Everything you need to know about animation in 5 mins and how to get started. | EduCraft Ideas | Skillshare

Everything you need to know about animation in 5 mins and how to get started.

EduCraft Ideas, 3D Animation with your imagination!

Everything you need to know about animation in 5 mins and how to get started.

EduCraft Ideas, 3D Animation with your imagination!

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5 Lessons (24m)
    • 1. Final lect

      5:38
    • 2. Want More?

      0:27
    • 3. Learn the Blender Interface

      6:03
    • 4. How to add objects

      9:32
    • 5. How to interact with Objects

      1:59
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About This Class

3D digital art can be an intimidating endeavor.  All the different ways you can model and material are enough to make your head spin.  Now add animation to that along with the complexity of whatever software you're using and you got an ice-cold cocktail of frustration and forgotten attempts at learning.  

This class is special in that it's only about 5 minutes and you can get a bird's eye view of how animation is done by the pros and where you should start.  It's a great place to start if you've never done any of my classes before and don't know anything about animation.  It's also a good place to go after you've done a class and want to know how what you've done fits into the broader scheme of things.

At the end, I'll give you some advice about where you should start from here.

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. Final lect: telling a story with the character isn't the easiest thing in the world, especially in the world of three D digital art. Pro. Sometime do this by using motion capture to record how our character, my move. This is done by using it an expensive motion capture system to record body movement. But honestly, this tech isn't for everybody. It, I mean, who has the money to set up a rig like this. Welcome to my 1st 5 minute lecture, where I teach you how it's typically done. Then I show you how you can get started doing it yourself. This is a little different from my other classes, which are a step by step tutorial on how to do something. This class is a great supplement. Watch before or after you've already completed the project class. What project class you might ask. Don't worry, I'll tell you the classes and the lectures that match this class at the end. Let's get started with how things used to be the old school way. Well, enemies used to have to draw each individual frame and then display them in a quick succession to give you the illusion of motion. There were some tricks. They could do it and make it easier, like reusing the background. But it was definitely more work intensive. Now for two D animation, computers can help us along by allowing us to copy and paste one frame, toe another and then make changes to that frame so you don't have to draw every frame from scratch. And minutes can also make use of something called twinning, where you specify the beginning and the ending condition. And then the computer figures out what to do in the middle. This can save tons of time, but the look of the animation definitely has some differences. Many people prefer the look of drawing each frame, which is called frame by frame animation, over the use of tweeting. This brings us to three D digital art. We typically don't work on a frame by frame basis because your models are too complex and time consuming to recreate his friend. I mean, imagine recreating a character that took you 80 hours to create for every frame. When you're animating at 24 frames per second, it makes me tired just thinking about it. In three D animation, our approach is pretty similar to twinning. But the computer power and the ability to select different starting in positions is extremely powerful. I mean, of course we can have the computer figure out rotations and traveling and stealing, but we can also use bones to get objects to deform in ways that create the movement we're looking for. This is how character animation is typically done. We can even go a step past that and animate the based shape of the object. One way blended does is is with shape keys, which is the actual movement of the Vergis is in the object. But that's not the only way. There's also Binney bones and animating with curves that also give their own animation effect. I want to keep this short, so I'm not going to even get into simulations like Water and Smoke and other physics space motion. I'll save those for another five minute lecture, so let's run through a quick demonstration of how a simple animation and blender is done. So this part is not really supposed to be a tutorial. I just want you to understand what goes into doing an animation and blender, so we're going to start with this block here. Now I'm gonna move the block to where I wanted to start at and make sure the cursor is the right place in time. And then I'd lock the location then if I moved the block to where it wanted to be next, which is frame number 56. And I moved the block there and I hit lock location again. You can see that the block is going to move, so this I'm gonna hit play, and you can see that the block moves. So this is just translation, but I don't have to just do translation. I can create another block to show you the point again. And I go to the frame that I care about to start with, and this time I lock rotation. Then I go to the 60 of frame, which is the next point in time and lock rotation again. That blender will figure out what to do in between so that it creates this motion. Like we said, it's something like twinning. But in three D, people don't typically call it that. So not to belabor the point. Just to show you 1/3 time, I'm going to do scaling So I go to the first frame. I locked the scaling this time. Then I go to the 60th frame and I'm going to scale it up just a bit. And then I locks Came again. Now, when I play, you can see that in all three cases blenders, translating or scaling or rotating. Now, just to show you how much control you have over that, I'm going to show you blenders Graph editor. So the graph editor is there, and the block this rotating is selected, and this is a depiction of what the rotation looks like as a graph. Now, just to give you an idea something you can do, you could change the graph so that it's completely linear. And now you can see if I change the angle of that graph, you can see that I can make the block rotate continuously. So if animation with three D digital art sounds like something you'd be interested in doing , take a look at these classes. They're good starting places, depending on how much time you want to spend and what you want to focus on. So I hope to see you in the class, and I'm really interested in seeing some of the projects that you create 2. Want More?: Are you still here? Excellent. But everything you needed to know was in that 1st 5 minutes. But if you absolutely cannot wait to get started and you want to do something that's on this particular class, I'm including three short lessons that will help you get started with blunder. Now, don't feel like you need to do them here. They're covered in all the other classes. But if you just really want to get started right here and don't want to go to the classes, Here you go. 3. Learn the Blender Interface: This is the screen you see when you first open a blender. Now I'm using version and blender. That's 2.80 and it marks a pretty big difference between 2.79 and everything from before. So you're using 2.79 1st I strongly recommend you go ahead and download and install, but 2.80 is, after all, the future. And that's a once of things that you can do in 2.80 That's just playing cool that you can't quite do as easily in 2.79 So I highly recommend that you do 2.80 And if you don't, I recommend you look at some of my other classes where cover in depth, How to use Lender 2.79 So let's get started now. I want you to be able to get up and running as quickly as possible, so I'm not gonna cover every single thing you see. You could spend a lot of time trying to learn all of the ends and outs of blended because it's a very deep program. So the first thing that's really important for you to know is the three D report. This is everything that you'll do in three dimensions. You're modeling your sculpting your painting. If you're texture. Painting in some cases will be in the three D report. So this is a really important area, and that's everything in this region. The second thing that's really important to use or at least understand what it is, is this out liner over here. So the outline er has all of the objects that you can be found in your three D V port. So you can imagine if you had lots and lots of different cubes and objects of models over here. That might be hard to find, so you can look on this right side at the outline er and then see so everything can be organized in what they and what blender calls collections. And you can create your own collections by right clicking and selecting new. You can change the name of objects, for instance. I have this cube selected, and you can see over here that it's white, and that's how I know it's selected. If I want to change its name to Big Cube, for instance, I could certainly do that, and then I could search over here for Big Cube if I had lots of things and it would show me where it is. So this is a good place to try to interact with your scene. And when I say seeing I mean your collection of objects over here in from a name perspective instead of from a location perspective like you would in the three D report. The other thing that's really important to know about is this properties area and everything that you do with Blender that's not probably in the three d View port or in the Note editor, which I'm not gonna cover in this particular class, but which is kind of important will be over here in the property, so interacting with the materials. There's different modifiers for how things you can do to different models different interacting with the world settings and the lights. And all of that is over here and the properties, and that's pretty much it for what you have to be able to know to be able to do. Modeling in Blender aspires. The interface goes now. There's also some important preference changes. I personally think you shouldn't make. So in order to do that, go to the menu bar and go to edit. Under edit, Go to preferences and in preferences. You wanna want to go to the left side and could input. Now, if you do not have the three button mouse, I strongly recommend you get a three button mouse. But if you don't, you're gonna want to click this emulate three button mouse that's gonna allow you to use your mouse in a way that useful when you're using blender, the second thing you won't want to do. If you were on a laptop, it's quick. Emulate numb pad. Now when you are trying to look a different views, sometimes you want to look at the front view, the side view of the top view and blender that's on the num pat typically, and that's numb. Pat one. A numb pad three or number firing up at seven and you don't have access to be. You don't have access to the numb pad if you don't have a full keyboard like when you have a laptop. So clicking, emulate, keep word or emulate numb Paddison allow you to hit one at the top degree of the sea pings from the front view or the side view depending on whatever you clicked on. And the last thing that I personally recommend you do is here on the different kinds of inputs on the right side You go to three D view and this is a speaky that we're going to change. And I want you to school down until you see view selected right next to the two of you selected. They're both check. Keep them checked. You're gonna see control Numb Pat Zero and Numb. Sorry, Control, numb pad period and numb pad, period. So we're going to change that. It says, press any key. And I just did that by left clicking on it. I'm gonna hit the period on my keyboard and I'm gonna hit the period for the next one. And I show you precisely with this does as well. But it's gonna make our life Ah, lot easier. So from there I'm gonna cook, save preferences. And then I'm gonna close the window now to be able to see what I'm talking about. Let's say you have the cube and I wanted to be front views. So now on my name on my keyboard. I can quick one and that'll show me the front view. Three will show me the side view, and seven will throw me the top view now because I don't have a full keyboard and this is a laptop I couldn't normally do that. The other thing is being able to center the view immediately on the object you care about. So now I can just hit period. And it will censor, in my view is. So if I was working with the camera period a centrist view and it rotates about that object . So it's a good way when we have a club, that scene to pick what you're looking at, hit period, and now that's at the center of your scene, and you can work on it much easier. So I think those are all the in a base, things you need to know to get started, and I'll see you on the next one 4. How to add objects: If you're gonna be doing any modeling, you're gonna have to add objects. So the easiest way to add an object is to hit shift A. Now I'm going to add a U this V here, and that's a sphere, and the reason you cannot see it is this because it's inside of this cubes, I'm gonna hit G that you already know how to do then X why? And that allows me to move that object. The other way to add an object is to go to add, and then I can pick mesh, for example. In this time I could pick a cylinder, and it's going to spawn right there that I g grab or why, and then moved to the side. Now the reason they keep warming inside of this cube is because that's where my three D cursor is. So if I put my three d cursor somewhere else and I say shift a and I pick Cube and that's where this cube will now appear, so that's how you add an object. The other way we interact with objects we mentioned this a little bit before is that we can select Vergis is which is over here lines like this and then also bases. And so if we hit a face and then we hit G for grab and then see, for example, we can move that face straight up in the Z, or I can go ahead and pick Vertex Select mode. I can selective Vertex, and then I Congrats, Z and also move it up or down. So that's how you slick bases or burgesses or lines and move objects in different ways. So now let's say that I wanted to select a loop of an object, so I'm gonna go ahead and get out of three D. Curse a modem back into the default mode, left click on the sphere. I'm gonna hit number, period to center it. At our view, I'm gonna hit Ault a to take all to un or de select everything. Now I say, I wanted to just select a kind of circular reason around here. In order to do that, I hit Ault and then I click right? Sometimes you have to quit more than once to get what you want, but but you can see here that I can select just this circle or loop selection So if I hit scale for s here, you can see that I'm scaling that entire region around. Now, if I wanted to change the entire thing, I want to make the entire thing bigger. I would still select everything and then it s for scale and that makes it bigger or smaller , depending on how I want to do that. Now let's say that I wanted to Onley skillet in one axes I would have s and then X. And now you can see that I'm Onley scaling it in the X and I can do that same trick that you learn before for holding it only to two particular axes Rep ahead s for scale and shift Z. Now it's gonna hold the Z the same the entire time. And I'm Onley scaling it in the X and why? The other thing you may want to do is to extrude different regions. So let's say that I wanted to extrude this little square out because I wanted it to look like, you know, I can't really even think of anything that would make me think of that. But let's say that I wanted to extrude this region there are a few ways you could do that. But the easiest win is to going to face a like mode. Select that face and you're gonna hit E for extrude. And that's just allows you to extrude that face directly out. So if I hit you for extrude, I can't do that. I can also go into the object so I can hit you for extrude here and I could hit de for extrude here and then I can be for extruding go into the object. I can also scale it so I can hit e for extrude and then I hit enter and then s for scale. I can make that face smaller and you can see that it's still on the face now. So if I had period Aiken center us on that and then I can grab and I can move it around. So that is how you extrude and how you scale. The next thing that really useful is Roop cut. So we talked about loop Select. But let's say you wanted to create a little. So the best way to do that is to do control, are And once you hit control are you can use middle mouse button to increase how many loops you're actually cutting into the into the objects. I'm using a cylinder here. If I wanted to create three loops, I would just do that. I'm just once again using that middle mouse button. Now. Once I left quick, I can slide them along the lines. Now let's say that I wanted them to be completely in the centre. Equally space. I would just hit escape. And now I have those Luke cuts. So if I go into Bir Tek Select, Modi hit all to to do the loop select. I can now select the different loops just like I did before, but then moves that I created. And I can also do the scale that we talked about before, and that gives me a different look. Now, hopefully, you're getting an idea of how you might create different shapes from being able to do extrusion, zins and scales, and moving different vergis ease around the next thing. That's probably one of the most important things for being able to make things look better . Is this set smooth? So sets move allows you to make an object that was really faceted and then make it smell. So it looks kind of strange when I put it on this, because this was a really sharp edge, Coptic. But I'm gonna go ahead and add a UV sphere. It's over here. And then I'm gonna g for grab ship Z cause I wanted to stay on the same plane and we're gonna move it where we can see it. Now I'm going to go to object. Shade smooth. So now if I look at this fear, you can see that it's very smooth. And now shades move. It's good. And if you're not used to doing Three Mile Island, you probably don't know this, but it doesn't cost us any computational power, so you can make it smooth without ever slowing down How long it's gonna take to render or how hard or how long it takes you to interact with this three report. You can imagine that if you had a world with lots of different burgesses, that this would eventually slow down, and it would be really toppy and hard to interact with. But when use shades smooth, that is not the case. Now, the last thing I want to show you and I'm just gonna scratch the surface of the modifiers. There are lots of different modifiers you can pick here. I'm just going to show you a couple. One of them is sub circus. Now I'm going to turn off the shades, move by going to shapes black so you can see it here. Now, this one on the right side that says view deals only with the view on the white on one of the right deals with the render and we'll talk a little bit more about rendered later. But if you increase this, you can see that it makes it seem like we have a lot more faces. Now, you can do this without actually changing the geometry. So you look close at it. It seems like we have many, many, many tiny little vergis ease. But in actuality, we only had some model. This this is one way to make things smoother, but it's not the most efficient all the time, because the computer does have to figure out what to do with all these Verdecia. So sometimes it is better to simply use shape smooth, then to use subsurface. I'm gonna go ahead and turn that off. The next thing that's really, really useful is the mirror modifier. Now the minimum a fire does exactly what it says it does, but you can't see it here because our object is centered. Not I go into edit mode, and I hit a grab Giefer Grab X, actually, why? And I move this to side and I make sure that it's shadowed or mirrored about the Y axis. You can see here that I now have two objects that are mirrored about its origin. So that's the important thing to know is that the objects are mirrored about their origin. Unless you decide to mirror it about something else, that's a more advanced option. But you can do that. You can mirror an object not with with respect to something other than its origin, but it could just doing the object alone. The origin is probably the easiest way to do it. 5. How to interact with Objects: now, the next thing you're going to want to be able to do is move the individual parts of your objects. I'm gonna select my object, and I'm going to go from what I'm in now, which is object mode into edit mode. Now, on edit mode, I can actually make changes to the object. So I go over here and I said, like buried texts, select mode. And now I conflict these points. Now I can move them just the same by hitting G and X or Y or Z just the same. And I can do the same thing for the lines as faras selecting and moving. They all were the same. And I can go over here to face the like mode and do it much the same. So I'm gonna tab out of that and that takes me back to object mood. And that brings us to being able to rotate the object. So my head are I can now rotate the object now rule. Taming it like that wasn't that useful. But if I had rotate are her rotate Z? I shouldn't rotate it about the Z or if I hit our and X I can rotate it about the X and that holds also in edit mode when you doing either the Vergis E or the lines or the faces. Now let's say that I wanted to move this along a relative access, so if I had Z, you can see it moves relative to the global access. But if I wanted to move it relative to how it's been rotated, I hit Z again Or in this case I could hit X are hit x again, and that would also know in this case I didn't rotate it about the eggs. So that doesn't really make in changes, so you can rotate it globally by hitting our and then the access, or you can hit it. You can do it locally by hating Z, for example, and then Z again, which will do to the local access