Intro to 3D Animation: 3D Character Lip Syncing and Singing | EduCraft Ideas | Skillshare

Intro to 3D Animation: 3D Character Lip Syncing and Singing

EduCraft Ideas, 3D Animation with your imagination!

Intro to 3D Animation: 3D Character Lip Syncing and Singing

EduCraft Ideas, 3D Animation with your imagination!

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
13 Lessons (1h 20m)
    • 1. Intro

    • 2. Demo

    • 3. Lesson 1: interface

    • 4. Lesson 2: Adding objects

    • 5. Lesson 3: Interacting with objects

    • 6. Lets do this Lesson 4: Making the Oh Face

    • 7. Lesson 4.5:Adding the Sound File

    • 8. Lesson 5: Lip-Sync 1

    • 9. Lesson 6: Oh Face Sync

    • 10. Lesson 7: Adding Background Music

    • 11. Scene 9 bonesAndParents

    • 12. Scene 11 rendering

    • 13. Scene 10 bodyMove

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

During this class, you'll learn how to use one of the most powerful and popular 3D software tools in the world.  It's called Blender 3D, and it's completely free!

If you've attempted to use Blender or some other program in the past and found it difficult, you've come to the right place. 

In this class, we're going to use shape keys to animate our character and make them talk. This is similar to my last class where we made a character talk with only a few steps. This one is different because I show you how to make a character clearly enunciate words. That way you can get them to sing, or rap in this case. I'll also show you how to sync the words with the audio and add music. I'll even show you how to have your character bob their head to the beat. After it's all said and done you can have your character singing and bobbing to the beat like a superstar.

I'm providing you with both the audio files and the starter Blender File. I really want you to focus on the lip-syncing, so you'll start with a blender file that already has the character in it.

If you'd like to learn how to make the teddy bear model we're using check out this class.  It'll show you step by step how to create this model, and if you wanted to know how we made our teddy bear make different faces using shape keys check out this class.  If you're interested in the fundamental aspects of modeling and animation, check out my other class.  

At the end of the class, you'll be able to make your modeled character say whatever you want.

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 2.80 Here

Meet Your Teacher

Teacher Profile Image

EduCraft Ideas

3D Animation with your imagination!


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.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Intro: you're here because you're interested in character animation. Familiar? And if you think about character animation, you can really divided into two main things. You can have your character jumping and flipping and fighting and doing all these amazing things. And then there's just having your character being able to speak president. I know it's a lot the head, the body when you and I know you're thinking, Wow, that takes a lot of tedious work to get your character to speak. But, you know, not necessarily. And if you really think about speaking, if you really look at it, characters really only have maybe two or three different faces. They make in their variations of those two. There's just the mouth opening and closing. I am the answer to all living things that cry out for peace. And then there is this kind of oh face that the characters made. There's a bear hat. Someday he'll be old and fat unless he is immortal or a journal materials always cold. If you take these two together, you realize that you can do a lot of the facial expressions that air in talking. Come on way, join me as I teach you how to create these faces and how to sink them with audio files So you can have your character singing and talking up a storm to say and do exactly what you work. And don't worry, we're gonna start straight from the lips sinking. I've already created the files for you, so you don't have to do that. I've already set everything up so you can really focus on making your character sing and enunciate some words. Now, if you really do want to know how we created the model in all that stuff I got you, don't worry. I got some other classes that are covered in the introduction section that tell you what classes to take if you want to know exactly how we created these models. So I will see you on the next line puncher your buns at can push all your bonds if you are an evil which I will punch you for fun. 2. Demo: Before we go any further, I want you to take a look at exactly what we're going to create. So this is just a demonstration of what it is, I added. That's blinking green light here just for fun. So you could kind of see the music manifested in a visual way. But we're going to be doing the actual teddy bear peop the technique, and that's the thing that you have the model core, and he's gonna be doing the lip sinking and everything. 3. Lesson 1: 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. Lesson 2: Adding 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. Lesson 3: Interacting 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 6. Lets do this Lesson 4: Making the Oh Face: the amazing thing about getting your character that sing and I say getting your character to sing. But what I'm really talking about is getting your character, too. Begin to enunciate what they're saying. So when I character sings, you get a better sense of what the mouth is doing. In this case, we're not actually talking about seeing, you know, I said, saying, I know Sue me. We're actually talking about wrapping and we're gonna hear the character wrap one word. But in order to do that before or we set the actual rapping to the music up, what we're gonna do is create the face that we need in order to make that happen. And, interestingly enough, you only really need to bases or to mouth positions in order to do that. So this is what you see. When you initially boot into the students started file, it's in the resource is section. The first thing we're gonna do is make it so everything is going to be faster on your computer right now. The speed is fine, but when we really start to move around, you want to make sure things can be as best as possible. So we're gonna turn off some of the modifiers that we have on here. So where the teddy bear head I'm going toe left. Click on that. And here under the modifiers, I'm gonna find the subsurface modifier. So if I make this a little bit bigger Sorry, subdivision modifier and I'm gonna click the one with That's the screen. So that means that we're not looking at it right now. But when it renders because the camera is still selected will see it. And then we'll also change that later when we're done doing all the things that we're doing , something I'm gonna left, collected, left, click and select the body were going to do the same thing for the whole model. Really, The model is pretty simple. And if you're interested in knowing that I know I mentioned it before. You're interested in making the model police check out one of my previous classes where we do all of that fun stuff. So now I have the model and it doesn't have any subdivisions, so it doesn't have at least the subdivision modifier, so it doesn't look, it's cool, but the system is going to be much bastard toe work with. So let us select the base Hit one to go into front view. I'm gonna zoom in so I get a good look at with that basis. Now I'm going to go to the context here. Object data and under object data, you already have some shape keys. Now Shakey's, if you don't know, are keys that control how the Vergis is Move in a a slider with a slider so this particular shape key opens and closes the mouth. I left a couple here. If you want to use here, this is eyebrows up and then I have eyebrows down. So you're like to add some more emotion to what you're doing. Please feel free to do that. But mouth open is our primary shape. Keep when we want to do singing or really enunciating what a character is saying, and we can hook that to the actual sound file. So if you have a sound file that has the characters words, you can connect that to just the mouth open, and that will do 60% really of what the character is doing when they're talking. And that's really useful because if you don't have that when you have to do every single syllable by hand. So not every word, but every syllable by hand. So I'm gonna show you a way that we don't necessarily have to do that aspect of it as as closely as every syllable. So we have the mouth open part, and if you're interested in knowing how to do that, please check out one of my other classes. But we're going. What we're going to add now is the W. So if you make the w sound like will and won't you see that your lips come together from the sides and turns out if you have mouth open and you have the w sound, then in most cases you'll be able to mouth words in ways that look pretty believable. So we're gonna create will be what I call B o Base. So I'm gonna hit the plus sign here. Actually, I'm gonna yet I have mouth open selected. Everything is set to zero. But that's fine, because the basis is the my clothes, which is what you're working from. I'm gonna hit the plus sign, and then that gives me this key for I'm gonna double quick key for and change it to o base . Now I'm gonna move that up some so that and I do that by but hitting this era arrow so that it's right by map open and be a little bit easier for me to find it. So it's important that it be selected in order for us to control what? This key what? This shape KIIS. I'm gonna hit Tab to take me into edit moan, and now I'm going to just start to create that. Okay, so the first thing I'm gonna do I hit one to go into front Me. A front mode is bringing the mouth and someone it grab G for grab X to bring it in. I'm gonna bring it down a little bit so g and then Z and then g m n x again. And I'm just gonna do this until I have the fate, the mouth the way I wanted. So let's again, I had a to de select be actually, I'm gonna do see for Circle Select. I'm gonna slick those moving around to make sure I have the right ones. Then I'm gonna select the other ones I had and say gee again and then X I move it in and you can see that the mouth is not getting smaller. And that's where we want us start in order to make the old face, like, actually happens that we don't have to do the complete copays because mouth open, that shaky that I showed you before That's over here will handle the majority of the part that actually opens the mouth because we can link the two. So now we have a kind of pursed set of lips and mets almost what we want. We really don't need be cheek to be this puppet. Some help a Then I'm going to select this outside. Actually, I'm gonna circle Select because that's I see Grab X. Why? Because that's not what I want. I'm bringing out a little bit because I didn't need that that complete pucker and I'm gonna do the same thing with the burgesses that are next next to it. So, g why that was circle select. And you can make the circle bigger by using the mouse wheel. And I'm gonna do that same thing to this set of odysseys that air inside. So I hit on a to de select CDA Circle Select. They use the middle mouse willing to make it a little bit smaller G for grab wide, pull it out so that we don't have the mouth doing anything too weird. And I want to make this curve just a little bit smoother. So I'm gonna do that. Same being I escaped to get rid of that circle so G and then why? And now we have a and now we have a mop. It's a little bit more personal. Next thing I want to do is give it that O'Shea. So the faster way to do that is to go into base Electoral. We weren't vertex alike moment. So I hit this icon here that takes us to face the like mode. And now I'm going to be careful that I only select those very disease. So when I look, I don't quite have the mall and I see that that's not the right one. And this is the right one. So now I can hit front view. I had G for grab, and now I'm just gonna free move it because it doesn't. There's no perfect look for this, so I move that up. And now I'm gonna make sure I see it from the right angle that I care about our rotate. I'm also gonna pull this out a little bit, and that is not looking bad. So now I'm gonna select this bottom portion here. I'm gonna say, grab Z, pull it down some, then I'm going to rotate it. Now I'm free rotating it. I couldn't hit why, and that also would have given me the rotation exceeds that I'm looking at and this is looking pretty good leasing them. So let's tab out of edit mode. And it didn't leave. It just went away because we're now back at the basis and our face is set to zero. So if I take the slider and moved aside one, it makes this like, pursed kind of old face. But if I take the mouth open and open that, then now I have my character going. Oh, so that's pretty much what we needed to do to create that face. If you look at it from the side, this looks pretty good. If we wanted to pull the lips out a little bit more, we could, but I don't really think that's really that necessary, But let's go ahead and take a look at what this looks like when the subdivision surfaces is not turned off. So for that head is already selected, we're going to go to the modifiers. I'm gonna turn on subdivision and you know what? That's not bad. That is exactly what we need it. So now we have those to keep those to shape keys that allow us to make the faces that we want to make. So let's go to the next part. 7. Lesson 4.5:Adding the Sound File: So now's the part where we talk about exactly how we're gonna get our character to annunciate v is worse, probably the most interesting part about this class and you made it here. So good job to you. Okay, so let's first get rid of is o phase. We don't really need it at the moment. Plus his mouth is probably tired, right? So we're going to just undo those by going to our object data here and selecting the shape keys and then slightly shift keys down to 0. And now we have our teddy bear and making a basis probably going to allow him to rest a little bit. For some reason. I like acting like he's one of my actors. So from here, let's talk about the first way we can do this, which is really similar or exactly the way we did it in a previous, in the previous class. So I'm going to create a new pane here. By going over to this section here on the left, tell it turns to cross hairs and then sliding it up, I'm going to change, I'm gonna change this to the graph editor, right? So now that this is the graph editor, we can see what the actual keyframes adjoining. I'm gonna do this one more time. And I'm gonna change this to the video sequence editor. And will the video sequence editor does, is allow us to actually hear what's happening. So I'm going to move, I'm going to move to the 0 frame. So our cursor is at the 0 frame. Then I'm gonna select Add sound. And in this case, it's called. Now you have to make sure you've downloaded. It's in the resources section on skill share. So after you download it, find it where it is on your computer, it should be called because this is what I call it the words, right? So now if I hit Spacebar technique, that's what he's saying. Paper technique. Right. But his mouth isn't moving right now, so let's make his mouth move along with that. So that started on frame 0, and I want his mouth to move on from 0. So now that the cursor is at 0, the sound is at 0. I'm going to say C0. Actually, before I do that, I have to lock a keyframe. That's just one of the finicky parts about lender. It won't bake a keyframe, won't bake a shape key unless you already have one saved. So I'm gonna hit I for insert keyframe. And now you can see that there is a keyframe there. And when I go to key, you can see, you can see big sound to f curve. So like big sound to f curve. And I'm going to go find that same thing that I did before on the under where it is on my computer. And it's called the words still. So I say big sound to occur. And it's here and I have normalized, but it's hard to see. So if I hit Period, which is mu selected. I can see what this looks like. So now you can see that his mouth is moving, but his mouth is barely moving, right? So this isn't really going to work to do and what we want because we don't want it to seem like he's too lazy to move his mouth in order to be able to move. So what I'm gonna do here, I'm going to go to channel and I'm going to say, well, let's move this back here, makes sure everything is selected. And I'm going to say delete keys because that's not actually what I want. So what I do want is to be able to control how much his mouth is open based on that bio, that sound waveform file that you saw. And normally if this wasn't a shape key, we can use the modifiers, but for whatever reason and blender to point 8-0 for, for imported Waypoint, we're big wave forms. You can't really change it. So this is what you can do. So I'm going to hit shift or a for add. I'm going to pick an empty arrows here. I'm going to say, gee, for grab, remove it up here and let me turn this on so you can see what I'm typing over here on the left. And just because I'm really anal, I'm gonna hit are for rotate about z negative so that it points forward. By no means do you have to do that? It has no bearing whatsoever. The important thing is that you connect that waveform to this empty instead. So now I'm gonna hit I for Locke, for insert keyframe. I'm gonna choose location. And now when I go down here to the graph editor, I have three different locations a lot. So I have x, y, and z. But you know what, I don't care about the x and the y. So I'm going to shift click both of those x to delete. And now I just have one and we're gonna do the exact same thing we did before. I go to q0. And as a big sound to f curve, I pick the words base on to f curve, and now I have this empty moves instead. Now the reason I did that is I can connect his shape key. Let's turn the algorithm. Or I can connect his open shape key to that via a driver. And drivers just allow you to connect different values in blender and you can do some really interesting things with that, but we're going to use it to talk. So now I'm going to right-click on that and I'm going to say add driver. So now that I have the driver here, this is one way that you can see the driver. The other way is for me to right-click and say Open driver editor. Now here you can see it a little bit better. Now, I need to connect this open mouth shape Key to the shaped, to the empty that we created before. So I'm going to click here. I'm gonna look for that empty, it's right here. We probably should have named it something else. I always click Update dependencies. In these cases. It doesn't really seem to work well, but I'm going to close it. And now you can see if we select here. Right, so it's still not working because our shift key is not really connected to the right thing. So I go here, I say open drivers editor. And we see our empty is connected to the x location. That's not actually what we want. We want to connect it to the y location, right? So I'm gonna say update dependencies. I close it again. Now I go back to, I'm just gonna hit this here. Go back to the beginning. I click on the empty so I can see the waveform and hit the spacebar. And it turns out that it's still not working. So let's go back and try and troubleshoot and see what's happening here. So I'm gonna go base. I'm going to say open driver editor. And I picked y location and see why did you let me Could, you knew it was the you didn't say anything. Alright, so z location is actually what we wanted, update dependencies, and with any luck, it should work now. So let's see. I'm just going to click here and there we go. It's working, but it's still looks like he's got lazy lips. But now because we're using driver's, I'm gonna say open driver editor. Again. We can multiply that variable. I happen to know that four is a good number for this, you can use whatever number you want. Four is a pretty good number for doing what we want to do. So I'm going to select this over here. And now, and I hit play. That is what, exactly what we want. But the problem with this is that we can't really make any changes to the way this mouth works. And when it is like I can't hit G for grabbed down here like I normally could, and move this around in the scene. And unfortunately, it doesn't really work well as far as I understand, it would be action editor. If you don't know what that is, don't worry about it. But what we need to do is a new step in order to create wave form that we can use or a graph edited graph that we can use so that we can move around and work with it. And that's what we're gonna do in the next one. 8. Lesson 5: Lip-Sync 1: So now that we have this set up here, we can see that we have to make we have it. So you honestly, you could stop here if you want it and do the off a section that I'm gonna talk about also in this section of the class. But we can't really do anything like this. I can't like if I hit G for grab. Nothing happens. If I used the modifiers for at least in version 2.0, nothing happened. So what I want to be able to do is take this opening of the mouth and be able to move it around and change it in our file. So in order to do that, I'm going to basically take this way for him, and I'm gonna trace it so that we can make changes to it. So I'm gonna go to space here, and I'm gonna actually delete this driver. So now that the now that the driver is deleted, the way form is still here because the way form, if you remember, is associated with this empty. But now when I play a map, doesn't moat. And that's exactly what we want. So the first thing I'm going to do is move to zero frame. I'm going, Teoh, go up here, hit period so that I can see that this is 35 friends a lot. So it's really important that whatever way form we create down here in the crap, Editor stays at exactly 35 friends. So we know if these things, if the audio and the graph editor curve start at the same time that they will be exactly sink and that my friends is going to make our lives much, much easier. So the first thing I'm going to do now is go to the face and I'm going to create that initial key frame. So I'm actually working first with mouth open. I'm gonna hit I for creating this part from mouth open. Now I'm going to shift select, appear this empty. So this allows me to see what's going on in both. This is something in to point out that 2.8, I'm not sure if it was in 2.79 definitely in 2.80 that allows us to see what's happening here. So I'm going, Teoh, actually make this Is the location invisible So I make sure that I only have this selected and I did that by clicking this. I hear I just do that. So you couldn't see what I'm clicking. It's really not that big a Teoh right now. So now I'm going to make it visible again. So I hit shift D to create another key frame his ex. And really, I'm just shift d. Let's turn off this normalization right now and let's go backwards, huh? It is invisible. So I'm going to just do that again here. I'm gonna make sure that both of these are selected G for grab. Actually, I don't have to do that here another way. You can kind of interact with what's happening. I can go. And I see that the key frame is zero, and the value is 0.11 for, so I'm gonna go ahead and take that down to zero, because we want them both to be zero, and that will make our life much easier. So I'm gonna hit shift D to bring it over. I mean X to make sure it stays along that line shifty again to bring it up shifted again and all I'm doing right now is just tracing this way. Form we have here for our graph editor in our graph editor. And what this allows me to do is that now that I have this in terms of a graph that I can edit Aiken, do whatever I want with it. Right. So that's what takes me this far. But remember, I wanted to be exactly 35 frames long. Someone had just shift d one last time. I'm gonna go ahead and leave it to be the same value as this one. So if I look here, I look at the key. It's the value is 10.17 this 0.0 on six. That's close enough. And that's exactly 35 problems long. So now when I hit play, right, I get that movement. But I'm still getting these really lazy mouth movements. So what I'm going to do here is so, like, just the top part of this. I'm gonna use the middle mouse wheel to zoom out from it g or grab. Why up? Now? I click here. Hit. Play the technique. Let's make a technique. Yep. I could make it. I could make it the technique even wider if I wanted to, but I think that's actually perfect for what I want it. So now I already have the mouth open section. That's where I want it to be. So if I hit a here G for grab, I could move this wherever I want in the timeline, so the next 16 will be the old face. 9. Lesson 6: Oh Face Sync: Now that we have the mouth open section of this, we just need to add the part that does the O pace portion or like a kind of W mark movement . So in order to do that, we don't really need this empty anymore. So we can just de select that left click to select the face again. So if I hit play again, just case has been a while for you. We have that part, and honestly, you could stuck there if you really wanted to. But let's make it just a little bit better by adding that kind of W face with mouth. The words peep the technique, the part you could really do with map closings of people got techniques of people. The and you can be really enunciate that by bringing your mouth together and your tongue between your teeth, you can kind of make this old face for the Remember when you're doing sinking, you're not actually thinking the words you're sinking the syllables. So right now, if I looked at this, it's and peep the tech Nique. So the the part that we're looking at is right here in the center of our five syllables. So in order to start this out, we're going to go to frame zero because we want everything till the line up perfectly. And I'm gonna hover my mouse over the old face. I'm gonna hit What? You guess? Yep. I hit I for insert key frame that inserts acute frame here called Old Face. And I'm going to de select these because I only want that run selected. And in order to make sure that one is selected, I'm going to hide the other curb than I can one hide it Now, this is where I want it. I don't really have to trace it per se this time because it's a different mount position. But I'm gonna hit shift D and then X to move it along the X Then when it should d again to move it up, she d again, remember, I'm not. I don't need to trace it exactly because it's a different mouth position, so we just need things toe happen at the right time. So if I look at this here, I want to go back to zero, I believe, and right now it's pretty much zero. I'm gonna go ahead and make that exactly zero. Then I'm going to hit shipped d X. I'm gonna move this out to frame number 35. So now we know that because this one it says here 35 frames and down here is 35 frames. As long as they start at the exact right time, we end up with a completely sunk peop the technique. Right? And that looked really good to me. So now let us turn this modifier off. I talked before about how having the subdivision modifier off makes it a little bit faster . And that's the case here, people. You could see that our frames up around 24 frames per second, which is what we would be rendering it at. So now we have a good sense of what's happening sometimes when you're running your animation down here up here, but it's not running at 24 frames per second. So there's a lag, and you don't actually know if the two are sunk together. Well, but our case people technique, it is. So it's a little bit that the technique just a little bit technique just a little bit too fast. So I think it's okay grab. Actually, let's grab while is bringing a little bit higher people technique, actually. Maybe that's okay. Technique. Actually, that's not bad. I'm going to hide this set, and I'm going to move. Grab X. I'm just gonna move it one frame out, grab X and move it. Just one frame out to make it a little bit. Technique. Yeah, that's a little bit better. Peep the technique, people. Technique. Yeah, baby, that's what we got. So it is pretty much exactly how we need it here. So now you understand how to create this more enunciated sound. And we just did it with mouth open and the Hope base, and you could do all of it like that. You can also do all of it. Just the mouth open in. You can also add other ma positions, cause honestly, you don't just have a w and amount open. There are other things. But since our teddy bear doesn't have any teeth or tongue, it makes it much easier for us. But now because we did this and because we traced it, if I hit a for select all G for grab X, some of it all in along that all along the X we can put it where we want it escaped to get out of that. And as long as it starts on the exact same frame as our actual sound way form, it will always be sunk perfectly. So remember this part doesn't actually have the sound. The sound is here. From the next part, we add the music. 10. Lesson 7: Adding Background Music: All right. So we've got the part where they says peep the technique, right? Eric, me does a much better job at it that then I do. But we want to give it some background music. Says if you wanted to create your own video, this is how you would do the vocal side of it. And one of the very, very amazing things about when there is how broad the program is and that it has this video sequence editor. So now let's bring in the background sound. So we're gonna do that in much the same way as we did the actual words I'm going to say add under sequence under the video sequence editor. And now I'm gonna add some more sound under this sound. I call it beat. I just double quick on that. And now we have the beat. It was random. It randomly went in where I had the cursor. You can hear it here. I'm gonna take grab it and bring it all the way to the first. The first frame, and I'm gonna take this one. And right for right now I am going Teoh, right. Click on it and I'm going to say mute strips, right? Because I don't actually want to hear that at the moment, right? So that's pretty much where we want it. Now, I need to figure out where the part of the music that is now for our case, we made this really easy because I actually cut the audio when he says people technique. So what I'm gonna do now is go to view under view. I'm going to go to weigh, form display and say and check way form on. And this is the gap in the music. But I play the music, it stops there and then picks up. So I'm gonna left Click this it grab, and I'm gonna shift it down so it starts right in here. Now, I'm gonna move this. I'm gonna use the middle mouse wheel to zoom in. Now let's see what this sounds like, right? And we didn't hear it. And that's because I mean it it. So we'll go to a Knute Strips. Then we'll say it to peep the technique, right? That's to peep the technique. That's exactly what we want now. Unfortunately, his mouth is not doing anything and we want him to say people take meek right there. So what we're gonna do is get those way form. So they're all the way over here. I'm going to simply grab those hit X and bring them in this area here. So if you want to see exactly where this is, I'm going to zoom in. And I see that this pretty much starts precisely at frame 442. So I need to also bring these way forms over to that time, so it g and then X and I bring them over. Now, I want the main key friend to be They're not the just the handle that control how the curve moves. It looks like that's exactly at 4 42 So now if I play it technique Yeah, there we got there we have it. Our bear is wrapping, so that's pretty good. Honestly, you can stop here. If you wanted toe, have him say peep the technique. At other times, you could certainly have him do that. Um, if you know anything about at least dancing, uh, which is usually counted like every account, it's important that you put people technique on one. So it didn't make any sense to you. Disregarded? Probably didn't. I'm a dancer, so I think about these things. But you want to put it at a place that makes sense. But that's really not the point of this video. The point of this video is to have your character saying or in this case, wrap peop the technique. Theo. Only other thing we're going toe ad, and that'll be in the next section is some head bobbing. So right now, he's not really moving at all, But we would like to give him a little bit of movement right now he has the eyes winking. You don't have to do that. I already put that in for you. Um, but it would be nice to have a little bit of movement here, so we're gonna do that in the next video. 11. Scene 9 bonesAndParents: So now we have this don't beat people technique got our bear talking. But honestly, it doesn't quite look right because I'm zero here to see what it looks like on camera peop the technique. His body isn't really moving. And it's not really what this video is about is to make. It's not about making your character dance, but honestly, how can we really have him wrapping if if he never moves? So I'm gonna show you briefly as brief as I can, how to make him move so that it can make some sense if you're deciding to follow this tutorial like I hope you are. So the first thing we'll have to do is give him some bones so that we can then animate those bones. So the first thing I'm gonna do because I want the bones to be in the center of the body, I'm going to select the body it chick s cursor to selected. Now I'm gonna hit shit A. I'm gonna add an armature and you can't see the armature because it's inside of the body. The best thing we can do is to go over here to the armature tab armature contacts, object in the object data and click in front. So this will make it so that when we are not in wire frame mode and after I d select this, you can still see what the character, what the character looks like. We're sorry that what the character looks like, but what the bone looks like. So if I go into this mode tab out of it now, you can see it regardless. So we're going to stay in edit, mode it for B two b, inside view I g. And then I'm just gonna drag this up. Then I'm gonna hit Kiefer extrude because we want to give him a neck. And we're doing that because even though he doesn't have ah visible neck, if you bob your head, you can kind of tell that there's some relative movement between your head and your body. That can only happen because you have a next. We want to do that. We want to give him a lease on the new E Meaty beaty meeting, Nick. Now let's do the heads are gonna hit extrude again. Make sure that comes out of the top so we can grab it now we need to give these bones some meaningful name. So we go down to the bones tab, we're gonna call this one body, and we're gonna call the neck. You guess yet we're gonna call it neck because that makes tons of sense. We're gonna call the head, of course, head as well. Now we have names, and it's important that we main them because when we actually connect the objects like the arms, the body and the head to the armature, we individually select which Burgess ease match with which bone. And in order to match those, it's done based on the bones name and Vertex Group. So it'll be much easier to do and you'll see how we're going to do that when we in fact do it. But the next thing we need to do is parent everything you see here, all the objects of the bear to the bone. So we're gonna start by shit. Select ship left clicking all the parts we care about. So I think I should I left clicked with shift. The eyes had arms and body, and we're not gonna do anything with the lake. So I left those out and The last thing we're going to select is the armature. That means everything we selected first will have a parent, and that parent will in fact be the bones. So now what I had control be I'm going to say set parent too, and armature deform, and I'm gonna pick with empty groups. So now if I go and I select the head, I look under the groups, we see that we have this body, neck and head. So now I can select which one of these it's connected to so my tat into edit mode. I'm gonna go into Vertex mode a to select all this is the head. So I'm going to say a sign. Now if I say head now, de select everything, that's a sign everything is de selected or if I say so like, that's how I know for sure Behead group has anything in it. So we can also double check will do this. So you understand what's happening by going neck and I say select. That means none of the vergis is are selected for the neck. If I goto body and hit select, none of them are selected for the body. The for group is here because it was there for creating first, so we're not gonna mess with that. But for animation, all we care about this are these body, neck and head Vertex groups. So the head is all set Now. If I clicked these eyes, we want the eyes tohave the head as a parent. So I had tapped to get into edit mode. Everything is selected just like it needs to be, but I'm going to just make sure that so it all a two decent like a to select everything. I hit a sign than de select than under head I select. You can see that everything that's in the headboard text groups, yet highlighted for a nothing is selected. And if again, if I did, it's like with the body, nothing gets selected. Now let's just do that for the rest. So the body itself that's happened to edit mode everything is selected. But I'm just going Teoh a diesel in a too slight to make sure everything is in back selected. This time it's the body, so I'm gonna hit a sign and then de select. So that means the entire body now belongs to the body of Vertex Group and thus belongs to the body bomb. The next thing I'm gonna do it is the arms, and I'm not gonna do a separate bone for the arms. I'm just going to do the same thing I did. I wanted to be the body. So I'm gonna set Tab. I'm going to hit a to select everything. And I wanted to be the body, so I'm gonna hit a sign. NAFTA, hit de select and select The arms are now in the body Vertex Group. So everything is now all set. So just a test that this is true or everything happened correctly. We're gonna go into slick the armature, go into polls mode. Now, if I select this head and I are to rotate the whole head moves and if I hit are for the body, everything moves, and that's because it's the root bones. So that's pretty much exactly what we want 12. Scene 11 rendering: So the very last thing we have to do now that we have our dancing, lip sinking wrapping bear is render it so there's a couple things we need to do that you don't normally have to do. The first is make sure that it's going toe actually spit out some sounds. So if we go to our render settings here, um, I try not to say I'm usually but it just came out. I'm sorry. So, output, you need to pick the place where you want the output to be. In my case, I picked where that makes sense for my computer. The file format. You want ff m pei video if you wanted it. You can't really do a picture sequence here cause you want there to be audio. The next thing you need to do is make sure that this container is MPEG for I mean, you could pick another one, but the one I know for certain that works for me is in pick for the video coda h 10.264 I leave. I leave mine at medium quality good T frame intervals. That's all the same. But make sure that the audio Kodak here Doesn't say no audio. You need it to say MP three now, making sure that that is checked at complete MP three, making sure that none of your none of your strips are You did. So we're just going to make sure that we say a mute strips. Pick this one too. Ah, select the seaview marker. We're just going to do that same thing for both. Lock mute A new strips to make sure we're just gonna listen to that again. Make sure everything straight cause this could take over a really, really long time. Thio Thio render now if you wanted toe have everything that it had it before that it had when we rendered it in cycles or if we were into really in cycles with the for it's gonna take a really long time, get, actually type, take days because the for for renders much better in, in my opinion, that rent is much better in cycles. So if you do cycles and you hit GPU compute and right now 10 is doing fine for me for actually doing the rendering. But this could take a really long time, So if you don't want to take a really long time. I advise you to do e v. And you're not actually render the hair for, um to give you an idea of how to make sure that that doesn't happen. We're just gonna go over here to the modifier menu. This particle editor here actually gonna move this armature up above it so that if you did want it, it would be there. Um, so we have the armature, and then the for which is the particle is turned off. You want the for on? It's going to take a whole lot more time. Pretty for it. Surrender So you can keep that off, but make sure the subdivision surfaces. Make sure that's turned on. So that is now all set. Those? Yes, that's what we want. So I made sure that the subdivision surfaces are on. I also have it. So the particle system, the hair is turned off. You won't turn the hair on because you have a superfast computer. Please do that. Uh, you're all set in order to actually lit it. Teoh, render Make sure your cameras in the right place and in order to In order to do that, I'm going to just select the Kim by left clicking on it, then the easiest way to interact with the camera is going. Teoh, make actor. You make sure it's selected on their view. You click lock camera to view. Now. If you hit zero, which takes you in camera remote, you can move it around now. If you were going to do this, I would say doing either an entire render, review it from the front and an entire Brenda reviewer from the side. And then you can do some editing where you take them together or you animate the camera itself, where it does part from the side and part from the front. But I think it's important to get this section where he speaks technique from the front and , you know, from the side and my local, too. But I think to peep the technique, it might look cool from the side as well. But these were the two places I think it makes. The most sense now you can come out is you can zoom out as much as you want. Remember, we didn't do anything with feet, so if you put defeated is go look kind of crazy, I think. Right. It was kind of weird because the streets are stock still. But there you have it. I would love for you to upload this and Sorry. What I didn't tell you was to render it. You go under, render render animation or control at 12 it'll go wherever you told it to go When it was here on their output. There you have it. I would love, love, love for you. Toe. Upload your video so I can see what it looks like. Feel free to use different music if you want, but I would love to see I'd also like to hear what you want to see next. Thanks for taking my class. I will see you next time. 13. Scene 10 bodyMove: So now let's give his body some motion. So we're gonna first do the body and then do the head. If you ever seen some. Have you ever seen someone? Not the head. Typically, they're moving their body and their head, but not in perfect sync. So I'm gonna go to side view and I'm gonna move my cursor to the first frames. I go down here zero sorry, zero frame, and I'm going to hit Kai. And this time I'm going to lock rotation, right? And I only really want to rotate it about to about one axes. And right now this is in quite Ernie ins. It's I could explain quite earnings to you, but honestly, it's not necessary that this being quite Iranians, So I'm just gonna left click select those all X to delete them and let's go into a different mode. So if we go into item under rotation, we have quite turning. But we don't really It's really a lot much easier for us to do. We could do access angle. That's also a good one. But we're going to do X y Z, and honestly, I don't really need to go into into the details of this, but it has to do how rotations are calculated within Blender. So now if I hit rotate and I had X, we see that rotating it about the X you can see will be here on the left side, on the right side of her hit, Rotate and X, that it's giving us exactly what we want. So if I hit I two lock rotation and then here we get actually is locked in all possible all possible orientations when we only really care about the X. So I'm going to select. But why? And select the Z and then hit X to delete those. And then we make sure that we're on the first frame, that it's selected and let's go all the way. There we go. So now we can see that we're on the zero frame here by hit period. It'll center that there. I use Middle Mouse button, too, Zuma just a bit And down here, let's go ahead and put this on the first friend as well so we can see it and I'm gonna work down here so I could go to a frame some frame in the future. Let's say one frame in the future and I could rotate it here and then I could lock keep rain. But if I do that, it's gonna lock all three again. And we don't really need that. So we can also work down here directly in the graph editor. So if I hit shift D and move it up and hit ex to move it on the X, move it about three frames, then put your cursor over it. So I'm gonna left quick to put a curse on Brit it grab and then why? And you can see that he moves forward some And that's honestly, probably enough for the body movement actually, is probably too much. So I have g again. I move it down because the body movement is pretty is pretty subtle. Someone hit shift deep and I'm gonna pull it down there. I could have duplicated this one. So if I hit x daily key frames, I could have said shifty from here X to make sure it comes down to the right place. And then you can see that it's almost a comes bound to the same place, right? So now we have a movement of the body. But if you look at this ah, one time leaving your body like that is not that useful. So we don't want to. So we could shift D Copy Paste and we could do that like a bunch of times, But we actually don't have to do that. What we can do is we can go to and there are two ways to do this. We can go to key and then under, actually under channel, we can go to extrapolation and we can say Make sick, Rick. And what that did has made it so. This will happen every time the rocky, entire things right and honestly, that's like way too fast for him to be bobbing his body. So let's make sure this is doing it relative to the car server. But scale X I'm gonna make it a little bit wider. And now, if I had a right so that looks much better. It's not perfectly on beat, and you know, if you want to make it perfectly on B, that's going to take you some trial and error and remember, and also that there's a little bit of a like here. There are some ways to do that. That's not the focus of this. But you can see that the body is now moving almost perfectly. But right now, actually, I'm pretty. I'm pretty satisfied with that. But I want it to be just a little bit shocker in the movement, so I'm going Teoh. First of all, I'm gonna change this to B individual centres so that I can rotate it to make it just a little bit sharper here when it's moving. Yes, that's just a little bit. And you can see that it gets a little bit off in time and you can You can fiddle around with that to get it at precisely the right speed that you want it. But that's OK. I'm OK with that at the moment to kind of give you the idea. The next thing we want to do is add the head bob of this. So I'm going to do the same thing we did. Four. I'm going to go to the first frame for zero frame and then I'm gonna hit I toe lock rotation, and it's gonna also be the X. We're going to do the exact same thing. But again, We forgot to change this two x y z So I'm just gonna delete those. Go here, change that two X y z now going back to the zero frame I'm going to hit I I'm gonna lock rotation than under rotation. I'm going to delete the ones I don't care about, so I let I should click the shift. Quick did. That's not a word. I'm gonna shift. Click those to give those out of the way. I'm going to hit shift D. I'm gonna x to stay on the X. I moved out to some random frame, but I need to see the other one because it's kind of based on that one. So I'm gonna also ships click up here the other frame. So right now, what I'm gonna do is take this one, grab X, and I'm going to move it. Grab Why? Well, it's slightly above because I want the head nod to be more. Then I need to shift Dee and Greg this one off, but unfortunately, this one gets him away. So my way around that is to hide it by selecting that one. That way I can say shift d it x and now it pretty much looks like the other ones of my own . Hide it. You can kind of see that it's almost matched. So if I hit G and then ex moved it over, and now you can see that they're completely matched together. The unfortunate part about this is that they're the same color. And, honestly, I want to change the coat. I want to change the color. Um, and you can't like that, so that makes it much easier to see the difference between these. So if I play this now, you almost saw it. But because it's not sick quick, you can't really tell. So I'm gonna select those go to channel extrapolation mode. Makes it quick. Now, if I look at it, it's kind of weird. It's not bad. Now, one problem is this opening at the neck. But the movement is actually not bad, but we're gonna make this a little bit better. And we're what we're going to do in order to do that is actually let's take a look and see what it looks like when our modifiers on. So, uh, we're gonna turn, go to object, move. We're gonna select the head. We're going to go to the modifiers, go to subdivisions, turn it on and then we're going to go to the body. Turned those subdivisions on. We're going to de select everything. Now we're gonna slick the head again so we can see. Actually, we're not gonna select the head. We're gonna select the armature so we can see with those individual curves. Look like someone has selected both of those curves. Get a good idea what's happening then? I can unhygienic that one. That space bar. But it not as big a deal move. Movement is not bad, right? But honestly, there's a little bit. Isn't one more change I want to make here and I want to make it to just the head. So I'm going to select the head. Let's go back to the first friend, back to zero frame and look at the shape keys associated with those. What I'm going to do is shift it over just the business and see G for grab. I'm hit X and I want it toe lag the body. Then if I play right, it's not quite what I want, so let's do it the other way. So that's a G and then X unless shifted the other direction. Some now, Yeah, that's what we want. Now he's group. Yeah, he's more or less is more or less on beat, too, I think. And let's see that last part people technique And he's mouthing the words. That's a good stuff. So there you have it, you have and mouthing the words. You have him annunciated in it more or less, and you have him bobbing to the beat. The next thing is just rendering it.