. And if I want to say that, I'll go to it is at the bottom, save as image. And when you save as image, you'll be able to pick a location to put it on your computer and then please upload it so I can see it. I can't wait to see what you make, so I will see you on the next one. 8. Making the body: this part of the project is where we make the body. So before we drank the body, I want you to have a reference so that you know the proportionality of things that's not important, that your body would anything like mine. But it is important that it is approximately the right dimensions. So in order for everything, toe work and everything toe look like a humanoid shape. The general shapes and sizes of things have to be about the same. So I am going to boot this up right now and turn on this place will remember. If you want to see what I am typing, just look down here at the bottom part of the screen. Bottom left card scream and you can see exactly what I'm typing. So what we're going to do to start with is to get a reference. Now there'll be a link to the reference in the notes on the main page and probably a link also on the comments where this part of the video can be seen. So in order to do that, after you download it toe wherever it is on your computer, after you download the link to wherever it is on your computer, you're going to either hit n or this plus Mark right here. So I hit the plus mark or I it in. And then I go down and I'm looking for the part that says Background image. I'm going to check background image. I'm going to expand it and then I'm going to click the button Issa's add image. So in order to add the immense I click open and now I'm going to navigate to the place where you downloaded it. My case is in this file here. It's called a reference. I'll make sure it's called reference when you download it. So then we say open image, and now you can see that it's right about here Now, Right now, we would like the beat to be at zero, so we're gonna ship this picture up, So in order to shift it up, we're going to go to a background image is here on the right side panel, and the one on the right is the wide distance. So we're just going to click, and I'm going to drag it open toe right to get it about to where I wanted. So now This is what our general body proportions will look like. I'm going, Teoh Hit A to make sure nothing is selected. And I have I'm going to hit B for Bak Select. I'm going to select everything and then use the arrow to drag it up so that it's a about the same side at the same location as the head reference that we're using. Come on, Hit period to center. On that view in this period, on the number, I'm gonna A to get out of all of the get out of all the selections. And then I'm going to select just this back. Just the camera box head. I'm gonna make it about the same cause I don't know anal like that. You can leave it to whatever you have it. So I'm gonna go into tat. I'm gonna hit Tab and go into edit moan. I mean it A to get out of all the selection than a to select everything. And I'm going to zoom in just a little bit. It s for scale X to skillet in the eggs and then I'm going to hit s for scale and then z to skillet in the wives and I have it approximately the same size. And like I said, it doesn't need to be even close to exact just around the same size. And now I feel like my head is a bit long, so I'm just gonna go ahead and select box selectees back courtesies and just drag him in just a little bit because I think that looks a little bit. But like I said, it does not need to be exact. And, uh, now, when you're using a reference image and you initially put it on, it's in every Ortho graphic view, right? If I look from above a problem from aside, Father, come in front. It shows me everything. It shows me the same view every time. But that's not actually that useful because the side view should show me the side wouldn't really need a side view here. But seeing the front view from the side is not all that helpful. So what we're gonna go ahead and do is make sure that that's Onley visible from the side from the front. So in order to do that, we go into our reference image here, and instead of it being all views we're gonna go to just front of, you know, it's not hit three for a side view. It's not that if I had seven for up above, it's not there either. Another thing we're going to change is we're gonna drag these lights so that it's back to being above our model. So now everything is all set up for us to do the body and everything else. So let's really quickly let's just do the general shape for the body. So right now our three d cursor is about in the center. Let's go ahead and check. So x zero and I'm just cooking in here to make sure that it selected I'm hitting zero and make sure it's dead center who? I want everything to be online. And I'm just gonna shift it up just a little bit because it just makes support to be less work when we add it. So I'm going to say shit A I'm gonna add the cube I'm gonna tap into edit mode s for scale Z to make it shorter than I'm gonna grab everything it Z So it's days on this access. Then I'm going to hit. As for scale X so to scale it. And now that it's about that right side, I wanted to have those slants on the outside once again. It is not necessary that you do this, but I want I'm making it about I want you to see how I made it, someone to select, just thes bottom. Vergis is here, and then I'm going to hit s for scale X and I'm going to drive them in and I'm gonna have Might be a little bit smaller. I think he was a little bit too broad shouldered in the original song. Not gonna be quite as broad shoulder and let's go ahead and g for Grab those bottom versi since they're already selected. Easy to make sure that it's on the Z axis. Someone dragging straight down just a bit. Now that is precisely what we want. But as you can see, it's a little bit long, so I'm going to hit a to get out of all those selections. It be for box select. I'm gonna grab, goes back overseas and bring forward. And now we have something that looks a little bit more like a torso. I'm going to actually going to edit mode, hit a dislike all the Virgin sees. I'm gonna bring this back so that it's kind of align with the head and we're almost done with that. The last thing we're gonna do is we're going to go to our modifier menu and we're going to do our favorite modifier for this tutorial or for this project, we're gonna go to Bevel that you thought I was going to say bully and well, I almost did. But I would have been a mistake. I'm gonna increase the segments toe three like we always do. I'm also going to mess around with with to get it to what I like it to be. And I am okay with this here and that looks good to me. So there you have it. We look at our reference. This is about what we wanted. Let's go ahead and give it a name. Let's call it torso and let's give it a material. So the main material and you can see here that we can't really see our object. So one quick trick to see what it looks like right now it's at back. We can hit front and then we can see both. We can also change the opacity depending on how you like to do it. But you can see here that we went with that off white color. We have that Matt Light. So let's go ahead with the matte white. Since that's what we did for now, To see what it looks like in the render our render window is not set up right anymore. Because we moved everything. So we're gonna go to the same panel. We're going to click lock camera to view. We're gonna situate the camera. So it's exactly where we want it here. Then I'm going to own click lock camera to view. I'm gonna drive these lights up so they're not in the way, and I just select them and hit that arrow. Now, if I hit f 12 Yeah, that's exactly what we wanted. So now that that is all set up, we're ready to add some detail to the body. So see you in the next part. Good luck. 9. Making the screen: Now that we have our body, let's go ahead and make that TV section of it Now just to give you a good idea of what that looks like, Let's go to our background image and make sure that you get a good look. So if you remember how to get to the background and just here on this side panel and we're not just gonna quick front up the opacity and you can see that we have this screen right here and we're gonna do just that, we're gonna put a screen there. I'm gonna show you how to make that screen mitt light like an actual TV screen would. So the first thing we're gonna do is we're gonna go into edit mode for this object. The reason we're going to do this is because when we actually do the animation, we want everything associate ID with this body to move. Now we don't have to make it the same object. But making that the same object is going to make it just a little bit easier for us in the end. So we're going to go to shipped. We're gonna hit. Sorry. Shit. A for ad. We're gonna add a cube, And that cube is already gonna have thes beveled edges. And that's because we picked beveling as the modifier for this object and were already inside the object. So right now, this is a bit too large. So I'm gonna hit scale. We're going to scale the whole thing down just a little bit so that we can work with it. Now we want this to be completely inside the plane of the body. So right now it's way too tall, so I'm just gonna grab I'm hit a for un, selecting everything. Then be for box, Elik, and I'm going to grab those top burgesses and just bring them down. Now, I only wanna work with the box that's in the center right now. Not with the out of box that we made it in the last video someone. It's like one of those Vergis is and then hit l, and that's gonna allow me this, like everything that's connected to it. So now I can use this arrow. I can bring it over to the side, and I can see that it protrudes just a little bit maybe too much, because we want this to be a screen and not its own peace that would make it look strange. So that is about what I am going for. Now we're going to make an opening in the screen the same the way that we made openings before. I'm going to go into base select moment. I do that by going down here in clicking our face select icon. I'm gonna select the face that we want to create the whole in and I'm going to hit I for inset base, Scale it down just a little bit. So what? We want the edge thickness to be. Then I'm going to hit E for extrude and then I'm just gonna pull that back into the body. So now we have a place where a screen could be. Now we're gonna actually make the screen. If we were really lazy, we could probably just leave it like this and say, Oh, what? The screen is flat, but how many? How often our screens, But well, they're flat all the time these days, but we're gonna make this an old screen. I'm sorry. We're going to make this in own school screen, so it's gonna be It's going to be slightly Spiric Aled, because we're making the robot kind of retro. So we're going to go back into back into edit mode for the objects. Why selected it and I hit Tab. Now I want my cursor to be in the center of where screen is gonna be. So I I selected ah, set of bases where the center of those faces are going to be where I want the object I hit shift s and that's cursor to select it. And that puts it dead center there. We want that person. We're going to create that screen monitor. So now I'm gonna stay in this, objects, I'm going to go back into edit mode. I'm gonna hit shift A and I'm going to add a UV sphere this time. No, we did that before with the lens and before with the lens. The lens is kind of like an eye. So when we looked at it from side view, we rotated it to make it to make it the same as it would be an eye. But this time it's more like a screen. So we want there to be square edges. So that's why we're gonna leave it rotated like this like this this time, another little trick we're gonna do is we want to just work on the screen right now, everything else over here would be in the way. So I'm going to go to our select menu, which is down on the bottom here. And I'm going to say in verse Select So also could have said control, I I'm gonna hit each to hide it that way. It's still there, but it's out of my way, and that's the way I like it. So next thing I'm going to do is go into Vortex Select Mobile going down here hitting that Icahn there and then I'm going to do circle select. So in order to circle select, you hit C. And if you look at my person now, it's a circle. And if I use my middle mouse button, I can make it larger and smaller. So right now I want kind of small. And if by left click, I condemn, drag it around and I can select the parts of it that I'm going to eventually delete. Now, if you do this and then you look at the other side and the other side is not selected. That means that you need to hit this button here. So if you hit that button there, you won't be able to select things on the other side. And in this case, you do want to select everything on the other side. So make sure that where it says limits selection to visibility, that is turned off. So let's go ahead and finish what we were doing here. We want to create just the prosection of a screen. If I look at that, that looks perfect to me. So hit three to see from the side view again, and then I'm going to hit X to get rid of our vergis is that we've selected and that looks perfect. So now we're going to unhygienic everything by hitting Ault reach and I'm going to now it a two un select. I'm going to select one Verdecia, and I'm going to hit L. And if remember, we just used that shortcut before. That's the select, everything that's connected to it. So if we wanted to select everything that was in that original piece, which is like one courtesy, it l that would select that we could select one part of the other box hit L. And that was like that. But in this case, we want this screen. So we're gonna slip one of these of our disease and hit. I believe that'll work. You don't always have to select the Vergis e. Um but that's the way I often do it. So I know where my cursor is, So I'm gonna drag this to where it would be. And right now it is too big. So I'm gonna hit one to go into a front view, and then I'm gonna go down here to the background cause it's kind of on my way here and I'm gonna choose back that way I can see it much better. And I'm going to hit s for scale Z to skillet on the Z. Then I'm gonna hit G for grabs. Eat, move it on the Z. Then I'm gonna scale it against over back into front mode. Scale s for scale, Z. Now I'm going to scale it in the wife. So it s sorry in the X and its two circular right now. So in order to go ahead and white not out of it. I'm gonna hit s for scale. And then But why? And that's gonna flat in it out. And right now it's still two curves. So s. And then why? And that's going to toned down that curvature. And right now I still think it's a bit too high. So I'm gonna s for a scale again, this time in the Z. Bring it down some. And then if I look at it, I'm going to bring the I think I'm gonna shifted forward just a little bit and see what that looks like. I am okay with that. That looks like a beautiful screen. So now you have the screen. If that is all you want for your torso, um, you can move on from here. Past the next video, we'll put those vents in and go straight to doing the arms. So if you have a render of this, remember to do Orender. All you need to do is hit the camera icon hit, render or hit F 12 and then you can go to image once it's rendered and save it here, save it to your computer and please uploaded. Let me see what it looks like. All right, I'll see you on the next one 10. Making the chest: All right, now, let's make those events we were talking about before. So I'm gonna hit one, and just to give you an idea with those events, look quite. Let's go to our background, our background or reference image minute, front. So you can see it. I can up the hope a city get so you can get a good look at it. And as you can see here, the outer tasing of this is bigger than our body. So we're going to do that. Same idea now, you're welcome to do it the same night that we did the screen there. Or you can do it the way I'm about to do it here. I'm gonna shift that to the back. I'm gonna go inside of our object by going into edit view. So I had tapped when the object was selected to go to to go into edit view, and I'm going to select the box that we made before, So I'm just gonna go to Harvard. Asi selected it. L mean, hit shit D for duplicate eggs to make sure to move it on the X axis. And now I'm going to scale it in the disease what s scale? And that's pretty much exactly what I want there. I'm gonna hit a now to un select everything that I'm a hit B for bak slick. Because I wanna grab just bees Vergis sees on the back of that box we just created when it three to go into side view, and I'm gonna pull it out. So now we have that same thing going on here that we did on our other one. Now, we just need to add these events, and in order to do that, we're actually not going to go back into the object here. I know we said that would make it easier. And we did utilize that a lot, but we want to use the array modifier, and we don't want to use it for the torso itself just for these events. So in order to do that, I'm gonna have to make it its own object. But let's start by making sure a cursor is in the right place. So we're gonna use the same approach that we've been using for placing a cursor. We're gonna select some Vergis is here. We wanna make sure that only the front overseas are selected because that's where we want a cursor to be in the center of. I mean, it shit s. And we're going to say cursor to select it, just like we did before. You should be champs at moving that three d Kherson. Now, now, let's add those events of events essentially are just cubes. Pretty much everything we've made has been either a cube or spear or soon there. And ah, lot of the modeling you're gonna do. You'll be able to start their depending on how complex or how organic you're making your objects. So we're gonna hit shift A and we're going to add a cube this time. Now, this is way too big, so I'm going to scale it down in the lives. We definitely wanted to be like a bet blade. So it needs to be fairly been. Then we're gonna s for scale in the Z. We're gonna bring it in, and remember, if you ever need to see what I'm typing if the individual if the individual, uh, keys are not showing in big print that always also down here. So right now that's a bit too long. Someone s for scale X to bring it in. And we do want to extend into the edges because we don't want it to look like it's freestanding. So that's it s for scale. X. Let's put it out just a little bit. And if I look at this, it looks a bit thick to me. So it's it s for scale. Why? To make it dinner. And I think we have it. Now I'm going to it this blue arrow and move it up. I'm gonna take the green arrow to move it in. And right now, it doesn't quite look like event because it's not rotated. So we're going to rotate this about the X access we can go from side view to do this, I three to go into side view. I'm gonna hit Z to go until Reier frame most. We can kind of see it better. And now I'm gonna hit are for rotate and ex to make sure it's about the X axis Now, typically, if you rotate in a north a graphic view like the side view, you don't necessarily have to hit that. And you know what? I'm going to angle it like that because for whatever reason, that's just the way I like it. So that looks okay to me. Let Z to come out of that mode. Now. Lender has put us in solid mode. I'm gonna go back up to material most so I can see what everything looks like with its materials. And this looks relatively good to me. The next thing we're gonna do I'm gonna go tab back into edit mode and I'm going to go to the modifier. And I'm going Teoh at you guessed that that bevel modifier because I don't want it toe have completely sharp edges. So I'm gonna up it just to to this time it's not really that important, cause you won't see it that well. So the next thing I'm gonna add, can you guess not the bevel metal fire We just added. That silly we're going to add is a array modifier because we want there to be many of these blades and we want them to be perfectly spaced. So when we look here, we see that it's on the X, and that's why it's beside it. But we don't actually want that. So we're gonna take here and turned at zero. We're gonna put 1.1 there and then we see that No, that's also not place that we want it. And there we go. So now it's Ah, it's in the Z. And if I would have really would have thought of that, I thought about that I think I would have known that it was a busy and we could get a better look at that. In wire frame moments, I had vehicle and wife brain mode. I hit three to be inside of you. And you know what? These events are a little bit to smooth. So you know what? I'm going to go ahead and take off the devil modifiers. You can take off the modifier by hitting the X that will make it normal or make it look like it doesn't actually have the better bevel modify or any modifier anymore. Once you hit the X, I am happy with what that looks like. Now all we have to do to make it more is just add the number here and now we have our events, so I'm going to just course nihilistic grievance. Shift this up just a bit and I'm going to increase their spacing so that it looks like a completely quote spent now. The reason I used the array modifier is because it's much easier to evenly space repeated object, and I encourage you to use it that way to you. Don't have to just be using it in one dimension you could have. We could have done it in both the X and the Y or the X, Y and Z, making it more of a three dimensional representation. It's right now, the last thing I'm gonna do for the main body, I'm gonna hit smooth. And there you have it. That is our body. The next thing we need to do is do the materials. But if you don't care about materials, you're ready to go to the next section for the body. And then there's the rating after that. So I just like before I would love to see what it looks like when you do this section. Go ahead and upload, you're render Let me see. All right. See you on the next one 11. Creating materials: now that we have all the pieces of our body. Now let's go ahead and make it real good by giving it a material. So the first thing we're gonna do is go into this object by hitting Tab, and the first thing we're gonna do is kind of leave the first material. So we're going to hit our materials icon and we see that the matte white is what we have for the bigger part of the body. And that is what we're looking for. If you wanna get a quick look at what they're supposed to, what he's supposed to the play. I can bring that up really quickly by going to our reference image and clicking front and up in the opacity. And from here you can see what it's supposed to look like. So we're gonna go for that same look with this one. Now, if you haven't object and you have and you want multiple materials within that object, you're gonna need to hit the plus sign so that you can have more than one slot for each material. So right now we would like the thes materials for the frame of both the TV and event to be the same blue that reused for the head. So I hit the plus sign to open up a slot, and now I'm going to select blue paint. Now, aren't you glad that we called it something we could figure out? So now I'm going to select that. And in order to select only the frame, I'm gonna make sure my cursor is over. That part of the object I'm gonna hit. I selected it to make sure and then gonna hit out for make sure the whole thing is selected . Then we're gonna go over here and hit a sign, and now you can see that that frame is in fact, blue. I'm going to do the exact same being for the event housing where I quick over it. I select one of the vert Aceves, and I keep the mouse over that bird ISI and I hit l just like all the verdict sees that are connected to it. And then I go over here and it us sign. Now let's say that you wanted to select everything that was a certain material. You can do that by selecting material and then hitting the slick button. That's a good way to select these things. Wounds. Everything is selected that would get. That's another way of doing the L using the L button. It's a little bit more sophisticated, but you do need to set it up ahead of time just like we did there. And you can also de select it by hitting that button as well. So now everything is all set for that part. The next thing we're going to do is change the material of our screen. So if you ever seen a screen, and I'm sure that you have because you're looking at a screen right now and you have been born, so I'm pretty sure you've seen the screen, you noticed that when the screen is on, it admits light, even even usually when it's off. Even if it's black, it's still a bit alighting unless you have a brand new oh led. I think they have really blacks, but not case this is going to be bluest that old school screen, and so I'm going to select it. I'm gonna add a new slot here, So plus I hit new and instead of dif utes, I'm going to select in mission because a typical computer screen emits light. And that's exactly what we have here. We wanted to admit light. However, we don't want it to emit pure white light. We want to give him a realistic screen color. So I'm gonna pick Blue because Bo is gonna have that screen blue screen of death as his default. And that's probably not a good thing for him. But it's an easy thing for us. So we're gonna do it the same way we did before we hit a sign. And now you can see he has that screen and that's looking really good right now. Now, the last thing we need to do I hit Tab to get out of edit mode. I'm going to select our actual event blades here. Now, in order to see that it selected, I kind of got to move around to see that it's got this orange outline to it, and I'm gonna hit Tab to go into edit mode for the blade, and I'm gonna go ahead and select the same metal that we used for our seals up here. So we're gonna go ahead and use that same metal now let's see what it looks like. So if I go to render here just to give you an idea and by golly, yes, I said, by golly, I don't ever say that word normally, but by golly, that looks good to me. Those events look nice and metallic. Our lens looks nice and shiny, like it's glass, even though it's not in our blue screen of death. Is blue screening death just like it should be? So I would love to see what it looks like when you do Orender of that yourself. And in order to do that, make sure your camera is in the right place. I hit zero to go into camera view and just like before, I can go to our right side, panel it lock camera to view. I can position it just where I want it. And then I take that off because I don't want to move the camera by mistake. I'm actually also gonna hit Tab to come out of the edit mode for those vents. Now, from here, you can hit F 12 directly. I'll mention again that if you have a good GPU, you can switch this from CPU to GPU. And if you do that, I also encourage you to go down here to performance and increase these 2 to 64. And you've seen me in the previous videos. Do renders. And you saw how small the blocks were. Now, if you watch me, do I render here? You can see that the blocks are much bigger and it is so much faster if you you can try this if you have a good CPU, if you just want to see how your system that's going to handle it. And that looks really good to me. I'd love to see what yours looks like in order to see what it looks In order to download it from blender, go the images, save as images, put it on your computer and then upload it to skill share. And I will tell you what I think. And I'm sure it looks really, really good. So I will see you on the next one 12. Creating lower torso: All right. So the next thing we're gonna do is create this lower part of the torso here, and that's gonna be really easy. It's gonna be very similar to what we did before Onley. Slightly less work. And that's what I love to say. So let's put that three D cursor in this center. We want everything to be center. So if we go to the place where it has the three D cursor, we say zero for the X and zero for the why we're gonna shift a and we're going to add a cube. Now I'm gonna drag that cube down by dragging this blue arrow because I want everything to stay center. Then I'm a tab into edit mode scale Z So s. And then Z, and then I'm going to drag it down again. And then I'm going to hit us again. Skill for why? Sorry x to skillet out. And you know I can't quite see what's behind it. So I know I showed you how to change that before, and I'm going to change that again here, and it is under background image here. I'm gonna say front that way I can now see it, and we're gonna probably just go ahead and make sure that it's kind of traced. This is how if you had a reference image, you would make it almost exactly. We're not going to spend a lot of time trying to make it exact cause. When I did the initial modeling to create that, it certainly wasn't exactly than either. Now, if I just make this these two parts smaller here scale and then why, Sorry? Exit did that again and you can see that we're gonna get this area here. It's gonna be more like a complete rectangle. But we want these flat edges here. So in order to do that, first of all, it's undo. I am going to hit control our right, and then that's gonna do a loop cut. So right now, if I hit left, click, then I can move this up or down. So that's what we want to do. So, once again, that was control are for Luke Cut. And that allows me to put a cut in between other virtus ease. I escaped to get out of that. Now I'm gonna hit a to get out of that selection. B for Bak Select. And I only want thes bottom verses. So I'm gonna hit scale and ex im scale it down. So it looks pretty much exactly like the object we have. Now, if I turn around, you can see it looks like he's kind of got got a full diaper or something like that. So we don't want that look, So I'm gonna select hit three to go into side view. So just these back over to seize and we're going to make them, and then we're gonna pull them in. And you know what? I want the hips to be a little bit more narrow than the chest kind of going for a bull. Tron. Look for all my bowl trying fans out there, and I'm gonna pull that back in. I'm gonna keep this relatively center. So I could have done selected everything and did a scale and why I chose not to, and that is OK, so now I'm gonna hit a twice the un select and then select everything, and I'm gonna scale this down in the X just a little bit, and I'm gonna scale it in the Z just a little bit right I'm not trying to give him a big old, but I mean, his robot is kind of in shape, so he doesn't need to have, you know, but so here we go. Now, I kind of like the way this looks pretty much is what we want. We're going to go to our modifier menu, and then we're going to pick you guessed it bevel modifier. We're gonna increase those segments just like we did before. I'm going to see if tweaking the with is what we want. And it is, for the most part, our tab out of it. And this is what I'm looking for. So by increase that oh, pass capacity, it's pretty much exactly what we're looking for. So good job us. I'm hoping yours looks just as good if it looks different. Even better. So now let's add this center section here, and this is gonna be super simple. Are cursor is already in the center, so we're gonna hit shit a tow, Add a cylinder. I'm a tab to get out of bed. Ammon Gettinto object mode. I'm going to scale. And why actually going to scale in the Z? So it s for a scale and then Z and that torso is a bit big. So I'm now going to hit s for scale and I'm gonna hit Shift Z. That way we lock that Z and I'm going to scale it again in the Z that I realized that I do want it shorter and it's not quite centered where I would like it. So how are we gonna center it here? So if you remember what we were talking about before all the other times we had to center something, we picked the face or the object that is this that has a center where we would like to put something, and in our case, that's the center of his hips. So I go into edit mode within the hips. I tap into that, and then I hit. Shift s after I select the face that has the same center I want shift s and then I say cursor to selected. And that's what puts the cursor in the center here. Now, I can say is a bunch of different ways I can do this, but what I'm gonna do is so, like the object I'm going to say Shift s and I'm going to say selection to cursor. So now it is dead center. And when I pull, you see kind of messed up. When I pull on the blue Arrow, it pulls it straight up without moving it in the X or the Y. Now, that being said, I think that this torso is a bit wide. It shouldn't be wider in the hips, so we're gonna scale it again. I don't want to get any dinner, So I'm gonna hit Shift Z to lock it down in the Z, and I'm gonna just bring it on. And so if I look at the view here, it definitely seems like this torso is much smaller, which means that the hips on my version must be much bigger. So if we go ahead and bring up a quickie render of what Rob looks like if I have a picture of him, yeah, his hips are a bit deeper than the hips that I made here. And if we look at a couple of different don't you like this model pinup verse in? I did of him? It's very sexy, very sexy for robot bringing sexy back. All right, here we go from the side version from the side view Hit three to get into side view scale and I'm going to hit Why to Skillet just in the UAE. And I'm gonna make it just a little bit wider and it doesn't look too bad. I say his didn't have to bigger But I know I seem to be obsessed with this robots, but, I mean, I feel like Rob's personality just doesn't go with the bigger, but who knows? Anyway, Here we go. We're gonna make it a little bit bigger. I'm gonna hit shift Z eats and make sure it doesn't get any picker. I mean it three to get into side view. That looks good to me. And it is almost precisely as big as what we had before. We could even make it probably a little bit smaller. So let's go ahead and do that by select the hips and I say scale and the why I can make them a little bit more narrow, and that allows me to select this torso region A for selecting all that I'm a scale ship Z to make sure that I don't actually change the thickness. And now If I look from the front view, it is exactly what we want. So now, because I'm wanted to be about this same with a drag it so that it is pretty much in line with our reference photo. I'm gonna hit scale in the Z. I'm making just a little bit bigger of Why not make it exact? It doesn't need to be exact, but why not? So I'm gonna smooth it as well so that it looks of the same. And now I need three more of these. So how would you say I should make three more? Well, I could copy and paste it. I could use a shift d to do it. But if you remember how we made these events, probably the most efficient way to do that is to use the array modifier Now, just like before, we actually don't want to do it in the is in the X or the why we want it in the Z. So just about right there and then we're gonna increase the amount. And the other thing we're going toe ad is our favorite devil modifier that we're gonna shift this up in the array just so it doesn't crazy. So in order to do that, you can hit these arrows to bring it up or bring it down. And sometimes that affects how the object looks. In our case, it really didn't. But it's usually I put it in the front, so gonna go ahead and keep it there. And I wanted to be mostly squarish with just a little bit around edges. So I put my with at 0.0 to 30 and I'm tabbing out of edit mode. And now and that looks pretty good to me. I'm gonna go over here while my this midsection is selected and I'm gonna hit smooth. And I'm gonna do the same thing. Make sure it's mood. I'm going to do the same thing for this bottom part of the pelvis. And now our robot, if you don't mind me saying so myself is looking pretty darn good. So once again, I would love to see what this looks like for you. And in order to do that, you're gonna select that cameras. You can get into camera view by hitting zero to get into camera view, and then you can go to your right side panel and then you can click lock camera to view, at which point you can situate your robot to be exactly where you would like it. Then make sure you unclip that that way when you're moving around, it doesn't move the camera. I'm gonna hit F 12 to get a render. And don't worry if your rendering takes ah lot longer than mine. Just muse that you have a different system set up then Ideo and I really like the way that that looks. So if you get something like this, you can been say image and then save image. But you know what? I'm gonna change one more thing. I'm gonna go over here to my materials and I'm going to make a new material. So let's base it off of that Matt White material that it is. So I clicked. Matt White been a hit Plus, to make it slightly different. I'm gonna call this one gray because I just want to give him a little bit more, you know, possess a little bit more diversity and the colors that we in the colors that we use. I don't think it makes any sense for me to make it like red. Well, maybe you could make yours red, and then we can You can see what that looks like, but it just gives it a little bit more character. So now if I hit my render torso looks a little bit different. Also looks a lot more like a reference image. But there are some key differences. So this is what you are looking at? I would love to see the version that you made. Maybe you didn't use blue. Maybe you didn't use black. Maybe yours looks like a candy cane. Who knows? I would love to see it. So go ahead and upload that after you render it to the project. Let me see you. Let me give you some feedback. Let me give you some good words of encouragement because you made it this far. All right. I'll see him the next one. 13. Making the arms and legs: all right. Our character is almost there. This part of the project, we're going to focus on getting these arms and legs, and we purposely made the arms and legs simple. And you'll see why they're made it precisely like this when we actually do our animation. So we're gonna go ahead and model these arms and legs, and this time it's not really necessary that they be that we be censored. Actually, actually, it is. And you'll see why in just a moment. So let's go ahead and start by hitting shift A. Make sure that you were in object moved down here, and you can see that at the bottom. So make sure you're in object mode. It shipped a actually, let's make sure cursor is in the center, and it is. So we're gonna hit shipped eight and we're gonna add a cylinder. So it's important that the cursor being the center because I'm gonna teach you how to use the mirror modifier this time in the mirror modifier is gonna save you a lot. Uh, time. So here we go. We hit shipped to a We added the sound there, and we're gonna move the cylinder around in edit mode. And that's because we want our origin to stay in the center. So what I'm going to do is rotate it 90 degrees. Actually, let's do that again. So we're gonna rotate, and it's gonna be about the why. And then I hit 90 to rotate it 90 degrees. And now I'm going to hit s and I'm gonna scale it. Uh, some I hit tacked to come out of edit mode so that I can now bring it forward. So I'm calling it kind of me too. Eyeball how this is and you know it for right now, I'm gonna go ahead and just move it to the side. We will put the origin later in the center, but I want to make sure that it's about the same size. So in an object mode, I'm gonna hit, rotate until I get it. Teoh about where it's supposed to be. And I see for these if I look at the bottom part of the screen as I rotate it, I know that 60 degrees I'm just go ahead and hit 60. Here is about where we want it to be. And I looked there actually not quiet, 60 was rotated back around, so we undid it by 1.2 nights. Like we could say about 59 degrees is if we wanted to be on this is that and it certainly does not need to be exact, but if we're trying to make it match like we are right now, it's a good exercise. So we're going to scale it and because we want to scale it along this access here, we're going to pick go down here and we're going to pick normal right, and this is going to allow us to scale it in the direction. Unfortunately, what we cannot do is hit usar speak. He's like we normally do. We hit s and then we hit X to scale it cause it's going to do it in the global. But what will allow us to do in the direction that we want is if we quick normal down there , we do our box select, select only the verses that we want and then we use thes arrows to get exactly what we want . So let's do that again up here. So we hit a two uninsulated, then select those stops. We use this arrow there, and that's pretty much exactly what we want. Now, the second thing we're going to do is move this into the center of the robot. So that looks pretty good to me. So now let's make the other arm. So I'm going to hit Shift D, and I'm going to just move that down just like that. Now, we don't need to go into that one, but we do need to do this four arm. So I select that forearm. I hit Tab to go into edit mode. I'm gonna select all this time, and I want to scale it in this direction, so I can't do that with these arrows. So I'm going to switch to the scaling arrows, and that's what these are down here. So if I click this one here, I can then scale it down in this turned axes. Now I want to do the dragon. So I go back to be arrow. I had a to come out of I full selection mode and then I drag it down so that it is right in line and that is looking really, really good. Now we can see that be hand the hand is a cube, so we'll do that as well. Actually, let's not do that. Let's go ahead and do all of our cylinders. So this soon there was fine. We're gonna hit shift D. I'm gonna drag it down here. And if we look at our rotations, we see that it is in fact, rotated. So you change that to zero rotation changes the go ahead and change. The Y zero changed the Z 20 Make sure everything is completely zeroed out. I'm gonna go into edit mode and hit, rotate, and I'm going to hit. Why? So are and then why 90 degrees? And that's exactly what we want. And our turns out right now that our diameter is pretty much spot on so we don't need to make it any bigger. Feel free to make it bigger if you would like, and now I'm going to go ahead and just make it a bit longer. I'm not going to do it with scaling because escape. So hit a two uninsulated be TOBA. So, like, I'm not going to do this with scaling because I want to just move the edge. It allows me to match it much easier. So that looks perfect. I want I'm gonna go ahead and send her the origin on this upper thigh. So if I say set origin origin to geometry, it'll go ahead and put that in dead center. So let's go ahead and do that same thing for the next leg. So shift d Z, we're gonna bring it down and see that it's a bit too long. Someone hits scale, select also a and toe un selected, then a to select everything. And then I'm gonna It s for Skilling Z to make it shorter, and that's about it. So now we have our arms. Let's go ahead and make them smooth. Later. We're gonna come through here and make sure all of our names are correct. Don't forget to do that. That is one of the easiest ways to make sure that you don't get lost in your own crap. And I said before that we were going to do a mirror, modifies I'm gonna show you how to do that and then also going to show you how to just go ahead and shifty and do a rotation because in a lot of cases that is easier as well. So let me show you how to do a mirror modifier to save you some time. In this case, it doesn't save you that much time. But in a lot of cases, it would in fact, save you a lot of time. So I'm going to move my three d cursor so that it's in line with this this upper thigh. So I go to our three d cursor on the left on the right side panel, and I'm gonna just shift the Z portion. I want everything else to say zeroed out. And while this is selected, I'm going to go to set origin origin to three d cursor and you can see that it didn't move my object. And that's exactly what I want. So now I'm going to go to our far right side panel, add modifier, and I'm not going to pick devil. Just kidding. I'm gonna pick Bevel for the first time, cause we actually do want tohave these metal devils. But that's not our only reason that we're here. We're gonna have to do that to all the other of the Sooners. By the way, we're gonna add modifier and do mirror modifier. Now, As soon as we did that, we can see that we have this left side leg. Now, in this case, it would have been just Azizi to shift D and move it over. But you can imagine that we had a really complicated right side using the mirror modifier would have saved us. Oh, so much time. But in that case, I wanted you to see how to do that. Now we're gonna have to do some special things to this in the end, because it's the same object. But you can see how it could have potentially saved us a lot of time. But for everything else, for some of the other things, at least what we're gonna do, shift D hit. Why are sorry x to bring it over and for this upper arm because it's slanted. It's much easier for us to do the mirror modifier way. So in order to do that, I'm gonna just shift this three hearse up. Now, this part where I'm shifting the three Crestor up is not necessary. I couldn't left it down here and it would have worked just fine. But it makes more sense to me intuitively if I put the three d cursor in line with the object that I'm going to move. So I'm gonna set that origin 23 d cursor and then I'm going to select this object. I'm gonna give it that battle bevel modifier first. Then I'm going to give it the mirror modifier, and you can see here that it's put it up here and you're probably wondering, why is it up here? Well, that's because we rotated it in object mode. Had we rotated it in edit mode, we would not have had that issue. So how can we fix that? So what we can do is object clear? Actually, we don't actually want a clear rotation. We want to apply rotation, right? And as soon as we apply rotation, it acts like this is where it was meant to be from the star. And that's what we want in this case. And we're gonna do the same thing for the lower arm. But let's go ahead and start with applying the rotation, and I'm gonna go ahead and shift this three D cursor down a bit so that it's even here. Now I can say set origin to origin to three D cursor. Now, when I add the modifier, I'm gonna go ahead and do this bevel modifier while I'm in here. And then I'm going to add also this mirror modifier Now, Right now, it is marrying it kind of across this access you can certainly control what access it monitor. It mirrors about. We could undo that one and do a different access, and it would put the object in a different place. You can see that it's here cause it mirrored it about a different access and you can put it there. And that mirror is it about a different access as well. But in our case, we only want a mirror about this ex access here. So now now you can see that we have this all set up and it's on both sides. The only thing that we don't have our these joints and then the hands and then the B. But I will say that it's coming along Great. So feel free to do Orender medivac. I encourage e Please do Orender. Let me see in in order to do the render you hit at 12 and then you can then go to the object. You can go to the image menu down here. After that finishes, you can go to the image menu down here and say, Say bad image. It's great out on mine because it's still working now that it's done. If I said image, save as image and then you could upload it. All right, so that is it for this section. I'll see you on the next one. 14. Making joints: the next thing we're gonna do to the appendages on our robot is give him some joints. So we're going to go about this in the same way that we did it. We did. The last one is gonna be a little bit more simple because we're gonna use spheres. So it's rotation like where precisely it is isn't as important. So we're gonna do shift a tow ad. Are you the sphere And right about there in the center, which is pretty much exactly where we want it for. Hit one to be in front view, G for grab. I put it as close as I can get to be dead center on this part of the shoulder. I'm gonna scale it down, period on the num pad center is so I can get a good look at it and we see that it's not quite centered here, So we're gonna move it here. So it's right in line with these shoulders. And you know what? I'm gonna make it just I mean it personal. I'm gonna hit tad to get back into edit mode, and I'm gonna make it just a little bit bigger. So that looks good. to me, so I'm gonna go. Now that that's selected, I'm gonna do the same thing that I did before. I must say origin to three D cursor. This time I'm not going to do a bubble modifier because it's a sphere. But I am going to do the mirror modifier when I find Okay, there it is. So we did the mirror modifier. Now it's in the same place, and now we're going to make use of both the mirror modifier and also shifty for duplicate. So I'm gonna make sure that this is selected a minute shit d for duplicate that. I'm gonna z to make sure we're coming straight down tab to get into edit mode, then g for grab, and I'm gonna put it right there. Now, let's look from a side view. Make sure that looks right. And it, in fact, does look right so we can see that we have this, um, bull to make it smooth. I'm gonna go ahead and hit smooth here and then smooth. And what I see is that because our shoulders are more narrow than the original, it doesn't actually the balls the shoulder joint doesn't actually go into the shoulders. We're gonna me to make that just a bit dinner. So I'm gonna make sure everything is get Everything is selected by hitting A s for scale. And now I'm gonna select that again. It want to make sure my front view grab and I'm gonna hit shift. Why? Because I don't want it to move in the why right about there. And now that looks much better. Actually ended up giving him slightly more slightly bigger shoulders, which makes him look a little bit more masculine. I don't know if that's a good thing, but let's go ahead and make be balls at the double. Also a little bit bigger. So it s for scale. I'm just a little bit there. Next thing we have down is this risk joints. I'm gonna hit shift D and then Z to make sure that we're moving just on the easy access. Then I tab into edit mode and we're going to grab and I'm gonna hit shift. Why? Because I don't want it to go any deeper into the screen. Then I'm gonna hits s for a scale and make it a little bit smaller. Then my period to get close in and I'm going to scale it down even more till it make sense . And you like we've said before, you can make this however you'd like for me. That's pretty much what I am going for. And we're going to continue to use shift d here. So I'm gonna hit shift d again z to bring it down. And this is going to be this kind of hip socket joint. So it tab to go into edit mode right about there is where I want it. I'm gonna hit shift d again z to make sure that it doesn't shift at all. Now it's right at that me joint tap to go into edit mode s to scale it down. I'm gonna make it just a little bit smaller than I'm gonna hit shift be again, z, to bring you straight down for these ankle joints. And I'm also gonna tap into edit mode s to scale those down as well. So now now it looks terrible. Just getting it's not quite a line. So we're going to shift, select all of these with the arrow and move them just a little bit, so that now we have a body that makes sense. You know what, though? Actually, I think I'm gonna make these hip socket joints just a little bit bigger. So I'm gonna go and I'm gonna select it, go into edit More s for scale, make them a little bit bigger, and I'm gonna pull them a little bit more up into the hit. That way it doesn't look too bad there. So I'm okay with this. This looks pretty good to me. We will do the materials after we finished doing all of the modeling. But once again, if you have this, please upload it and let me see what it looks like. All right. See you next time. See on the next video, I mean. 15. Making the hands: the next thing we're going to do is make our hands. So I'm going to right click over where I want about where I want my hands to be. And that's just to give us in general area to start with when we add this object. So right now we're in object mode and you can tell that because that's what this portion of the bottom of the screen says. I'm gonna hit shit and for add, and then I'm gonna hit Cube. Now I'm going to rotate this in object mode, which means and that I'm going to show you why that's useful in just a moment. Someone who are for rotate. And because I'm in North a graphic view, actually, Tab out of that, I'm in front of you. And to be in front of you hit one to be in numb pad one to be in front of you and actually what I'm gonna tap out of object mode. I'm a scale this down while I'm in object mode. And I do this because I don't want the overall scale to be changed. So if I look at this, you can see that the scale is still one. Now, if I scaled this in object mode, you can see that it changes. And because we're doing some animation, that's really not what I want. But I'm gonna kind of break that rule to do some of the modeling here. And you can open up that panel this little cost mark, or you can hit one. I mean, n and that will open and close it. So I'm gonna hit, are to rotate, and it's going to rotate about the y axis because I'm in the front view. But I could have easily hit why, and it would have rotated about the why access as well. So when that's just about the way that I wanted, I'm gonna hit into G for grab, and I'm gonna center it on this hand Here. We're using this as a kind of a guide someone a zoom in just a little bit, using the middle mouse button tab to go into object. Edit moments are hit tab to go into edit mode, and I'm gonna hit s for scale. And because we rotated this in, I'm Jake Modi. Have option that I wouldn't when we have some fight, it s for scale and then x You can see that it's scaling it in our global eggs. But if I had X again, there s for scale X and I hit X again. You can see that I am actually able to do this in the local access. So blender knows how much has been rotated. And you can see that here under the rotation. And it can do the transformations and scales along those access ease axes, sir. Had a pronounced that right axes. So that allows us to be able to shape it when it's actually turned to the side like this. So now I'm going to scale it again in the Z this time. Not that Z with local Z. So I z again. And that allows me to skillet. So I'm gonna skillet now again in the S and the X So it s X men hit X again and make it just a little bit smaller. Now, once I have this the way that I like it, I'm going to go ahead and apply this rotation. Actually, I'm gonna under the rotation, so I'm going to go to object and then clear rotation. So now it's the correct size, but it's that rotation is not applied. And I'll show you why we're going to do that. And just a moment. So let's do the fingers now. So let's say shit d for duplicate, and we're gonna make fingers just like this, But we're gonna go ahead and make them straight. So I'm gonna grab the bottom. Vergis is here, so g for Grab. And I used B for bak Select toe, actually select them, and I'm gonna hit Z to move it just in the Z, right? And right now, you can kind of see what this is gonna look like. Look at front view and I rotate it. You can see that I'm gonna make straight fingers instead of her fingers. But when we actually add the bones to them, they'll curve. No problems. I don't worry about that right now. We're just leaving it like this because it's much easier to model like that. So this is our first finger first knuckle of his kind of mitten type hand Gonna make this just a little bit shorter. The next thing I'm going to do is hover over this object. It l then shift d and X to make sure it stays in the X And I'm going Teoh scale this down in the eggs. Make it a little bit shorter than I'm gonna grab it. Move it! Hit X, Move it in just a little bit. I'm gonna also Hubble over this one and l two select all the very receive connected to it. Move it just a little bit closer. Then we're hoping over this one It l again then shit d to duplicate, then hit X to make sure it stays on this access. Because this is the end part of this mitt in hand that we're making. I'm gonna hit B for bak, Select to just the edge verses scale and then z to make it just a little bit smaller. So that gives us this outer part of the finger or hand thing. I don't know what you want, what you would call it. So let's do that for the bottom part. But you can see here there's only two knuckles here, so we're gonna make this a little bit more simple. I'm hit B for Bak Select. I'm only gonna select these two. I'm gonna hit shift D for duplicate and I'm gonna just place them right there, and that's about it. We're gonna add our favorite modifier. Here are bevel modifier. We're gonna increase it toe three, just like we have. I'm also gonna increase this with to make it a little bit more. Actually, it's so small right now that we could probably can't do much with this. So we're going to just leave it like that in the sea during the profile. Doesn't really do much pull it out just a little bit. Maybe right about there. When you do this yourself, feel free to change it. However you like. The next thing we're gonna do is make this bottom part of the hand. Actually, we're gonna hit a twice three to be inside view. I've been hit G for grab ex, actually. Why? To move it over. I am now going to scale it. So s scale, ex, Actually, why? To make it not so big, right? And that's exactly what we're going for here. Yes, so that's looking okay to me. Now, let's go ahead and rotate that so that it makes sense or I'm front view. I hit one to be in front of you are to rotate while I'm in front of you, and that's going to make it so it rotates on Lee and be about be why access? And you can see now that this is what our hand looks like. But I'm gonna go ahead and give it slightly more space. So in order to do that, I'm going to take I'm gonna hover over this in peace, drag it down a little bit, left, click, hover over that one, hit l grab and then I'm gonna shift it. Actually, I'm gonna leave it like that. I'm gonna actually go down here. And instead of normal, I'm gonna put local. And this is what's going to allow me to shift it down some. I'm gonna do the same thing here, shifted away. That way. When these knuckles move, they won't be one right on top of the other. And I'm okay with the way this looks. On second thought, I'm gonna make it just a little bit wider, so I'm gonna scale it in. Why? To make it just a little bit wider, okay? And I'm okay with back. So that's one object there that represents that will be the hand. It might be a little bit big, but I think it's OK. We'll leave it like that for now. The next thing we're gonna do is put this on the other side. So in order to do that, we're going to mirror it across the X axis. So let's add a modifier. I will go to our mirror modifier, and right now it's Mark. It's mirroring across its own origin in the X, which is why you see it here. But we're going to pick an object and we're gonna pick B camera body. So that's his head, which is located in the center, and because we're mirroring it mirror ring. But that's a hard word that mirroring it across that access. Ah, we end up getting the hand precisely where we want it to be, so that is pretty much it. But you know what? On second thought, these hands is just too too big. The two big let's go ahead and scale them. And in order to scale it in edit mode along the local axes, I need to switch these from arrows to scaling handle. So I click here, these air, the scaling handles and I that allows me to just drag these in so I can scale it down some . Then I can go back to this portion and shifted back up, making it just a little bit smaller. And I think that looks much better than it did before. So there you go. Now you got some hands. The next thing are probably the beat. Um, if you can go ahead and do a runner, let me see what that looks like. I'm really curious to see your version of the hand. 16. Making the neck and feet: we are almost done with the modeling of our character. Just ah, few more things to do and it's gonna be super quick. Now let's add the feet. The feet are very similar to the hands, believe it or not. So in order to make them, we're gonna select the hands I'm in front of you and to get in front of you hit num pad one . Go ahead and make sure you can see what I'm typing here. I had no impact one and then make sure that it's highlighted and it's I left clicked. And then I hit shit d for duplicate, and we're gonna put it down here where they handle where the feet should be. And I kind of have these monkey feet being is going on right now, and they're weirdly rotated. But if you remember, we rotated bees in object view so difficult to object. Clear rotation. Now they're not rotated at all. So while they're selected by hit our for rotate Z to rotate it about the Z 90 degrees from because that's backwards. After I hit 98 the negative sign and that rotates it to the front 23 to go into side view, period, numb pad, period. That is to make sure it's where I want to be. And now I hit one, and I see that it's a little bit too far to the right. So the reason that I have a put on each side is because when we did the hands, we mirrored it about the camera body. And if we go to our modifier menu, we can see that the mirror modifier is still in fact there, and camera body is still selected. So that's what allows us to mirror this object across. Now we're going to have to apply all of these models, but not all of the modifiers going to apply all the mirror modifiers before we do the animation. But for right now we are all set. So I'm gonna hit three to be in the side view tab to get out of object mode and into edit mode A to unsolicited everything be for Box Select and I'm going to hit X to delete those bottom ones and it be for boxlike again because we're making a foot. The foot on Lee has really two sections to it X to delete those Vergis is now I'm going, Teoh, make this just a bit longer because we want the hell section to be a bit bigger. So I'm going to use B for Bak Select. It's like this entire square along with the very front Burgess ease of the foot and that looks okay to me. So I hit one to go into front view three to go back into side view A to UNSA let be toe box Select. That was like just the bottom verses of this forward portion and I'm gonna pull that down. Now that looks a little bit crazy. And that's because this with over here that we were messing with that didn't make a difference before. Now that it's bigger does make a difference. So we're going Teoh tweet this and I'm sliding it to the left here until it looks about like something we actually want. And that looks good to me. But we do not want him to have such stubby toes. So I'm gonna hit three to go back into side moment A to unsolicited everything be to box select and to select here. And you might be wondering why my box selecting and not just clicking on the verge ISI directly. Well, I want to select the Verdecia behind it as well. So when I box select, I know for a fact that I'm getting everything in that box. I can't necessarily be sure that if I was just clicking, clicking directly on it. But for right now, I think we want this portion to be just a little bit longer. Someone, It's like those front overseas. Pull them out a little bit and I'm looking at that. And that looks Oh, okay. Let's pull him out just a little bit. Mourn once again, this is completely up to you. How big you make this Doesn't need to. Should be smaller. Could be bigger, completely up to you. Next thing we're gonna do is select just that rare to see and drop it down. So now we have some blocky but decent looking feet for Bo here and that is looking really good. Actually, not looking that good. It does not allow us toe have an ankle joint. So in order to have an ankle joint, we need some more space for the ankle. In order to do that, I'm gonna hit be for box alike. I'm gonna select all my top burgesses, use this blue arrow, pull it down, and that's actually a big improvement. So now he doesn't look so the feet don't look so talk. Right now the feet do look just a little bit been so let's make them just a little bit wider. So we're gonna select everything and we're gonna scale It s for scale X and make it just a little bit wider. And I think that looks OK, So the only thing that we don't have right now is the neck. So let's go ahead and create a neck. And remember to show you one way to do things we made these tions separate where everything else is a mirror. So we're just gonna grab one of these tions and we're gonna hit shit D for duplicate. And we wanted to be dead center. And because the origin is the center of the object, in order to make sure the object is also dead center, we should just go ahead and zero out our X and why transforms this will make sure that next piece is in the center. The next thing we're gonna do is. Go ahead and scale this down. And because origin is right in the center of the neck, we are all set to scale it to be exactly where we want it. And when it's about, go right with we're gonna scale and we're just going to scale it in the Z, and that's about where we want it right there. So that looks pretty good to me. The last thing we need to do is give it those joints and those are just like these these balls here. So we're gonna hit shit D And in this case, we actually don't not want it to be mirrored. So we're gonna shut off our mirror modifier, and we're gonna go over here to set origin, and we're going to say geometry to origin in our origin. Here, Location zero. We're gonna go ahead and make our why zero as well, Because we wanted to be dead center. The next thing we're gonna do is go ahead and sensor on it, hit tab to get into edit mode, and I'm going to scale it down because it's a bit too big. Now, tab out of that. Drop it down to write about the place that we want it. I am going to make it slightly bigger than it is now. And that is about right one to get into front view. Chick D to drag this up, Zied. And make sure that it stays right in line. And there you have it. We have our full model. Ladies and gentlemen, I would love to see what this looks like when you finish. So go ahead, do a quickie render downloaded to your computer and then upload it to skill share. Let me see what it looks like. Next thing we're gonna do is make sure everything is named correctly and we're going to give everything on material. So I see you another side. 17. Giving names: The last thing we want to do is just a little bit of housecleaning gonna make sure everything has names that makes sense and that everything has a material. So let's go ahead and start with materials. So we need a material for these arms and the material. I am going to choose this something that looks kind of like a PBC shining material. So let's go over here into our right side panel and pick the materials, and we're going to make it very similar. I'm gonna pick the glass cause it's gonna be a die electric. But I'm not gonna actually use the glass I'm gonna hit. Plus, to make it a new material. I'm gonna call it PBC because that's easy. It's only three letters, and I cant misspell that early start to try really hard to misspell that, and I'm gonna change the base color to more of a white. Now the next thing I'm going to do is take the roughness pretty far down. So it's already pretty far down, and I think that pretty much what we're looking at. So let's get a quick idea of what that looks like. I'm gonna go down here to our view, port shading and click render just to get an idea. And because of our environment, because our environment is great, it's kind of hard to see how it's reflecting. But it is reflecting you see and hear a little bit. You can see that it is a little bit shiny here, and as it's moving around, you'll be able to see that even better. This great background is not doing us any favors. But that is OK, so that looks good to me. I'm going to get out of this rendered mode here and go back to materials. And now that I have this PVC material, I'm just gonna go and change everything that's in that that's that part to this PVC material. So I want all of these his upper thigh to be this PVC material. I want his shin to also be the PBC material, but I'm gonna have the hands continue being this Matt White and I'm also going to do that same thing with the feet. And we said, What did I say? Matt White, See, sometimes I have a really short memory. All right, so now we can't forget the neck almost forgot the neck last time. That's why we did it last. There we go, PBC that same material for the neck. Now we have these joints, the joints. I would like to be a kind of metallic metallic material for this kind of sphere. So what do we have right now? We have this glass, and that's not exactly what we want to do. But it's kind of close. I'm a hit plus, and then I'm just gonna call this joint joint metal. And now I'm going to because I want this to be a metal. I'm gonna up the metallic all the way, and I want this to be relatively shiny. So I'm going to leave the roughness fairly low. I'm going to actually bring up the brightness. Just the big. I don't want it to be so dark. Now, let's take a look at that. Let's go up to our view poor shading and see what that looks like. Right? And I am mostly okay with that. Now feel free to make this whatever color you want. Not I picked that color, but I could have easily tried to go for more of a copper kind of color here. You know what? Why don't we Don't we stick with the copper color? That does not look too bad. Now you're free to make it whatever color you want to make. It doesn't even have to be Metallic can be something that is completely die electric. And you do that once again by taking this from 1 to 0. And it doesn't have to be a realistic color you to do something in between as well. So let's go ahead and make the rest of this body the same. So we're going to do a little bit of that in this rendered mode. So doing it in rendered mode is a little bit harder because you can't really tell what's selected, but because there's nothing around it, I can, for the most part, assume consist, called sphere, that that's what we're talking about. So I can go and select this joint metal, and you can see that that was in fact it. And this is also sphere, so I can select that joint metal there, and I can go through and do this to everything until everything is the material that I want it to be, and I'm gonna just double click on this top by and we see that it's still that PVC material . Now I'm gonna drag this up and in order to do that in order to do that, I hadn't shift and used the middle mouse button. I'm just gonna do this last thing to the ankles, and we can't forget about that next. I almost forgot about the night before. It's just gonna let this resolve a bit. Then I'm gonna select it, and I see that it is in fact, a sphere. So we're gonna make a joint metal and we see that that is correct. You know, I am really liking this orange economy metal thing we have going on. It makes me wish that I would have used it more. But perhaps not. I don't know where it makes sense to put it otherwise. Okay, Not mad Black. That's not what we want. Sorry that we want joint now. So now if I zoom out, this is what our guy looks like. And if we want to compare that Teoh what the original model looks like, it's pretty close. I I chose to go with a much more toned down joint, but other than that, it's pretty much just the same. You have an idea of what it looks like. This version does not have the antenna or the buttons unless you added them. You're so but it's it's pretty similar, I think. Actually, the one we have now looks a little bit better. Could because the proportions are better and they have some. He has some interesting things going on with the joints, so I would love to see what you did. So you, if you want to right now, you can do a quickie render, so let us see what it looks like. The last thing we're gonna go through and do is give everything names so I can call this joint shoulder joint. Oh, and I'm a spell joint. But I caught it this time. Most of the time When I misspell things, I just kind of just let it stay, Miss Belt, cause I am really bad at spelling. I'm actually happy that I spelled wrist with the W instead of totally negating the w. So you have a hip joint here, a knee joint. I know there's a song about me joint connected to the something giant. If you are old enough to know that song, more props to you, I should really know it, and we have an ankle joint down there. Anybody can leave a comment and comment in the comment section to the lyrics to that song, I will buy you a free digital pizza if you're wondering what that is, that's because I'll need to make that up before I send it to you. But I promise I'll make it something interesting and cool. If you do that little bit of scavenger hunting and leave it in the comments. And this last one, I'll say Nick too joint. And let's go ahead and do that same thing for these arms. And it's Incan convention and blunder is to put the side based on the characters. In this case, this arm here is his left arm. So I'm going to say upper arm. I'm not gonna put a side on it right now because both the left and the right arm are the same. Are the same object. Four armed. See, There you go. I don't know how to spoke for her, and this is the hand. They won't go ahead and give the hip name. I clicked on that lower torso and this is just so that when we we're doing different things here. Oh, I called the shin. The ankle joint and ankle joint is nothing. So let's go ahead and fix that. This should be the shin. This is the ankle joint. And this last one is the foot. And not everything has a name. So now you are completely done with the modeling. I would love it if at this point you did Orender and let me see what that looks like. Do it for me, do for the people. But the people know what you're doing or what you've done. Rather. So in order to do that, you hit zero to go into camera view. You can hit at 12 to do the render. When the render finishes, you go to image and save image. Right now, I can't select a cover. It's not done rendering, but now that it's done, I can say image save image. I can save it somewhere on my computer, and then I can upload it to scale share so you can see. But because I already did that, I don't have to, But I would love to see what you did. So please go ahead and upload it. Let me see, and I'll see when the next video. 18. Rigging left side: Now we're going to start getting into the nitty gritty of animation and a really important part of animation. Is the rigging woman create bones? We have to put them in the right place and the right size, and then we have to assign them to the right part of the mesh. So before I do that, I am going to turn off our background image. So in order to do that, I go to this side panel here. I look for a background image and I just un check it because we don't really need it. Now we've done all of our modeling and we have our motto. So in order to create a bone, we do it much the same way as we did for all the other objects were going to hit Shift A. But it works best if the origin for your armature and that's what the set of bones is called, is at the very center. So here we want toe right click and put your origin as close center as you can. But that's really not necessary because we're gonna go over here to the right side panel, right, click and say, reset all default values that puts our three d cursor dead center. Now, when we say shit A and we add our armature, we're gonna say single bone now that that origin is right at the center. So I'm gonna tap into edit mode, and I'm going to lie this bone down so that their axes makes sense here. So in order to do that, I wanted to rotate about this three d cursor that allows us to control where everything is rotating. So I'm going to hit, rotate our for rotate X to rotate it about the X access, and I'm gonna hit 90 degrees, and that is almost what we want. I'm actually gonna face it backwards, someone to say rotate X. So our eggs 90 I didn't hit 1 80 I should have hit 1 80 but our eggs 90 negative. And now it face faces back. That's a convention that I've seen a lot and in our case is not gonna make a huge difference. But I think it's a good thing to get into the habit of. So now that we have what we call our route bone, we're gonna add the bones for the rest of the body. So never gonna tab back into edit mode for our army ship. And I'm I want this bone to be right in the center of this ankle sphere. So one of the reasons that we did everything as separate objects is so that we could easily identify where the pivot points are and what parts of the object belong. Toe What I'm not gonna make a lot more sense is you ever do an object that's not so many different objects like ours is, so I'm gonna select those ankles. And if yours wasn't selected, you just hit control A Sorry, you just hit a to select them all. I'm gonna hit shift s and that's gonna and then I'm going to say cursor to selected, then outputs that cursor dead center of his ankle. So now that we're going to tab in ourselves into animal, we want to make sure that we have X ray clicked. And this is under the armature icon on the right side piano, making sure that you have under display X ray. That way you can actually see the bone. Otherwise, when you created, it will be invisible. So we're gonna hit shift A. I'm gonna make sure that we're in edit mode for the armature. So hit shift A and that creates a bone with the tail in the precise location that we wanted . So now I'm going Teoh. I want the next place. I put it to be on his knee. Almost. Exactly. So I'm gonna use the same approach I'm gonna say cursor to selected. That's gonna put it dead center. Then I'm gonna select this bone, Tad, to get into edit mode, I'm a select just this top portion hit shift s and then I can say selection to cursor. So now I can see that it's dead Center on is me. And we're gonna shift that one. Ah, little bit because we need to have a little bit of bend when we actually do it. But that's not important right now, so I hit one on the num pad to get us back into front of you. I had extrude to bring it up, and I'm gonna end it there, and I'm gonna select this by right clicking and then tabby into edit mode. Now that this hip joint is selected, I shift s and I can say cursor to selected again. I tap out of that. I click once two quick in the area, then click again to actually get to the bone. Then I had tab. Now what's this end is selected. I do that same exact thing again. I can say selection to cursor, and now that's right where we want it. But it turns out that these bones air pointed the wrong way for the hit, typically the end of the appendage. Whether you're talking about the arm or the leg, the small side needs to go towards the foot or the hand, so there's a easy fix for that. We can just say object, so we need to select it first tab into edit mode, go to armature, and then we could say, switch direction. But we got to make sure that it's all selected before we do that. So now we hit switched election and it is precisely the way we want it, so that is good for the right side of the leg. The next thing we're gonna do is create his hip area or his hip bone. So now we want to put the cursor dead center, so I want the X to be zero. So I'm gonna go over here to location for the X of the three D cursor hit zero, and that puts it dead center. And I'm gonna say Shift A to add a bone. And I'm just going to flip the direction really quick, just like we did before. Switched direction. And there you have it. I'm gonna slide it down just a little bit because I wanted to pretty much completely eclipse that Dong. Now I'm gonna select this part and move it up just a little bit by hitting G and then Z to make sure that it stays in the center. And now you can see that if I hit three d on my numb pad to get to the side view that it does appear to be directly in the center and that's what we are going for. So let's go ahead and continue along those lines. Let's extrude e for extreme up. And this time we're gonna hit Z to make sure that we're moving right in line with the axes . Then we're gonna hit extrude again. Z Now this whole top part is the chest I chose to put this piece here between the chest and what I'm gonna call the stomach right in the middle of this barrel torso that he has. Because that's where I wanted to actually do all the pivoting and bending and that stops the chest stops right here and now. We could have done it the same way we did before by selecting and moving the axes with the shift s on. And you're certainly welcome to do that. But an interest of time, I'm just gonna go ahead and eyeball its I selected that into the bone and I hit shift and I had extrude z to make sure it stays in line. Now, after that's the neck, I'm going to do the head. Someone hit e for extrude Z to make sure it stays in line. And that pretty much does it for this section of our model. Now we need to do the arms and the feet, So in order to do the arms because it's often space, I'm gonna use that same method. Read it before, so I tabbed into edit mode hit shift s to say cursor to select it than I tab out of edit mode. I go back to our armature, and it's important that you go back to the armature because if you do shift at, if you do shift a outside of it, you'll create a whole new armature, and then things will just get really confusing. So you want to make sure you're in edit mode of the armature that you've already been working on. Then you hit, shift a tow. Add that right there. So now that is directly in the center of the shoulder, which is precisely where we wanted it. I hit Period to get a close view and centered on it. Now I'm just gonna grab this edge and move it down. Make sure you're in front of you. And I did that by hitting one on the num pat. That way, when I move it down, I can be assured that it's moving about the Y axis. If it's sq at all, it will be some other access. It's moving about, so I'm just gonna eyeball this. You're welcome to do with the way we did it before, but in the interest of time, I want to get very quickly. I don't want you to be watching me forever. So here we go. We're gonna hit extrude Bring it down! And that's the forum. Hit extrude again! That's the hand. Now we're going. Teoh, just check and make sure that's in the center and it is. So now we're going to do the fingers quickly and I'm gonna show you a trick. So you only have to do this on one side, even naming it. You only have to do on a side. I'm gonna hit shift A After I hit tab to go into edit mode shift. I just had a to insulate be for box Select. Then I'm gonna do our favorite shift s cursor to selected. And that's right where our bone for the hand is going to go. So now hit shift A and you could see right here when I hit shift A It asked if I wanted to create a new armature, and that's not what I want to do. That's what happens when you're not inside of the armature that you already had selected as you already had created. So now I'm going to hit shift A to create that our merger will create that bone. Sorry. I'm gonna grab that put it right here in this gap. Now, you could also move this just like we did it before. And then I'm gonna hit extrude here and then extrude again, and there you have it. Now I want to make sure this is parented correctly. So when we do a lot of the moving around that things are not parented, then nothing will work correctly when we're actually doing inverse or or cinematics, and I'll talk a little bit about that later. But let's go ahead and select this bone here for this first part of the knuckle than the hand. Then we say control P and we say keep opposite. So make parents keep offset. Never gonna do the same thing for the thumb area. I had a two uninsulated everything I tabbed to get into edit mode than a to select everything. I'm going to box select this top courtesy here of the head of the hand. And these two Burgess ease off this first kind of thumb. Nothing Ben ago back in two front view by hitting one, I say shift s cursor to select it, and that's what gets it in this gap here. And then perfectly in the center, which is what we're trying to do now. I tab out of edit mode for this robot hand and I go back into edit mode for the armature by selecting the armature and hitting tab. Then I say shit a to add that bone. I'm gonna grab the end, and I'm just gonna put it right about where I want it. And because I'm in front of you, I know that it will be in the right side because only things are moving in the same plane within the why as long as I stay in front of, you know, if I go around to another, you can see that I am right on top of the locations that I'm supposed to be. Now, let's finish this up by going to the feet and the feet are gonna be really easy. I'm going to do that from the side. I'm gonna say extrude. So I selected the end. I had e for extrude That's like the end again e for extrude and that's hiss. Another cop there a couple of in verse Kinnah Matic kind of control bones that we need and we only need two of those. You will see what they are good for after we finished. And we do some actual animating later. So one of these bones we're gonna put here and I just select this ankle bone and hit E for extrude you can go ahead and push wide and make sure it stays straight. And then I want you to select that bone and we're gonna We're actually going to clear all of its parents were gonna do that. Same exact being for the knee. So you're gonna select me, hit extrude? Why? Make sure it's straight. Then we're gonna select it. Hit Ault P clear parent. And then this time we're gonna grab it, Hit why, and pull it out a little bit. So this is what your legs should look like. And this is what? Your entire thing trilobite, the next video we'll do. Some naming will fix some things, and we'll put it on the other side. 19. Naming bones: another. A couple of cleanup things that were going toe have to do first to make sure that all of our parent and child relationships make sense. So this is set up in a way that makes sense. This is the child of this bone, and this is the child, that bone. But if you look, this bone is not connected to anything. So typically, if this bone had a parent, even if it wasn't touching his parent, that'd be a little line. In our case, there is no little lines. So we're gonna go ahead and parent this bone to the hip bone because when we moved the hip , we want the whole lake to come with it. So we select the first bone, and the last bone is the parent. We hit control Pete. We want to keep offset. And now we have that connected bomb. Now, the next thing we want a parent is our hipbone to the rube. Oh, that where we moved to Rue Bone. Our entire model moves. We connect, we select the hip. And then our route we hit control P, we say keep offset. And now we have a parent that is the hip or that is the root. Rather, the other thing we need to fix is that this bone actually doesn't have a parent. But we do want it to be parented to this hip bones. We're gonna select this kind of abdomen bone that really doesn't make any sense. Not really sure what to call it, since we have a hip bone and we have I can't really say pelvis is difficult in the hip, so we're gonna call it stomach bone from right now. So we select our stomach bone, then our hipbone we hit control P keep opposite. Now our parenting is all set it because these when we extrude them, naturally did the parenting. Actually, though, that's not completely true. This bone here that's the shoulder doesn't actually have a parent, cause you can see it's not connected anything to anything. And there's no dotted line. But we'd like it to be parented to the top of our chest bone. So we're gonna select that bone there. That's our upper arm. Select our chest bone hit control peak. Keep offset. And now all of our bones are connected. Esta case for both. Oh, no, that's not the case for both of our fingers we forgot. And by we I'm blaming you, but OK, really, It's my fault, right? I forgot to do it. So we just need to select this bones like this thumb bone here, and then select the hand bone control P keep offset. And I think I've got, um Also all your bones through parent child relationships should connect to this bone here except for these two bones here, and you'll see why a little bit later, but they are actually connected together. So you're gonna select this bone and this bone and hit control be controlled. People keep offset. Now everything is all connected. Uh, the next thing we need to do is give these some names. That makes sense. This is a little bit tedious, so I'm going to give names that makes sense to me. If you want to give completely different names and fast forward through this part of the video, you are completely welcome. Although it will probably make me cry. Okay, not really. But it won't really even make me said because I probably won't know. Anyway, let's go ahead and name these bones here, so we go to our bone icon here. And right now we have the upper thigh. We have the by, so I'm just going to call that by and later, we'll put the will have blender do the dot l and the dot Our for us, if we're gonna have to do this on both sides, but not me and you. So that the guy I got the shin, I'm gonna call this the foot. I'm going to call that one down there, the toe. And like I said before, this is the hip. I'm gonna call this the stomach. I know some of you out there probably like me. He doesn't know his anatomy, and you know what it is. You're probably right. And this is the chest, and this is the next. Make sure you get that right. This is the neck here that's the head and can see that our terminology here is not particularly amazing. Like I said, which you call it does not really matter just so that it makes sense to you because you're gonna have to look for these body these bones in a list, and you want to make sure that your list makes sense when you're looking at it. There are a few names that you probably don't know what to use, and you should use something that you haven't really thought of. And I will definitely tell you what those are So here we're doing the dunk, and I'm just given the, um, and the finger ones just numbers right after him. So we are almost done with that. We don't have a name for our route bone yet. And this here, it's gonna have a special name. So it is a i k target, and we're just gonna leave. Actually, this is a pole target. So we're gonna call this whole tire you and this one we're going to call I k target. So now everything has got a name that makes sense. Now, the next thing that you need to have that makes in order for your animations toe work, right, you need to have the same names on the left, on the right side of the body, with the only difference being that there's a dot l or a dot are at the end of that. So you can see that we call this by because it's on the left side of the body we could we should have, Could have said by dot L however, blender being the wonderful, magnificent program that it is has a way for us to do that automatically. So we select that side, we go to our mature and we say auto name, left and right, And this will auto name. If you can read that, it'll auto name it based on what side of the axes it's on. So if you click this auto name, we click away from it and then back on it and you can see that it says by that l And this just saved us some time of typing. We didn't have to put that on anything. We're gonna do that same exact being on the right side armature. And now we quick auto name left, right. We click away from it, then on it, and we could see upper arm that l Now let me show you a little bit of magic that's going to save us a lot of time. So you know that we have these on both sides, but right now we only need we've only made them for the right side for the left. Meaning we need bones for Bo's right side, but we don't have any, but there's a really easy way to do this. So we're gonna hit B for Bak Select. We're gonna select all of those bones were gonna hit W and Sima tries. Bam! Yes, it's on the other side. And guess what? The names are already correct. Whereas this was dot l. This is now that are and blender did that all by itself. So give underhand everyone all right. Probably not gonna do that. So, uh, insulated by hitting a B box of, like, the arms, the arm, we're gonna w sema tries. And now we have our object. That's got bones on both sides. So everything is in place. Now we have the bones. We'll talk a little bit about how to use them in the next one. 20. Bone constraints: Now let's talk about the way we would like our bow character to move. So typically, when you do intimation, there are a couple different ways you can do it for work in a Matics and inverse Kinnah Matics. So for Rick, cinematics are when you move, you move an object or you move a bone five moving down this change. So we need to be imposed mode for this. When I rotate this, you can see that his this whole bone moves and that's how I could create movement. Right? And this is certainly one way to do it. And this is the way that we're going to do. Sorry. I need to clear the transform here to undo what I just did. And that's certainly the way that we're going to do the arms. But the feet work much better. If you can move one part of the foot and have everything else kind of be in this in the orientation that makes the most sense for a human being. So what does that mean? So the first thing we're gonna do to make sure that that's going toe work correctly is we're gonna go back to edit mode, and we're gonna put just a little bit of bend in this. Me. So to do that, I'm going to switch back into meeting and point mode. I'm gonna push this forward just a little bit, actually, Undo that. I'm gonna slick both of He's both of these needs. So they both benefit from me doing this pre bend a little bit. And this is only important when you're going to do in verse. Can a medics forward kinetics? It does not really matter. So I'm going to go back into pose mode. And I did that bear going down here and instead of object or any mode I picked pose mode. Now, when I select this bone, um, if I hit are for rotate. This is how we would move that bone. But we want to do this with inverse canna Matics this time. So I'm going to select in this case because I'm doing a human's leg. I'm gonna select the shin, and then I go to here to our bone constraints and under bone constraints. Under tracking, I'm going to select inverse Kinnah Matics. This is what allows us to be able to actually do the thing. I was talking about what? We can move the in bone and not and have the rest of the body kind of figure out where it's supposed to be now. In order to do that, it needs London is to know how many bones to affect in order to create this. So right now, if I were to try to move this, you can see that it moves the entire body. But that's really not what we want. We only wanted to go up as far as his by. So in order to do that, channeling over here on the right side needs to be set to to. So now, if I grab and move it around, you can see that it's on Lee moving around this part of the bone. They were not quite done yet, but now you least you have the idea of the difference between forward cinematics, which is this here and in verse can a Matics, which is to move the Enquirer. But that's not quite the best way to do in verse. Can dramatics and character animation with blunder. The next thing that we want to do, the next thing that we want to do is go to target. This is how this is kind of the handle. We used to control that legs. We wanted to be within the armature, and it's called target and turns out type target. We have this Ike a target if you remember that we created before. So this is the left side of the body. So you want, like, a target that l. And this is that magical handle thing I told you I would tell you about later. Now, if we hit, grab, all right body moves or at least the lake moves like this, and you can see that I mean, is doing some really weird things. And lucky for us, Blender has already figured out how to fix that. So we select our shin again. We realized that we need a poll target. So we're gonna collect here, select armature, and we're gonna type poll right there cause I'm misspelled poll. Okay. It's purely not p o l. Anyway, look it so suddenly. I'm a terrible speller. All right, so poll target here, and it's going to be on the left side, so poll target dot l. So now if I move so if I select this bone, I hit G for grab and I take this bone here I move it around and you can see that this controls our me. Now you can imagine how we might enemy foot like this And then we shouldn't still control the toe and the other parts of the foot separately. Now I'm just hitting control Z toe under. So there you have it. That is how we do the inverse Kinnah Matics. We're going to do the exact same thing for the left side of the body. I'm going to say add I'm a select the shin again. Add constraint Inverse Kinnah Matics. I'm gonna put the chain link to two because we only wanted Teoh affect both itself and this Bible right above it. The target is in the armature. It's called Target. So I k target that are this time the public. Terry it. Yes, I remember that. I misspelled it. P o l. Maybe you spelled it right in yours. Hopefully you did or what? Believe didn't cause you were listening me and you thought I knew what I was talking about and I did. I just didn't know how to spell it so p o l l we see that we have our poll target dot Are so there we go and we see that this one is space backwards, and it so happens that this happens all the time. So when when it's faced the wrong direction, you have this poll angle here and you're just going to move that until it's about where you want and you'll see that it's usually somewhere around a multiple of 90. So if I go into a front view and change this to native 1 80 you see, that's pretty much perfect, and that's the case most of the time. So now if I grab here, you can see that it behaves pretty much exactly. I escaped to get out of that exactly like we would want it to now that a couple of other things I want to show you that's just gonna make your life a little bit easier. The first is to we're gonna make sure that our knee always bins in a way that makes sense. So I select this bone here, and what's important one and you're looking at a bone is the fat side, cause that's the angle by which rotates around the city region by was it rotates about. So I'm gonna switch this part that controls this rotation to x y Z and I wanted to rotate about this Red axes here because means are hinged joints. So I'm gonna lock the ex and why I'm gonna lock the white in the busy. That way, when I move this around, I can be assured it will never, ever rotate about another access. I'm going to do the same thing for the other one. I can see that I wanted to rotate about this red access, which is the X. And in order to do that I need to put this in. Ex wife of the Oiler. I lock all the access, see all the axes that aren't X. And this is also the case. When I'm doing a foot, I change this the x Y Z oiler. I lock everything. That's not X. Now it doesn't matter whether I'm in front of you or not. If I hit rotate, it'll Onley rotate about the axes that we were just talking about. I'm gonna do the same thing for the other foot so that it's stuck. Now I should not do that for the hip because the hip is a ball joint so it can rotate in all of the different axes. Now the elbow is another hinge joint and this hinge joints should move about the Z, someone, a lock, everything except disease. So if I select it, I started moving around. You can see that it can only rotate about Z. And that's exactly what we want. The only other hinge joint left are the fingers. So we see this top finger. If we wanted to move like a normal finger should rotate about Z. So we turns to ex wife the Oiler We lost everything except the Z. Then we select the next one and we see that that's like the others were and we like everything except the X. And then we do the same thing, that one everything Is that the X Now this one is set up to be everything except Z Sorry, I left busy that so I'm not busy and this one is also the eggs that way. Now if I select them when I hit our it moves in a way that we can be assured is always going to make sense. And I do that same exact thing here where I want the elbow to move about the Z. So I like everything here, and this is set up the same way. So we're gonna like everything is Z. I'm zooming in with the middle mouse button in case you're wondering. And this one, we're gonna lock everything. Is that the eggs? Same thing here. This would be a good time to tell you that your comments down below the video would be much appreciated. Anything you liked or didn't like, I would be very interested to hear. Oh, that different should be a busy great. Um, especially if you have suggestions for things that you would like to see later or would like to see in a completely new tutorial. I can both make changes to the one you're doing as always, make completely new ones. And I really value your opinion. So that is it. Now we have our entire are miniature set up to do the type of movements that we want. Yep, everything is all set. So the next thing we're going to do is connect the armature to the mess. See you on the other side. 21. Bone assignment : Now we have one more thing to do before we can do this. Don't animation that you came toe learn. We need to assign the correct part of our mesh and are objects to the correct bone. And this part I'm not gonna lie can be a little bit tedious. The fun part of doing animations is being able to situate the bones. The not so fun part is assigning the bones to the mesh. Now, if you find that part just amazingly fun, more power to you. I would love to hear why you love it so much, but I'm gonna show you how to do it here, and I'm gonna show you why What we did and how we set things up made it just a little bit easier. Now, the first thing you're going to have to do in order to make sure that you can assign them, is they're not, apply some of the modifiers we made. So if you look at these shoulders, you can see that they're actually no. Vergis is over here, and that's not really gonna work for a signing and finishing our rigging. So we have this mirror moderate fire here And what we're gonna do is just go ahead and click. Apply, and you see it didn't allow us to do apply there. But if we go into object mode and click, apply now, tap back to get into edit mode, you can see that we do. In fact, have these Vergis is now, So it's just a quick matter of going in looking for the middle mirror. Modifier and clicking apply every time there is one. So we're just going to do that for all of our different objects that have a left and a right side. And this upper thigh doesn't forget about the hip bone. And be careful to not apply another modifier other than the mirror modifier because I could definitely happen. Hopefully I haven't done that on this one of the wives probably re recording it, and you won't ever hear this part. But if you are hearing this part means I probably did it right. So we got the hand. If we tab into edit mode, you see that we haven't bird issues for the hand, and we need so go ahead and apply that for that elbow. So quiet here. The tab when we have it And it's not a big deal if I miss one because I can just go in and do it. I'll notice it immediately when I try to assign different parts to it. Now, I probably did forget about the ankles, and I most certainly did. So I'm gonna tap back into object mode it apply, then look back and then realize that I had to in fact have it. So that was super quick. And that's why we use the mirror modifier to make the modeling with easier because it wasn't really gonna provide too much of the obstacle when we needed to apply it. So now that we have burgesses for both our left and are right side, we can go about applying it. So what I've done here is put the put the armature on a different layer. So let me show you how to do that. We're gonna go into Abdic mode, I'm gonna switch this back to the way it waas. So let's go to our first layer. So right now we have all of our objects that make up our robot, the hips, the chest and all those all those other things and then we have the armature itself. Now we want a quick way to either get rid of or bring back the armature without really making any changes. And we're gonna do that by putting it on a different layer. So in order to put something on a different layer, you select it. You hit em removed to a different layer and ruinous like just the later right after it, and you can see that it's gone and we didn't hide it this time. So if I hit all to eight that won't bring it back. It's just on a different later. So if we go down here, we see that are only active. We see that are only active layer. Is this first layer here? But this little dot means we do have objects, or at least something on the second layer so we can shift. Select it, and that will bring it back. We can also select just that one, and you can see that we can only see what's on that layer. So this is a good way to keep things organized with your blender model because you can still have them interact without having them without having things kind of being the way it happened to do H and all age, which is hide all the time. So I want to select my entire robot models. I'm just gonna hit B for Bak Select. Now everything is selected. Then I'm gonna make my next layer visible And I want to make the armature that parents I'm gonna un select it because the last thing you select is the thing that is re parent. So now I'm gonna now that the whole robot model selected, I'm going to select my armature. I'm a hit control p, and I'm going to say set parent to automatic. Wait. And that's going to take just a moment cause I am capturing at the same time. Now, if I select, if I select my arm richer and we go to pose mode, it's like this, like a handle. You can see that it moves our entire object. But which you also see is that there's who I was crazy. You can also see the hip is on this weird thing. Now, if he was actually made of some kind of spongy material, this would make sense. But I rode by and reason we picked robot is he's completely made of rigid bodies, so he should only be moving at the joints. So that means we need to fix that. So the best way to do that is to select the object. And this time we're talking about the hips, we go to the Vertex groups and this is essentially how wonder decides what bone effects, what part of the mess. So in each one of these objects, because we picked it to have the parent of the armature it created all of these Vertex groups and the Vertex groups are a way to to actually categorized the vertex. And what Vertex is affected by what bones. So in our case, we want this set of Vergis is Teoh only be affected by the hipbone. So the best way to do that if we go retirement to edit mode we hit this little down arrow here and we say, remove from all groups. This means that if anything is influencing it, that's not supposed to influence it are actually if anything that's imploding it, influencing it will be the leader, so nothing will move it. So now we can just go to the hip, and we quick a sign. So because we removed everything before we assigned it, we know for effect that only the hipbone effects these Verdecia. So now if we go into our pose mode and we move it around by hitting grab, you'll see that it does not move that hip anymore. And I'm looking at this in this. Looks okay to me. Me looks OK. The ankle looks okay. Let's move the toe. The total could be better. But I'm gonna leave that alone for right now. And let's go ahead and move this arm and see how that looks. I am mostly okay with that. Now, we could go in and make There is some influence from other things here, but there's not a ton. You can see that there's influence there. We're gonna go ahead and fix that, cause that's kind of a lot there. So we're gonna make sure that we select all of these hand emergencies and we're gonna hear go here to this down arrow and say, removed from all groups and then we're gonna go find our hand and we want hand dot l and we're gonna say a sign so Now, if we go back into our mode here and we move this part of the finger, you see that it does not affect that hand anymore. And luckily, it looks like the rest of our fingers are performing pretty much exactly the way we wanted . Teoh. Let's look at the fingers over here and make sure we don't have any surprises. And just like we would think that hand is has the same issue there. So we're gonna go here and we're going to say, just like we did before, removed from all groups. Then we're gonna look for hand that are, and you can affect how this is ordered. So right now we can pick sort by name, which is going to make it a lot easier. So now we can find hand that are, and we can say a sign. So now when we moved this finger, it doesn't move that hand just like it's supposed to. In the same thing is true of the bottom. But if we move the hand, you'll see that it does what it's supposed to move. So this is almost what we want here almost is not perfect, so we can see that the chest has some interesting things going on that our arms are actually moving are chest. So let's go ahead and fix that. So pre tab into edit mode for the chest, we select everything that's in here, and we're going to use that same trick that we did before, so removed from all groups. And now we're gonna go find the chest and you can see that the group is not in alphabetical order. That's because when we did group it by alphabetical order, that was for that object. We didn't do that for the chest. So we need to do that. Now. We're gonna sort by May, and now we need to find the chest. And luckily enough, I know that chess does start the sea. So we're going to say, Ah, sign tab out of that. And now we're going to see if everything works right. So we're getting some strange movement with these events, and if you remember, the events are not part of the chest. Remember, because we wanted to use the array modifier and it so happens that we needed to make it a separate object to be able to use the array modifier. So let's pick this. We're gonna go into edit mode. We're gonna do that same trick yet again. And so we're gonna say, removed from all groups and everything was selected. Now we just need to find chest. And once again, it's not in alphabetical order because we did not alphabetize the groups for the events. But now that we did, we can say a sign tab out of that go back into posed mode and it doesn't affect it just like it should. But if we do a rotation here about Z, you can see that it moves like a charm. Now let's see if our neck works right neck. What's good? Let's check the head in all, form the head, get anybody who can leave a comment and let me know what cartoon slash anime that comes from. I will send you a digital pizza. All right, so here we go. Everything looks pretty good now. Now, if we really wanted to make this clean, we would do what we did for the hip for each of these by making sure that it's only affected by the being that we wanted to be affected by but blenders. Innate ability, automatic ability to dio assignment looks pretty good in this case. I do not think we're going to spend any more time on this part. I want you to put this in some kind of pose, right? Just something something that you think is fun, right? And I want to see you do that. And I want to see it. I want to see it on the upload so you can pick whatever pose that you want, and then I want you to upload it. So in order to do that, if you remember, you hit F 12 for render. And then after you hit at 12 after you hit at 12 your image save as image and you can put it somewhere anywhere on your computer and then upload it to skill share as a picture for your project. And I am super excited to see what you do. So I will see you on the next go round 22. Getting the foot right: if we go into pose mode by going down here selecting pose mode and I select one of these backbones and I can tell what the bonus called because I can look over here, I can select this tab here, the bone tab and it says I k target dot out. So let me show you what happens when I move. I k target dot alibi hit G for grab and moving around. You can see that the what kind of points down depending on where the Shin is and that's not really ideal for doing a walking cycle. We want the foot to kind of remain flat like this the entire time. And that'll make it much easier for us to situate our actor or the bones that we want and in the way that we want in the quickest fashion. So let me go ahead and show you really quickly how to do that. So I'm just gonna hit control Z undo to get away from that, I'm going to zoom in using my middle mouse button, and the next thing I'm gonna do is I'm going to create a bone. But in order to create the bone I'm gonna have to go into edit mode. So remember, when you want to create bones, the best place to do that is edit mode. So the next thing we're going to do is hit extrude. But before we hit extrude, we need to make sure that we are connected to the right bones. I'm gonna hit Z to go into wire frame mode, and now I'm gonna hit extrude. And after i e were extrude, I'm gonna hit. Why? To make sure that I stay on the why access, right? And now I'm gonna hit Z too good to get out, uh, our edit mode and go back to object mode. The next thing I'm gonna do I'm gonna hit three to go back into side mode. I'm gonna grab this bird isi and pull it down. Now, I'm doing this because I wanted to be approximately the same as this kind of metatarsal bone here or this for football in here. I'm not sure Same metatarsal was the right word. Let's just call it a football. I want to match this foot bone, but I want everything to kind of state, even with r i k target back here. So I don't want anything to be crazy when I actually put on the constraints. So I want to make sure everything kind of matches right now. So right now that looks good. Let me go ahead and name this So it right now it thinks it's a copy of a target that l But we don't actually want it to be that. So I'm going to call this foot underscore level dot I remember that is on the left side of our character. So that's why it's dot L. So that looks really good. Now let's give it the correct parents. So we want everything to be released. We want this bone to be completely in line or move along with our like, a target handle. So in order to do that, we're going to make sure that our Ike, a target handle is the parent. So in order to make it apparent, I'm gonna hit control P. I want to keep offset. I'm gonna hit Z to go back into solid mode. I'm gonna get add up edit mode by going down here. It's for bottom menu and cooking pose mode. Now I'm gonna do that same thing. I'm gonna select r I k target I'm gonna grab and you can see that it still does the same thing. And that's because we haven't put We haven't put our constraint on it. So in order to put the constraint on it, I need to select that bone, go to our bone constraints and in our bone constraints, I'm gonna select the foot level that l So now that I've select the foot selected the foot level dot l And that was under copy constraints so in mind, that was already there. But if yours was completely blank, you would go to add bone constraint. Happy rotation. Under rotation, you goto armature under the armature. You select the bone, which is foot level, that world space, the world space. You can leave all of this stuff like it is. I'm gonna hit Z to get out of wire frame mode. I'm gonna select that backbone hit G for grab. And now you can see that that bone moves pretty much right in line. Not pretty much completely right in mind. So no matter where we put this bone are, foot is gonna remain level, and that's going to make our lives a little bit easier in the future. Now we want to put this bone over there and let me show you a magic trick that's going to save you lots and lots of time. So I need this bone to go from here. So over there, In order to do that, I'm gonna go to object mode. Actually, I'm gonna go to edit mode. I'm gonna select a bomb, and I'm gonna hit W and under W I'm going to pick Sima tries, and now you can see it magically hops. Ah, Copy over to the left side. Now, that's not the only cool part. Now let's look at the name of the bones. We're gonna go down, going to pose mode, make sure that bonus selected, we go to our bone menu and you can see foot level that are is already selected. So we're almost all set toe have this. So remember it. We could do that because our model it's right smack in center in the center of our world. So the origin is right at the center, so that allowed us to do a lot of interesting and useful things before and in the future. When we're doing our animation, it will allow us to do even more Now, right before we're almost ready or almost ready. The last thing we need to do is fix this bone so that it behaves like the other bomb. So if you look at this like a target in the back, like a target that are you can see him somehow. It has a strange parent. So what we're gonna do here because somehow that happened here, I'm gonna go back to edit mode. I'm gonna say all to pee, and I'm going to clear parent. So that got rid of that line. That was right here and I didn't show you, but it would have behaved really strangely had I tried to move that arm or had I tried to move that leg. So right now things are almost all set. I'm gonna go back into pose mode. I mean it. I'm going to hit Z two gettinto wire frame mode so I can see that. But bone this underneath after I select that the bone, I'm gonna go over here to our ad bone constraint, and I'm going to pick copy rotation just like I did before and under the target, I'm gonna select armature and under the bone. I'm looking for foot level dot Our this time because it's on the other side. So to test this out, I'm going to select this like a target here on the right side, I'm gonna hit, grab. And yes, it moves that foot just like we wanted to. And on the right side of it. Grab. And that moves. That one. Good work. I will see you in the next one. 23. Posing: congratulations. If you made it this far, we are almost there. Ah, couple of things. Right before we start, I want to make sure that your model is the way that we wanted to be right before we create our poses. So I'm looking at this bone and I don't know if your bone is like that, but you see this line right here, that line actually shouldn't be there. And let me show you what happens if I were to move my bone. I move it up, you can see that that line moves along with it. But more importantly, if I move this bone both legs moving, we really do not want that. So I'm going to go to edit mode. I'm gonna select this left bone that has this as being a parent. And I'm going to say all to pee and clear parents that way. Now, when I move that bone grab, I hit, grab and move that bone. Everything is okay. The other thing I want to quickly fix is if we hit, grab and we look closely at our hell, we can see that it gets warped a little bit and I know before I said that that was OK, but let's go ahead and fix that. That's going to make our life a little bit easier. Well, that's left. Click on the feet. We're gonna tab into edit mode, and then I'm gonna slick one bird ISI hit L with my crecer over that object. And then I'm gonna go over here to the group's panel and I'm going to click this down arrow , and this is gonna allow me to sort my groups by alphabetic order. And these groups are how the actual Burgess sees are assigned to the bone. So I would like foot dot Ellen, because this is an alphabetical order. Oh, I have to go to is to the f symbol for foot dot l. I have these Verdecia selected. I click this down arrow again and I look for removed from all groups. That way, if these are anywhere that they're not supposed to be, so they're assigned to any bone that they're not supposed to be assigned to. It will remove them, and then I'm going to click a sign that way. I know that these verses are assigned to the foot dot l bone, which is this bone here that's inside the foot. I'm gonna do that exact same thing to the right, but I click on one of the vergis is I hit l to select All of be connected. Vergis is I'm going to it from there, removed from all groups and then a sign. Actually, that was the wrong one. It should be put that are someone do that again. So removed from all groups and then a sign for foot that are so it's double check that that was done correctly. I'm going to go into a minutes had out of edit mode to get back into object moment. I'm gonna click by the left, clicking that bone, and it's gonna immediately put me impose moment. If not, you can just select pose mode here on the left side. But on this side of the screen now, if I grab, that looks fine. And there's no weird warping at the hell. But he grabbed there. That looks fine. And there's also no weird warping there. So now we are completely ready to do our dramatic pose. So you're probably thinking, what dramatic pose you going to use straight? Well, I encourage you to scour the Internet and look for the most dramatic, interesting pose you can pick. It can be opposed that a superhero is making from a comic book. It could be opposed from a magazine. I have opposed here that I got from pixels dot com. And I will. It's not pixels dot com, but I will leave a link toe where I got this. These are free images that you are free to use, and I will leave a link to it. But I just randomly picked this one because I needed to pick one that was royalty free and free to use. I'm going to use this one here, and you are welcome to use. This is well, so everything we're going to do for the Post is gonna be based on this. So I'm gonna minimize that for now because, you know, honestly, I practice this a bunch of times. I kind of have it memorized, but for you, go ahead and keep the image on the side of your screen. So you know what it looks like. So the first thing we're gonna do is create something for him to sit on, and we're not gonna go crazy here. I'm just gonna right quick down so that I can just add an object. So I'm gonna say shift a and I'm for add and I'm going toe add a cube. I'm gonna hit one to get into side mood front view. And I'm gonna just scoot that down a little bit so that I know it's sitting just on the ground. The next thing I'm going to do is go over here to our modifier panel. I'm gonna add a bevel modifier. And within the bendable modifier here on the right side, I'm gonna increase the segments to three. Then on the left side, under tools, I'm gonna click smooth. And this is just to make it so it doesn't have completely sharp edges because nothing in real life has a completely absolutely sharp edge or completely right angle. So now that's all done. I'm gonna quickly give it material, So I'm gonna go to the materials tab over here. I'm gonna look at my materials and I see that I have gray here someone, a base, my material, and great but not use Gray. So right now Gray is selected, I'm gonna hit the plus which is gonna make a copy of it. I'm gonna change the name to Brown. And luckily enough, I can spell Brown on, like, a lot of other things that I cannot spell. And then I'm going to change the actual color to be this brown. So that is brown enough for me. So we know we have, ah, box that he is going to sit on. And it's not quite the right size. We want this to be a little bit higher. So we're looking at a picture. You can see that this is kind of a high. Being ready sitting on doesn't really make sense for him to sit like that. If it was something that was low to the ground, at least in my mind, it doesn't make sense for him to sit on something that's low to the ground. So I'm just making it a little bit taller, and I'm also gonna make it a little bit longer. So in order to do that, I am in base select mo, which I want to buy, clicking this button down here, which is a picture of a face, and then I just use the arrows to move the faces like I want now is a bunch of different ways. I could have went about that, but I think that was probably the fastest way to do that and must also make this a little bit wider. So I just click the two sides of this box, I'm gonna hit scale and then XO s and then X and make it a little bit wider from the tab out of edit mode and into object mode. And I'm just going to scoot this to the side. Let's look at it from the front. I'm just gonna grab G for Grab X and scooter so that it's pretty much center. Doesn't have to become completely perfectly center, but just around centered. So next thing we need is for him to be sitting on the box. So I'm gonna grab this tailbone and when I still like the bone partick, usually it will put me automatically imposible. But in your example, if it does not, you can select the bones and go down here and select post mood manually. Someone hit three that's gonna put me inside view hit G to grab that tailbone, and I'm just gonna sit it down on the box and I can't really see the box that well, so I'm gonna select this shoulder so well, upper arm back and hit three to be inside mode. And I'm gonna hit our for rotate so I can get it out of the way now his other arm is also in the way. And if you remember a little tricked from some of the other tutorials, we can just quickly copy this post to the other counterpart bone his other upper arm. So if I hit control C for copy control, shit, be to pace to the other side. Now you can see both arms are like that. So that's pretty much exactly what we were going for in a minute. Non wins it really get back into side view, and I'm going to select these two i k control bones that are at the ankle. So if I hit G for grab and now I can shift them above where the box is going to be, the next man going to do is select the box tab to get into edit mode. Select that front base. I'm just gonna use the arrows to drag it out just to make it long enough and they say I'm gonna do because this box is a little too long. I'm gonna take that back base and not Tab to get into edit known. Take that back face and move it a little bit to live because he's gonna be leaning up against another box. So that's pretty much exactly what I am looking for. This look from side views like three to be in five you and let's recline him a little bit. So I'm gonna recline kind of far because I want him to have some spinal been because in real life he's not sitting completely straight. His hips and his spine is curved, the kind of meat, this wall on the backside. So as I do that, I mean it. Three. Make sure I'm inside moan. Then I'm gonna hit our for rotate and then almost like this bone and hit our for rotate again and now he has this been. So this thing we're going to do is give him these lakes here where one is kind of bitten up , another one is down into the side. So let's go ahead and do the one that's down into the side. Now, the easiest way to turn his leg to the side is gonna be able to use this I k I believe it's a target. But this bone here that controls how is me points aware? His Nico hit one to be in front mode and I hit, grab and I just moved that bone down. You can see that it completely changes the orientation of the like to be approximately what we want. So the next thing I'm gonna do is select this I k control bone here is let, but I'm gonna hit G for grab and then shift Z to make sure it stays on the X Y plane. And then I'm just gonna move that foot back. So as you can see, that does not look bad. So one of the issues when trying to do things with bones, is you need to see all the bones, but because the bones are inside things, it kind of looks weird. So if you want an idea of what it actually looks like, we're going to have to go to the bone menu and uncheck X ray. So that's here in all of these tabs. There's Ah menu here for our moocher And then we own quick x ray and that allows us to see what it actually looks like. And in our case, this foot is inside the leg, which we can't have it and when you can't be visible to the camera anymore So we're gonna change that a little bit Something g for grab shit Z to move it back some more. And you know what? That's not looking bad at all, but unfortunately, this foot is not on the box. Someone hit G for grab again and now I hit. I just bring it down In order to get the opposite side, I hit control three So three shows me from the right Control shows me from the exact opposite side. So that is not looking bad. Ladies and gentlemen, I am going to turn back on X ray and I wanted to be where the foot is all the way down on the ground. So we look at our reference, we see that his foot is all the way down on the ground and honestly, that kind of looks just better. So it three to get into the side mode. I select this foot bone here. This is what dot our I believe that I can double check if I go here to the bone menu. Look on the right side. I can see that it is in back foot that are so I'm gonna hit, rotate while I'm inside mood. So are for rotate. And I'm gonna stop rotating it when it is just about completely horizontal. Then I'm gonna hit G for grab. I'm gonna put it on the box and I could see that I need to rotate it again, but are for rotate. And then I go back to the controlled on G for grab. And now that is about right. And I don't have anything weird interfering. I'm gonna go ahead and turn X ray off. Get a good idea what it actually looks like. And you know what? That looks pretty good. I am really okay with that. The next thing I'm gonna do because I think it probably looks a little bit better if the knee is slightly off to the side. So I'm going to grab the left, control bony and bring it so cycles, I think that'll look a little bit more natural. But now that I did that, the bone for the foot is not quite correct. So I'm going to rotate that back so that that will correct. So anytime that you want, you want the bone to rotate about particular access. Axes are access. You can do it from any angle. But if you only wanted to rotate about a particular access, it's easier if you face that bomb. So from here, I'm kind of looking at that toe bone and I'm gonna hit our for rotate. And then I'm gonna hit one to be into to go into a front view, and that looks almost okay. I'm gonna hit the back control bone and then Rose hate here in the foot bone. I'm just basically trying to make it look normal to me. So I hit rotate and then Z because I wanted to face it out just a little bit. And they say I'm gonna do is turn off X ray to see if my foot looks OK and you know what it does. So I'm going to I'm gonna change one more thing. I know you probably thought I was I was just gonna leave it, but I'm gonna change one more thing. I'm gonna hit G for grab shift Z to make sure it doesn't move off easy access. And I'm just gonna move the feet a little bit closer to each other because I think that probably looks more natural. Now let's get into the arms. So I'm gonna turn X ray back on so I can see the arms. And unlike the legs, we didn't do inverse command Kinnah Matics for the arms. So I need to do the arms bone by bone. So the first thing is, I want to change the orientation of the hand. So I with long part of the hand to be towards the top, whereas right now it's towards aside. So I'm gonna rotate that from the upper arm bums. I'm gonna look straight at it like we did before it are for rotate and then rotate that over. And now, as I look at it, this is precisely what I wanted. Now the next thing I'm going to do is kind of draped his right arm over his knee. So I wanna look from above and I see that these things in a way So I'm gonna let click by selecting them or a selectman by left clicking And then I'm gonna h toe hide. And if you ever want something is everything the way you can? Always. So that didn't hit age too high. You can I'm hide it Missed the important thing by hitting cult H over h is back h to hide it. Now I'm going to been that elbow so that is over than me, and I'm gonna go back the top mode rotated around and I'm gonna hit that lower arm that shin hit aren't to rotate that. And that is almost what I'm looking for. I'm gonna go to the side view by hitting control three and rotating the upper arm so I can put it down. And right now, the elbow is too high. So to counter act that I'm going to turn this upper arm over some just like that, and then I'm gonna look on the other side by hitting control three. And when it rotated down and then I got above rotated in a little bit, and I'm also going to rotate the upper arm out. And like I said before this, just the matter are trying to get it to look natural When you do that, when you do this, it may not look exactly like this. Of course, it won't look exactly like this. Particularly if you don't pick the same model. I think so. I'm just going to situate this around using the same approach is I've been telling you, by selecting the mile hitting art for rotate, and I'm literally heading just fast forward through this because this is just doing the details and maybe in kind of anal about the way that I wanted. So I'm gonna fast forward through this. If you have any questions, please put them in the comments. And here we go. Um, - so there you have it. That is the pose I am going for. Let's go ahead and finish this model by adding that next box that he is going to lean against someone to select this bottom box by left clicking on it, getting shift d for duplicate, And then why? So that it Onley moves on the Y axis. Then I'm going to select this back piece here because I'm still in face. So that code I don't have to do anything particularly complicated there. I'm just like the top face. Use this arrow and drag it up. And now I have these two boxes that he's leaning against. I'm gonna scoot it in just a little bit by touching that green arrow there and there you have it. He is in our dramatic pose. Let's take a look at our picture and see how that measures up. So not bad. Not bad. Ah, a guy looks just a suave and cool as our model here. I would love to see the models imposes you put your person in. So there is about one more video left, and you are completely or these almost completely done. Right now, you already have your exotic image. If you wanted to take a picture, you certainly could by hitting a lot committed view and getting that perfect shot here and up loading that just like you've been uploading everything else, I hope. But on the next video, I'm gonna show you how to render this Ah, video using an animated camera. So it's 360 degrees of awesomeness. See you on the next one 24. Rendering: let's set our shot up for the render along with setting up everything we need to do for the render. So if I took a really quick render of this and I could do that going to this left seen icon here and I'm gonna change these samples to being something really small, come with this to be really quick. Hopefully the fact that I am also capturing audio will not a bet this, but I'm gonna hit f 12 to get a really quick render. And you can see if I render this out right now that I have this great background with no poor and that is not okay, I want us to have an interesting or at least a background that doesn't take away another thing. I'm gonna go ahead and fix and turning the noise ing on. So you saw what that looked like. It was really granulated, and a lot of that had to do with only being 10 samples. But if I had render again with the noise ing on it, smooth that out and that can save you. Oh, so much time. You can do far less samples and still end up with something usable anyway, That's a side note. Make sure you turn Denoix zing on That's under this panel here and checking the Denoix zing . So, like I was saying before, we need a back drop. So we're going to make a backdrop also simply by hitting shift A. We're gonna add a point. Once we have that playing, we're going to make sure that it is completely smack dab in the center of our model. So right now we want to make sure that it's selected were in object mode, and we're gonna go to the location up here and you can get to this panel. It looks like this for you. You can either hit this plus sign or you can simply hit N I'm going to right click on it. And then I'm gonna say, reset all default values that puts it right in the center. And you can't see it right now because it's beneath this box. But it is on the center. Next thing I'm going to do is Tab to get into edit mode, and then I'm gonna hit s for scale. And I'm going to make this much, much wire now. The trick is to make it wide enough so that your camera, which is right here, is inside. And right now, it's not quite wide enough. The reason that we're doing this is we want the camera to never go on me outside of our backdrop, we're gonna create a 360 degree wrapped backdrop, which is not typically how backdrops are typically even a couple backdrops because they're on Lee on the back. But in our case, we're gonna enemy that camera to go 360 degrees around our objects. So we want this to be big enough in order to do that. So that is looking just about right. To me, it's big enough. It's not gonna interfere with our camera at all. The next thing we're gonna do is come out of base select mode into Vertex mode, and I just do that by clicking this picture of a box with a little dot on it on the left side. And then I'm going to hit E for extrude and I would hit that could hit Z If yours isn't straight up and extrude it straight up, the next thing I want to do is get rid of this face cause I don't need there to be anything on the ceiling. Someone it x and I'm gonna select faces. So now I have this box here. Now, let's go ahead and give the box the color that we want. We're gonna use the same trick we let we did last time. I'm women, so, like Brown. But in this case, I don't actually want Brown. I'm gonna hit, plus so that it's kind of based on Brown. And then I'm gonna just call the backdrop and you can you are welcome to give it any name that you would like. But in this case, I want my backdrop to be hard. Let's see have ah, let's go Ah, I have reserved the white to change to change this at any time. But let's go with orange there. So now if I hit f 12 we can quickly see what that looks like And I'm mostly okay with that orange. So right now it looks like he's in a room, but that's not quite what we want. We want there to be no real corners because we don't want it to look like he's in a room we just don't want to see or know for sure. We just want there to be kind of color behind him. That gives it death. So I'm going to select all the Vergis is so I can hit a for select all. Then I can hit control be, which is bevel. It's not the devil Modify. It actually creates the bubbles. And then I use the middle mouse wheel to increase how many segments there are. And you can completely do this to whatever whatever you like. So after I do that, I tap out of that, I'm gonna hit smooth. Now, if I hit zero to go from the camera and I hit a 12 we can kind of see what this looks like . Looks like. So now you can see that there aren't really any corners to this, which is what we're going for. It should just look like he's in a space and the space has debt. Then you can see that there are shadows and things, but you can't really tell how deep the spaces, which is what we're going for. The next thing we want to do is the lights. The lights aren't quite right. this. So if you remember, we had some lights above, but you can't see them anymore. Cosby hid them. So I'm gonna hit all to H to bring them back out. And you see that they're kind of small. So let's go ahead and take a look and see what that looks like, right? And this is what it looks like because even though it was hidden, they were still there to the render. So we didn't actually change anything by hitting out h as faras The renderers is concerned . So let's go back out of that and I'm going Teoh, Now that those air selected I see that the strength is three. I am going to increase that to six. Now, let's see what that looks like. So there's just a little bit more color. And if this is what you want for their be color just on him and then the rest of it be kinda dark, that's really cool, and you are completely free to do that. But what I'm gonna do is I want to cast light on more than just that. So I'm gonna select our lights. I'm gonna tab to get into edit mode. I'm gonna hit scale, and that's going to make them much bigger than I'm in its scale, X, and that's going to make them wider. Then that's had to go back into object mode. I'm gonna use the green arrow to shift it up. Then Mitt tap again and I'm gonna Skillet. But I'm only going to Skillet and why? And that's going to make it wider. And then the next thing I'm going to do is drag it up because I don't want to ever be in the camera. So right now, it doesn't look like it's gonna be in the camera. But we did pull it up, so I'm gonna go ahead, increase this strength to 10. In order to do that, just make sure that the lights are selected. Otherwise you won't have this e mission over here because that we set that up earlier and then go into the materials and selecting 10. Let's do a quickie render some gonna hit at 12 see what that looks like. And I am happy with that. Ladies and gentlemen, now, this little bit of kind of texture behind it is there only because we did 10 samples. That's how many you could think of it as how much processing power it's putting in a light bounces. It's putting in for each one, and that will not be there when we think increase the number of samples. But I really liking the way this looks. I'm gonna actually down this drink 28 and let's look one last time. And you know what? That is exactly perfect for what I want. I'm not gonna let that finish because it's not that important. And now all the lighting and are setting is completely done. Now, let's do the animation for the camera. So I'm gonna use that handy trick we did before. I'm gonna hide the lights, and I'm gonna hide the backdrop because I don't really need to see it. The other thing I'm going to do is pick where we start with the camera. So I think it's easier when we start completely from the side. So from up above, I'm gonna grab our camera. I'm gonna put it there that I'm gonna hit zero to put us in camera view. And if you remember, before we can move the camera easiest by doing block camera to view then I can use the middle mouse button to rotate, and then I can pan with shift in the middle mouse button, and I'm gonna face it down just a little bit. Make sure that dead center and that is where we're going to start. So I'm gonna uncheck, uncheck, locked camera to view. And now we are all set to do the animation, which is one of the reasons why you're here Now we're gonna do this very easily by creating an object at the center and rotating that and then parenting on camera to it and thats gonna give us this 360 degree rotation and Kim review that I was telling you about. So I'm gonna select the head, cause that's what I want to be. The centre I'm gonna say, shift a for add. And this time I'm going to do an empty. But it's not letting me select it because I am not in object moments. I'm gonna go down here to let select object mood. I'm gonna put my cursor right about there, and I just right clicked around it, and wonder kind of figured it out, but it just needs to be generally where the head is a minute hit shift. Hey, for ad and so, like empty plane axes so you can see that that is right at the head. You know, if you do yours and it's not perfectly at the head, you can use these arrows to get it and put it precisely. Were you on it? The next thing I'm gonna do is make these a little bit bigger. So right now I go to the axes tab here on the right side, and I'm gonna increase the size by just dragging that out. That way I can see it now. The next thing I'm going to do is parent the camera to the axes. That way, when I turn the axes, the camera will move. So I select the camera first the empty axes. Second, I say control P object. Keep transformed. This way, it won't move the camera to are empty. So now if I select are empty I r a rotate Z to make sure it stays around there. You can see that the camera moves right around our point. So are for rotate Z. You can see how this works here and right Now I'm going to leave this as X y z Oiler, cause I think that'll probably work just fine for what we are trying to do. The next thing we need to do and almost the last thing we need to do is create the animation. So I'm going to create another window. In order to do that, I want to be left side a quick, be slanted lines and drag upwards. That's how you create a another window. If I want to get rid of it, I would select those lines and drag down. So I'm gonna hit escape because I just want that one there. And the only way we're gonna use is this time. The graph editor The graph editor allows me to see kind of what's happening to the values that I am doing my animation with the other animation windows, like the dope sheet and also the action editor. I don't actually see the values, but we only really care about one value witches, this rotation. So now the next thing I need to do is make sure that I'm walking in the rotation so I can go down here to where the keys are. for lacking key frames. And then I realized that I want lock, location and rotation. This will allow me to every time I hit the I key automatically locked the location in the rotation so I won't have to select it every time. So I hit the i key and that locks that current rotation. Now I'm gonna hit our for rotate Z so that it rotates around and it really doesn't matter how far. But before I do that, I'm just gonna randomly put it on the 50th frame will pick something really Well, pick something really, Uh, an even number some of our rotate Z to rotate at some arbitrary amount. And then I'm gonna hit I again. So now if I go over here, I see that the only thing that really changes is we know that I'm going to quit the little guy, which makes us so we don't have to look at it. The X doesn't move. But why doesn't move on Lee the Z and that makes a lot of sense because that's the only thing we did was rotated about the Z. So now if I go back to the first frame and I change it so that the in frame is framed under 51 and I hit play by hitting this play button here or I hit on a to play it. We can see that it moves from one to the other, but we wanted to be constant. So in order to do that I go to channel. I make sure everything is I make sure both of you is a selective. So I hit a tow un select and then a to select ah and then extrapolation move mode. I hit linear extrapolation. Now if I hit out a hopefully it will keep going all the way around, and it doesn't, and that's because we have put our in frame at 51. So now let's put are in frame at 360 just to see what's happening, and you can see that it continues to go around. So the interesting thing about Blender it's if I hit zero now I can see what it actually looks like through the camera. You can do that without having to do any amount of rendering. And you know what? I'm pretty happy with this, so this means that are rendering is the only thing we really need to do. So let's go ahead and set up the rendering now. So everything about the camera stories where it is is exactly the way we want it. I'm going to go to the camera tap here on the left. I'm going to change the samples, This here. And if you don't see this, it's become probably because it's not expanded. So if I expand it, I'm gonna put 100 for mine. You are. If you just want it to be fast, you can do 10. You might be able to get away with even something less than 10. But if you do 100 you know that everything is going toe. Look a okay, and then this is set to 50 for you. I would set it higher. Um, but because I want to rent quickly instead of taking forever, I'm going to do it at 50 minus set up to do GPU rendering. But if you don't have your set up for that, that's fine. It can be CP rendering. There's no shame in that game. The next thing we need to do is set up what it's going to actually spit out as an output file. So f f m pay because we wanted to be an MP four file under encoding pick 8 to 64 MP four, and the last thing we want to do is tell it where to put it. So if you go to the output and you click this here just the same way as you can save, you can select the location that you'd like it to go. So I'm not going to do this part because I'm confident that you can do it yourself. But after that, all you have to do is it render actually, all you have to do Sorry is hit animation, and this will do exactly what it's supposed to do and render out your animation. Just make sure you look and see. So right now, if I hit animation, you can see that it's going ahead and animating it. Frame my friend. So right now it's set up to do 100 before it was set up to do 10. So it's going to take a while, and because of that, it's gonna take a long while to dio what I said to be 360 now for you. You can do much less than that. It's gonna It's going to render at 24 frames per second, so if you want it to be more than 24 so for every 24 frames, that's one second. So 300 is about six seconds. Let's see 25. Now it's less than that. You wait, do your own man. Um, it's 24 frames per second. So however many frames you have, uh, you divide that by 24 that's how many seconds you'll have. But it looks like that this is going to render just fine, so I will see you when this is done. 25. All done: congratulations. You made it to the is. If you have any comments, please leave him down below. Let me know what you think. And if you can, I would love it if you could leave a review and please check me out on my next.