Intro to 3D Animation: Make Your First Talking Character | EduCraft Ideas | Skillshare

Intro to 3D Animation: Make Your First Talking Character

EduCraft Ideas, 3D Animation with your imagination!

Intro to 3D Animation: Make Your First Talking Character

EduCraft Ideas, 3D Animation with your imagination!

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12 Lessons (53m)
    • 1. Intro

    • 2. This is what We'll Create

    • 3. Do you have Experience with Blender

    • 4. Lesson 1: interface

    • 5. Lesson 2: Interacting with Objects

    • 6. Lesson 3&4: Adding Objects

    • 7. Lets do This Lesson 5: Moving the Mouth

    • 8. Lesson 6: Eye Shapes

    • 9. Lesson 7: Blinking

    • 10. Lesson 8: Adding Sound

    • 11. Lesson 9: Drivers

    • 12. Lesson 10: Finishing Touches

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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.  You might be thinking, "That's going to take forever."  In most cases, you'd be right but not this time. We're going to use a special technique to automatically drive the mouth movements from the audio file.  With only a few clicks you can set this up and have your character saying whatever you want them to.  The only thing you need is an audio file.  In this class, I'm providing you with both the audio file and the starter Blender File.  We're going to focus on just the animation here.  

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

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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.

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1. Intro: thanks for tuning in to yet another one of my classes. And, boy, do I have a special one for you today. We're gonna learn how to do this lip sinking animation in just a few clicks. Yet just a few clicks. Of course, there's some set up that you'll need to have done ahead of time, but I am providing you with the file to do all of this on your own. If you want to know exactly how we created this file, I want you to check out some of my other classes where Go step by step. How we got to this point with the model. But if you haven't taken those classes, don't even worry. I've got your back. The class and the models and the files are all in the resource section of this class. So this is what we're creating exactly what you're looking at. I can't wait to see what you create. All right, I'll see you on the next slide. 2. This is what We'll Create: before we go too far, I want you to have an idea of what we're going to create. So take a look at it here. Leave a comment. Let me know what you think. Hey, Yo, do you know how hard it is to be a teddy bear in today's society? I mean, really think about it. Every time I wake up, I'm looking at the movies. I'm looking at the TV shows. I don't see examples of people that look like me. You know, I'm a teddy bear market or trying to make it, and nobody seems to care. I mean, there's no jobs for teddy bears. 3. Do you have Experience with Blender: so before we begin. If you are completely new to Blender, haven't taken any classes or done anything with it, go ahead to the next video. No sweat. No, no. No need to listen to anything other than this. Go ahead. Now, if you are not new to Blender, you know something about the interface. You've created some things you've taken one of my classes. Hint. Hint. Then please skip to the class entitled Let's do This Right. So if you have some experience or have taken my class skip to but Class called, let's do this. If not, go ahead to the next one. 4. 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 5. Lesson 2: 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. Lesson 3&4: 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. 7. Lets do This Lesson 5: Moving the Mouth: So the first thing we're going to do is prepare the mount because that's gonna do a lot of the talking that we're creating. So I'm gonna select the head, and when I left, click this like the head. You can see that I have this basis here with just the eyebrows for the different shape key . So we're gonna create some new shape keys. If you are using a while that you have created from one of my other classes, just go ahead and delete everything except your basis and then your eyebrow locations. So in order to do that, if you needed toe delete it. I'm gonna show you how to do that by just adding a new one. If I hit this minus sign, it deletes it. Now if you go to the basis if your basis looks different than mine right now, my basis is basically a closed mouth. Just go ahead and change your basis toe look the same as my basis. And you just do that by having it highlighted here hitting tab and then that takes you into the basis. So in order to get them out the way we want it, we need a shape keeper The mt to be open because as it's talking, it means to open and close the mouth. So I'm gonna name this mouth open, and then I'm gonna hit this up arrow because I wanted to be right underneath the basis I'm gonna tab into edit mode. And right now, these are already selected, But your case, they may not be so I'm gonna hit front view, and right now I'm in, uh, see, seen everything that's in your seen by hitting this and you can see getting this little icon here. You can see everything that's behind what you're looking at. So right now I can see that I want these top cover to see So I hit be for box select. And then I look rotated around using my middle mouse button. I see that these are in fact, the correct Verdecia is toe Have someone hit G for Grab Z. So it moves up on Lee in the Z. Then I'm gonna grab these faces here on the bottom and a G for grab Z to ring down. So it's possible that you are not in face select most. So if yours looks like this, you can either select all the verdicts, ease into the sex same thing. Or you can go to places like mode by clicking this icon here that puts you in base select mode and now in a tap, it's gone well, if you do one mother classes, you already are hip to that trick. It's only because right now it's set to what the basis is, which is a closed mouth, the mouth open here, which is what we just did. If we want to see what that looks like, we can just move our mouse and click over it, and then it's basically a slider. So this is the thing that we're gonna connect to our audio when we actually do the different types. When we actually do the animation, the last thing I want to do is give the inside of the mouth of color. That makes sense. If you look at a lot of the animation when you're looking at movies, the inside of the mop is not the same color as the outside of the face. So let's make the inside of the mouth dark because we don't want people staring into his mouth there's nothing useful in there, so I'm gonna select all of these. Courtesy is, well, all of these bases that are, in fact, inside the mountain that we don't want the outer part of the lip, but just the inside. And I'm leaving this part a different color because that's kind of gonna be his tongue. But for this part, we're just gonna make this really dark. So I'm gonna go to the materials panel, which is right here. I'm gonna hit the plus because I want a new slot for material I hit new because I do, in fact, one of new material. I'm gonna call it. No, because it's the map. Ah, it's already under principle B c d E f B s d f. And I'm just gonna make this really dark. Now I need to assign it. So that's why it's important that we selected it first. So now I assign it and you can see that it's shiny and it definitely shouldn't be shiny, but they way to fix that is to go down here to roughness and take this all the way up, not down like I did the first time. You want a nice matte color for it to look black like that on the inside. So that looks about like we wanted. The only thing I'm going to mention here is when we started this, the metallic was all the way down. Do, in fact want it to be all the way down. There's no way that we want the inside of the mouth toe look like metal in this case. But maybe in the future, the next thing we're gonna do is add that tone color in the center that we were talking about. Someone hit the plus sign appear again, Another new material. I'm gonna go to the base color and I'm just going to kind of look for a color that makes sense for a song. So that looks right to me. You can, of course, but this at whatever you want. But my numbers right now are red at 0.8, green at 0.85 and blue at 0.76 Of course, it doesn't have to be exact, but if you wanted to be exact, you could do it that way. So I'm gonna select just that bases I'm in face of like mode I go down to the material and I click a sign, and that my friend, is good enough for me, for what we want to do in order to keep things fast. Are Teddy Bear is not doing the subdivision surfaces right now? That's turned off. So if you want to see what it looks like when it's going to be something like when it's gonna be fully rendered, this is what our teddy bear looks like. Someone that your teddy bear has a name. Mine is called Ted, and I realized that's not very creative, But let's go with that right now. That's that's what I'm going. That's what I'm feeling sort of feeling. So right now Ted is all set. He's got the inside of his mouth. This black has got a little bit of pink in there to make it look like a tongue. So he's all prepped and ready to start speaking. 8. Lesson 6: Eye Shapes: Oh, right. So the next thing we're gonna do is make it so our character can blink. So we're gonna do this the easiest possible way we're not gonna mess with any eye lashes or eye lids or anything like that. We're just gonna make give him a simple cartoon. T blinks. Still. For that, I'm gonna let click on his eyes. And when a tab into edit mode, in this case, I want to create some shape keys that give us the illusion of kind of a cartoony link. So I want this to happen about its center, So I'm gonna make sure that best elated. So right now, our pivot point is the three D cursor. That means if we're scaling or rotating, that'll be the point that it's about. But we want that to be in the center. So I'm gonna select this sensor vergis e, and when hit shit s and then cursor to select it. So that puts that cursor right in the center, which is where we wanted it. Then I'm gonna hit a poor select all. And now you can see that if I scale it its scales right at that center, there but this is not white, the type of blinking we want. So we wanted to close kind of like an island. So I'm going to say scale and then Z and then you can see it close. Kind of like this. It's gonna get one to get in front of you. So you have a better sense I was happening. So scale z skilling it all the way down and yeah, that is exactly the look that we want. So now we're gonna go to our shakey's, so go here to the groups and this is empty because there aren't any shape keys for the eyes yet. And we want this open to be the basis because most of the time, it's gonna be openness of very brief times when they're blinking. So now I'm going to create another one. I'm gonna called this blinked, and we'll call it close. So blink close. So now, in order to edit what blink close is, I'm going to tap scale Z, take it all the way down and tell us a little slits just like that. And now that is exactly what I want. So I just tab out of that and I probably can't get you with that joke thinking that we just deleted it. But we did it. So now if I move the slider, we do have this illusion of blinking cartoony I. So that's exactly what we wanted for that. And the next step is to do the animation for this. 9. Lesson 7: Blinking: Now that we've got these, I shape keys. Now we just need toe, actually, enemy some blinking. So the first thing we're gonna do to animate thes keep frames is open up and make sure that we are in this graph editor. So it in case you do not have that open in order to open a new pain, you're gonna go over to this little black section here with the pains kind of meat, and you're gonna put it over until you see this little crosshairs. When you get the crosshairs, you can left, click, drag up. You'll create a brand new pain. And then once you create that pain, you conflict what the pain is, and that will be in the upper left hand corner for this one of the pain. So we want the graft. Better now, Blenders grab editor is the way that it displays how numbers are changing over time. And in this case, time is the frame, so you can see the frames here. You can also see them in our timeline. This also looks a lot like the dope sheets so abundant 2.80 The timeline and the dope sheet share Ah, lot of the ways they look, Let's go ahead and create these animations. So right now we want to start with the eyes open. So in order to create an animation for a shaky, we're gonna we're gonna go over to where the shape keys are. So I'm gonna go and make sure our object data tab is clicked over here on the right. I make sure that our mouse is over blinked clothes that we just created, and I'm gonna hit I for that. And now you can see that I do, in fact, have a key frame here. You can see the key frame here in the timeline, which looks a lot like the dope sheet. You can also see it in the graph editor so you can see that its value is zero and you can double check over here that the value is also zero. Now, we want it to be closed after that, so we'll just go to frames right now. We're just kind of seeing what's gonna work. So I am going to go to the shape key, change it toe one so that it's closed and I'm going to hit I so lock this one, and you can see right now that it's up here and that is absolutely perfect. I'm gonna click normalize so that we can see it a little bit better. That just makes it so that you can see the changes it normalizes be. Why aspect of this? I believe so now that the eyes of clothes and then we want them to open again. And instead of inserting a key frame like we did before, we just gonna left click and select the first keeping We started with hit shit D for duplicate it X to make sure it stays on the X axis. And now we have a blink. Right? And that was really easy to do. I do want to mention 2.8 sometimes has a glitch where it does not allow you to add another key frame of a different kind. Let's say that I wanted to put another t from here. Let's see if it which actually works, and I want to put it at one. Right. So right now it's kind of glitch ing like it won't allow me to change it so I can put a new keep Raymond so all I would do to get around this guilt, which if you're dealing with this, I would just set under the key friend there at exactly the same place and then here in the grab editor, I would grab why and then move it. So that way you can get around that glitch. But we didn't actually have that the first time. So I'm gonna hit X, and this is the blink that we have. And honestly, that speed is probably OK if I look at it, it's actually probably a bit too fast, cause even at this speed, it looks fast. If you look at the speed that we're currently running at 18 frames a second back back there , so that's probably too fast, cause this 18 frames a second is already running slower than usual. Yet it looks too fast. So that means we want to go ahead and make it just a little bit slower. And we can always change this in the future when we actually add the animation. So right now I'm gonna go. I'm gonna make sure that we scale this to be a little bit longer, and I'm gonna do that by making sure we skillet with respect to this two d cursor. So I went over here, which is where you select the pivot point. I put the two d cursor, the two D curses right here. So I'm gonna scale it in the X cause I actually don't want it to get any higher and just make it a little bit slower. So I think I am okay with that for right now, that is all we're gonna do with this blank, right? We don't really know until we put the audio and everything in how often we want him or her to be blinking. But right now, that's pretty much it. Now, just to give you another look at the way this generation looks in a different window. I'm gonna go to dope sheet now, and you can see these three here. So if I I played again, you can see it. And then now you can imagine that if I slept all those and then I d and move. Um, So now our teddy bear will blink periodically, right? And that is what we wanted will put probably more of these on the timeline when we have an idea of how long our timeline is. But that is it. We got a blinking teddy bear 10. Lesson 8: Adding Sound: one of the reasons why this particular animation class is different from a lot of the other ones I did I've done is because we're gonna use drivers now. Drivers allow you to connect one aspect or characteristic of blunder that has some kind of number associated with it to another aspect now that just allows you to connect motions in this case. Now you can use drivers for a lot of things, but in order to do that, there's a couple of things that we need to do to set. The first is we need to add the audio, so included in in the resource is section of this class is an audio file, and it's just me basically talking some nonsense so we can have audio feel free to record your own. It works better if you use the MP three or you know you can use the one that we have. So all I did was I created another pain, and I did that by hovering my mouse over this edge here until I saw the cross hairs and then dragged up. So what I want to do right now is changed this to the video sequence editor. Now this is important because we want to be able to hear the audio that we're currently working on in past versions of Blender. This was not so simple to do, but when they're 2.80 it's super simple. So I'm gonna add sound then on your computer, please download the sound, file it or create your own. It's called Teddy monologue. I'm gonna add that sound. Trip sounds strip now. When I hit, you know what it is. Play a teddy bear. In today's society, you should be able to hear it a little bit. It might be a little bit low, but I think that you can hear it. So that's what the sound strip actually sounds like. But you can see that are teddy bears. Amount is not really moving because we haven't connected the correct beings yet. The next thing we're gonna dio is actually connect the audio to the correct part of our model. So we're going to shift a and we're going to add an empty and it doesn't really matter what kind. But I picked the kind with the arrows I'm g for grab extra, move it to the side And now I am going toe associate the audio file. What gives our teddy bear the data it needs to know when to open and close His mouth was actually comes from the audio file. So I'm gonna so let this here and then I'm going to go to the graph editor and in the graph editor. I'm going to make sure that we are on the on the zero frame. That's kind of important, because once you import this, I don't know whether it's a bug or just a decision. Because we're bacon Makar. You can't really change it at all. And that's why we can't give the data directly to the teddy bear face because we need to make some changes to it. We need to increase the amplitude. So we go Teoh Key Add F Corp. Sorry not have f curb modifier. We want Teoh bake sound to f hurt. But before we bake a sound toe effort of something that you have to do is go ahead and already put a key frame there. So we're just gonna hit. I were insert key framework it we care about location in this case. Now if I look here. You can see that I have a keep rain on the zero frame for both X y and Z. That's just what you have to do with one that I don't really know the reason behind that. But now if we go to key, we can say big sound to f cker. Then we can go get that monologue that we were just talking about. And in this case, Teddy bear monologue. Big sound toe F Kurt. And now I actually have a yo, do you know how hard it is to be And you can see that this empty is now moving? Think about it. Every time I wake up to the voice, which is almost exactly what we want. We really only care about the Z location. So I'm going to uncheck these here and now. I'm gonna hit G for grab while my mouse is in the three d View port. I'm gonna pull it to the side, hit one to be in front of you, then right click over so we can see what this looks like. And that is pretty much precisely what we want right now. It's running at about, do you? 20/20 frames per sentence because it's just moving the empty. So, you know, I'm looking at the movie. Yeah, we can see very clearly that it is sink really well with the audio. So now that this is sync with the audio, all we have to do is create the drivers. But the file now has all of the sound information that it means. 11. Lesson 9: Drivers: now that we have our sound files in place and we have our anti right here, All set. Now we can actually connect the sound file to the movement in the mouth. Now, remember what I said about drivers? It's a way for us connect to connect one aspect or one characteristic or one variable blender into another variable. In this case, we're gonna connect Z height of the empty to how much the mouth is opening. So if I do that, I'm going to select the face and going to go to the object object data and then over the mouth open part, I'm going to right click and gonna say, I'm going to say add driver. So right now, it says bar Plus 10. I know that we're going to need to multiply it times something. But just so I want you to understand was happening, I'm just gonna multiply it Times one. And now I'm going Teoh create. I'm gonna tell it what objects? So I say empty. The next thing I'm going to do is link it to the Z location because you saw how it was going up and down. That's the aspect of it. that we actually wanted toe link to. So then if by left click down here, you can see that the mouth is barely designing. Probably wondering why that issue I'm gonna click on this empty to get a look at what this sound card looks like. You can see that the sounder is barely changing, like the magnitude of it aren't enough. So we need to increase the magnitude. So in order to do that, this is why I was using three drivers I'm gonna select. I'm gonna go to the driver. So if you could select directly inside, that's one way. So all I didn't bail was right click, and that gave me access to the description or the script that controls it. But I'm going to right, click and say, Edit driver. That brings up this expression here that we already created. And I happen to know that for this guy audio file or multiplying everything times four works much better. Somebody today update with dependencies to see what that looks like, that I can click away from it. And this looks pretty good. Now what you probably think about it don't Actually, this looks pretty good. You know. Yeah. This is pretty much what we're going to now on your computer. It may not be running at full speed and best the case. That's okay. Just know that if it's not running at full speed, it's probably not going a little sink up to the audio. That's okay. We saw that before. It was in fact, we sing it up, so you're all set in there. So now we have the audio, you have the drivers. All we have to do is maybe add a little bit of by blinking. And eyebrows were also Yo, do you know how hard it is? 12. Lesson 10: Finishing Touches: let's add some finishing touches to the animation. So right now we have this speaking, If I hit the space bar, which makes it play today, so I can see that in fact speaking, um, let me turn on this so you can actually see what I'm typing. But it's really It really doesn't have enough. I really think that, right? So let's add some more, I blink. So we're gonna do that really easily. We're going to stay in the graph editor. Why? The eyes are selected. And I'm just going to make sure I'm gonna hit a to de select everything A to select everything. And then because I really don't need to select everything I all a again, I'm gonna be for box select and then shift D Teoh and then X to make sure I don't shifted at all on the X. And I'm just gonna use this shifty again and then hitting X to move this blink at various different places. Now I do not want it to be regular because typically, when you see people blink, it's not a super regular movement. It looks like it happens randomly. I'm sure it's not completely randomly but we wanted to kind of look like that. So I put them at random places and right now the blank looks OK. It's a little bit slow, but it's at 15 frames per second, so it will probably be fast enough when they actually end up doing this. Now the other thing we want to change real quick because we want to do the entire monologue is we want to change the in frames. Right now. Our monologue is 495 frames long. You can see you can see that it says it there. So we're gonna add the improvement, change the in print to 495. So now this covers the entire monologue and you can see there's a lot more blinking that we need to do. But in order to do that, I'm just going to simply out a to de select everything be to box select Shift D and then X to move along the X and then I'm going to Also it s for scale X sorry s and then X to scale it so that it will be at a slightly and then grab X again so that would be at a slightly different location, and there we have it. I hit a two run, select everything looking, and now we have a teddy bear that blanks throughout in its higher. Now that we've finished the blinking, let's do something with the eyebrows Now you don't have to do anything with the eyebrows, but I thought it would be fun if we did something with the eyebrows. So we're going to stay in the graph editor because that's the easiest way to get around some of the glitchy nous of the action editor for Blender 2.80 This is the outfit Berries, and so hopefully, when the beta version is out, everything will work a little bit more smoothly. So let's go to the beginning frame and let's listen to what our teddy Osama, what it is to be a teddy bear in today's right. So do you know how hard it is? That sounds like he should be putting his eyebrows down. So let's start with a neutral eyebrow. So we're gonna go to Brow Low Center. We're in the object data panel here. I'm gonna put my mouse over Brow Low Centre. I'm gonna hit I and that just locks it where it currently is. Now that's the last time we have to actually work with it like that. So now I want him to put his cabinet his eyebrows together. So I'm going to left click on that shape key. I'm gonna hit shift D to duplicate it X to make sure it only moves along the X. I'm gonna keep it pretty close when I zoom in it, period on the num pat just so that we can see everything together. And now you can see our to shape keys here. Now I want to increase this one to just exactly one to the easiest way to do that. So we know that we're being really precise is to make sure that it's selected and then undervalue. We just type one in, and now it looks like the other one went down. Um and that's because normalizes selected. If we de select mineralized, we can see what it actually is. And we can see that what looks like nothing happens, but it's the IRA lower. Sometimes blender does have an issue updating, but that should not hold for very long. So and actually want to do is hold these eyebrows at being it'd location, right? So it's at one, and we're going to shift D and then X to make sure it stays at X. And just like I suspected, it did, in fact updates. So now it starts yield with little nice, and then his eyebrows get a little bit angry when he says the a yo part. So now I want to just make it so that they return. So I select that shape key. I hit shift D and then X to make sure it moves on Lee along the X. I'm gonna put it kind of close to the other one. I'm also gonna fix that for the other two. So all day to de select be Teoh, select everything g and then X to move it on the X and make sure that the other one is also kind of quick. Is that transition and the eyebrows should not be super slow. So I'm okay with that. Hey, yo, do you know how hard it is? Right, so a oh, that part looks good to me. And now I want the eyebrows to kind of be pleading So we're gonna go with the eyebrows higher. So I'm gonna go ahead and hide that set by clicking on the little I. And now I'm going to hit I over Brown High Center. So this means that it's going toe lock in just the normal zero amount until we change it. Now, on the next one, I'm just gonna make sure that that one is selected it shift d move it a little bit and then I can move the value here. I can say one, and I can double check with this Value is, in fact, zero and shit d X to move it to the side and then shift d X again said, Now I'm going to change the value back to zero. So he did pretty much the same thing that we did before, but now to be effect is that the eyebrows go up now. They're staying up now because Blender is not updating the way we like it, too. But it's just being a bit buddy, but it's okay. We know for a fact that it grab pecks, that it actually is working the way we want. So we look at both at the same time, we can see that they don't overlap, which is good, because we're working with the eyebrows in both cases, and even though we could put them so that they actually work at the same time. That's not the effect that we want. So right now, if we were to just play that, we get a sense looks like a teddy bear in today's society, right? So that looks really good to me. But let's put it a couple of more places at the TV shows I don't see. So let's look at the part where it's more pleading because I feel like there's probably another place that we can use that. So let's listen for a sec. I don't see examples. The people that look like me that looked like me. So I think that's a good place to put this. So I'm gonna hit Shift D and then X to make sure I just move it along the X And now let's play it again at the TV shows. I don't see examples of people that look like me, you know, I'm pathetic, right? So that looked good. Let's make it a little bit longer. Now. I could scale it. But I'm not going to Skillet because I don't want to increase the distance in the transitions. I only want to increase the distance of how long he holds it. So I'm gonna say grab and then X and make that longer. Gonna wanna play again? I don't see examples of people that look like me. You know, I'm a teddy bear, Marc. You're trying to make it, and nobody seems to care. I mean, there's no jobs, protect. And then the last thing I'm gonna do is add one more angry. I rouse some of the B for bak Select Shift D and then X. I'm gonna move it all the way down here that I'm gonna say I don't see examples of people that look like me. You know, I'm a teddy bear market. You're trying to make it, and nobody seems to care. I mean, there's no jobs for teddy bears. Okay? So it also looks like when I say there's no job. Pathetic bears. That's B N. And that's about 4 43 So we don't really need to do anything past that. I will change the ending later, but let's grab X and movies a little bit private. And now let's see examples of people that look like me. You know, I'm a teddy bear market. You're trying to make it, and nobody seems to care. I mean, there's no job. Okay, let's do that. I mean, there's no jobs for Teddy bears. No jobs for Teddy bears for 36 is our last one. So we don't need Teoh do anything more there, so I just change the ending frame. You know, feel free to do as much as you want with this doing with the eyebrows and the blinking. But from here, we can actually go ahead and do the rendering who we are just about completely done. So if I look, if I hit zero, then pad zero and look through my three report, you can see that it is in fact, centered there. If I go to the panel here, the output panel and I look under output. This is where you can select where it goes. The actual type of file you want is F F. M. Pei. The container that you want is him picked for the video. Kodak is eight that 264 and I'm exporting this at 1920 by 10 80. So I'm getting the full HD effect for that and out. For that reason, it's going to take longer. The other thing I'm gonna do is switch this off of either the TV two cycles because cycles does are hair much, much cuter. So now everything is set. I'm gonna hit render, and then we'll see what that gives us.