Introduction to 3D Character Animation: #1 - The Concepts | Danan Thilakanathan | Skillshare

Introduction to 3D Character Animation: #1 - The Concepts

Danan Thilakanathan

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5 Lessons (38m)
    • 1. Welcome

      2:25
    • 2. The 12 Principles of Character Animation

      11:22
    • 3. The Basic Workflow for Character Animation

      8:02
    • 4. Pose 2 Pose vs. Straight Ahead Animation

      7:11
    • 5. 5 Annoying Stuff About Character Animation

      8:50
13 students are watching this class

About This Class

In this class, you will learn the magic behind bringing 3D characters to life. You will learn the skills and techniques of animating realistic and believable 3D characters.

You don't need to have any experience with any 3D software. This class will mainly focus on how realistic characters are animated.

By the end of this class, you will gain a better understanding of concepts that will help you to create realistic and convincing animation of 3D characters. 

Transcripts

1. Welcome: Hello and welcome to the three D character animation for beginners Course. In this course, you will learn about the process of making believable and realistic character animation. There has never been a better time to be a character animator until now. There are so many quality, resource is and three software out there that making character animations on your own is no longer a dream. It is a reality. I am a character animator, and I make animated short films for YouTube. Most of the images you see here are my own works. This one is in mind, though this is from a short film called Big Buck Bunny. Over the years, I've learned the best ways to animate characters, and I am happy to share those secrets with you in this course. So let's dive into the world off three D character animation. So why is character animation awesome? You ask? Well, first you get to bring your dead looking three D models to life. You get to imbue those models with emotions and personalities that only you can invent. You can tell more believable stories if you ever want to show the world the tough times that you went through in high school. You can do that through character animation and not only believable stories, but you can also tell more unbelievable stories through character animation. You can make your characters fly, dance, obtain enough strength to destroy a planet, and so one. Your character Animation ideas are only limited by your imagination on and skill as well, I guess, but that that's what this course is here for. Another reason why character animation is awesome is because it is one off, if not the most tougher skills to learn in C. G. I. And it's a lot harder than something like modeling, for example. But don't ever tell a professional three D model. I said that next character animators are always going to be needed in the future. I don't think robots will be smart enough to automate the jobs off character and minutes, but don't take my word for I could be wrong. Ah, final reason, and this is my favorite. You get to make films and games character animation awesome, because you can use the skills to contribute to making films and games on your own. As I mentioned, I make animated short films for YouTube and learning character animation is so invaluable to me for this purpose. So are you ready to bring your three models to life? Well, you've picked the right course, and I'm sure you have fun along the way. 2. The 12 Principles of Character Animation: hello and welcome to the character animation series in this series, I'll teach you the basics off character animation. This series is mostly to beginners who already have a familiarity with three D software. The series will mostly benefit Blender uses, however. If you use any other three D software, you should be able to follow along quite well, especially for the first few videos. I'll try my best to explain it as easy as possible without any of that jargon and technical stuff. And if you do manage to follow along by the end of this series, you will have the skills to create realistic and believable character animations. In this video, I'll start right from the beginning and give you a bit of that essential period that will help you develop develop awesome animations with the 12 principles off character animation . So the 12 principles of character animation were defined by Frank Thomas and Ollie Johnston in their book Illusion of Life. Disney Animation on. By applying these principles in your own work, you can almost guarantee that your character animations will look both realistic and believable. And having said that, this is probably something I probably should do more off in my own work. So here are the 12 principles off character animation. You don't need to memorize all of these principles. And realistically, the more character animation you do, the more intuitively you'll be using these principles when animating. I remember personally, we're starting out. I would try my best to memorize all of these principles. Well, they end up being useless. That or I'm just plain lazy. But yet you eventually use these principles in your own animations. And throughout this series, I will be pointing out the use of these principles anyway. So don't worry about it too much just now that these principles work in giving realistic, unbelievable character animations that looks appealing to the eye because, well, Disney did it. Let's get straight into the first principle. Squash and stretch squashing stretch involves giving the object weight and volume by squashing or stretching. The more extreme the squash stretch, the more cartoony it looks. Here is an animation of a bull that I created in five minutes, and I'll be agreeing a to toil in this. In another video here, you can see that I squashed the ball to almost abusive levels when it impacts the ground, and I stretched the ball as it lands and as well as and when advances to its maximum height . So this helps in giving that cartoony look. The 2nd 1 is anticipation. Anticipation is the action that occurs prior to the main action, for example, winding up to throw that threw a baseball or a cricket ball or bending down before jump. In this case, I squashed this the same ball again to indicate that he is getting ready to jump, bounce, jump, and that's looks better compared to having the board just move up without any form of anticipation. If there were no anticipation this at all, it would just look a little bit odd. Three. Staging in staging, you need to ensure that the pose and seen conveys the idea and story clearly to the audience. So things like is the characters expression clear that she's shocked is the camera's angle set up properly? You don't want a camera angle with a close up off some rock when your character's being shot by an asteroid, so avoid elements that are likely to confuse the audience. Make sure that in your seen your character stands out and not the background elements. This is actually a new image from my own movie, and I used step the field to focus on the characters as I wanted the audience audience to focus on the characters only and not on anyone or anything else. It would have been strange if the house in the background or the fence in the background what was in focus and not the main characters. So that's staging Number four is straight ahead and post oppose animation in straight ahead animation. You animate frame by frame till the end. This is grateful spontaneity, but it can be quite boring. Post oppose is where certain poses at certain times which your shore up are created, and you later fill in those missing frames. This is much better for planned animation, and it's perfect for lazy people, just like myself in computer generated character animation, you generally have to switch between both and mix it up. I'll be describing this in more detail in the next video, in followed through Overlapping action followed through the action that comes after the main action. Certain parts of the body continue to move even when the main action stops in overlapping action. Certain parts of the body dragged behind the main action. So this example shows it quite well. I again lazily animated this strange little dude in five minutes. Here, you notice that when the body moves, the head drags back and you can tell the head sort of prefers to stay at its original location before moving. Same with the legs. So this is this is an example off. Follow through then the head does not follow through overlapping action. After the overlapping action, the head and feet followed through and catches up with the body even when the body has stopped. I know this guy really seems to be in another world. Uh um number six is slowing and slow out and slow in. Slow out. Your animation needs to slow down at the beginning and at the end of the main action for more realism. For example, a bouncing ball that slows down as it which is maximum height. In this example that I showed here right now, it might not be clear, but his arms actually slowly accelerating at the beginning. And then it decelerates. When stops, it tends to look fake when when you suddenly when you're when you're animation to suddenly stops abruptly or even study starts abruptly, the only time that this is OK is if the character collides or impact with something. Here's another example, which shows it better. The bouncing ball again. There are more drawings at the impact A T impact off the ball, which indicates on also at the maximum height, which means that it's the bulls actually slower in that area. When there is less strengths, touches it in the middle. Off those drawings, it is going pretty fast. Number seven arcs. All parts of the body needs to move in the shape of an ark for believability and realism, for example, the legs, the hands and the body. In fact, organic objects move in our shapes, and mechanical objects are the only exception. Mechanical objects are the only objects that move in straight lines. Characters tend to look fake and robotic if parts of their body move in straight lines. Only this is what this is about. That's your problem with new animator's doing that they tend to make a body parts in a straight line to intensive fake um, Number eight is second reaction. Second reactions are actions that complement the main action. So, for example, with someone running late for work, the main action might be their legs moving frantically while the second reaction could be there, clinching the shaking of the hands and desperation or checking their time constantly in this example of a pony by Pacific Penguin from Devia, not the main action off the bottom off the pony is the moving legs, while the second reaction is the bobbing head and even the tail. And here, number nine timing animations need to be timed correctly. Or else it would just look plain odd, for example, a character that response before in other countries even asked a question or a character that reacts to late to a punch to the face. Even subtle mistakes and timing can lose viewer interest or even lose the definition of the object. What I mean by that is, for example, I created three equal sized spheres. This fuse were simply created by duped by duplicating each of those speeds. But I changed the timing on each of them, and suddenly it appears that each of them have a different weight, so you obviously see that you need to get the timing correct in your animation or else your views will think. What did I just watch? And you really don't know how to respond with character animation. Taking reference videos really helps in creating believable timing and thus believable animation. Number 10 is exaggeration, So here is effect. Realistic animation looks dull and boring. If you wanted to create animation that's so realistic and accurate to the real world, you're much better off making a live action film, not animation. Exaggeration works better in animation. It tends to look more lively and watchable. The more cartooning your animations, the more exaggeration you should incorporate. And the more photo realistic your animation, the more realistic you should go for. But some subtle exaggeration is still required. For example, in the film, Avatar animators would also go in and at exaggerate certain actions, even though they were mo capped because the motion capture versions don't really look that good. To be honest, unless you're our Jim Carey or someone like that number 11 solid drawing, this means that you should be a good draw drawer tryst, draw master and drawing the character well and seen well in terms of three D space, light shadow and not to me, etcetera. Luckily, this doesn't really apply to three D character animation and certainly won't really apply throughout this series. But learning good drug learning the skills of good drawing certainly doesn't hurt. If you are a good droids to draw, draw master, you'll find creating storyboards and planning animation much easier than the rest of us. And by us, I probably mean just me the final 1 12 appeal. And this is the final principle as well. This means that does your character actually look good? Nice characters tends to look heroic, attractive, cute, etcetera, whereas evil characters they look rough, menacing, angry and so on. Taking the time to develop appealing characters can help viewers relate better to your story. He is an example of an unappealing character. His name is Steven. This was a counter I made for my first film. Not really a proud moment for me now. I'm kidding. It was for salaries. I feel proud about this. That's it uses principles in your own character animations, and you can almost guarantee that it will give you realistic, believable and appealing character animation. Most of these principles apply well for three D animation as well, even though they were pretty made for cartoons throughout. This series will be using these principles, and I'll be showing you step by step. How, exactly? I did using the three D software Blender. Andi. I hope you find this video helpful in learning about the principles of character animation . In the next video, I'll be discussing Post opposed versus straight ahead in detail, and I'll start to get into Blender a little bit. Please let me know your thoughts, feedback and someone in the comments below. This can help me give better tutorials next time. Also, please describe like and all that other stuff will be greatly appreciated. Thanks for watching. 3. The Basic Workflow for Character Animation: Hello and welcome to the third video off the character animation series. In this video, I'll discuss the basic workflow for character animation. This is the workflow I use for my own character animations, and I'm sure this workflow can help you deliver awesome looking character. And so let's get straight into it. The first stage is planning now. It's important that you plan your character animation right before you even touch blender or any other three D software, a project without any planning. In other words, if you go straight into blender without any planning whatsoever, you are more likely to abandon your project. Thus, planning is essential to an animation project that is likely to succeed. So festival the story. The story must be awesome. You're probably going to be slaving for months, for example, 5 to 6 months for a probable 2 to 5 minute animation. That's you really must have. Ah, really, really good story. You need to have a story that you believe in that you're that you're motivated by because if you have find that halfway that your story really isn't that good, you're probably going to give up. So make sure that your story is really good and that you haven't down packed. So once you happy with your story, you need to create a screenplay. Here's an example of a screenplay for my own animated short film Victory, which you can find on my YouTube channel. Please feel free to check it out if you're free. Um, the screenplay must be clear and concise. Covering the who, what, where, when and why. So things like where is the location currently? What time is it? What is your main counter doing? One of the other characters and you're seen doing and so on. Read your screenplay again to make sure that it makes sense and also have someone else read it to make sure that is good. But if you want to keep it a suspense, then I guess it's OK. But make sure that you really again by yourself. T check that your story is flowing quite well. Second, you need to create a storyboard. There are many different ways of creating storyboards, for example, using campaign photo shop and duplicating or copy pasting boxes. This example I've drawn 10 boxes, which are which is a two by five year 10 boxes and to draw my images, I used a welcome tablet, which is, Ah, bamboo pin combat Group in and Touch tablet. You can buy this at any electronics store, and if you can't, then it should be available online to order. Um, I recommend using a paint touch tablet to draw a rather than a mouse, because a mouse is very, very difficult. If you don't have access to a paint touch tablet, please do not resort to drawing with the Maskell. It's almost like torture. Instead, just draw using a physical pen and paper and then scanning using a scanner or something. And if you don't have a scanner than just take a photo on your smartphone, that should be good enough. Another medical story boarding. And this is a method that I use for my own short films is actually bringing your characters into the scene and creating kick, creating those poses and taking snapshots. Um, I just have to know like, uh, I just had to say one thing. I'm not gonna be, uh, providing the set or the characters in this series. We're not gonna do any character modeling or set creation or anything like that, that might be for another Siri's, but I'll be don't worry about. If you don't have any of these props and stuff, I'll show you how you can get this character. It's also for free and for the set. You can just model any basic set. So just wanted to let you know that now. Um, yeah. So where was I? Are you in storyboard? Clear poses are important. So, for example, other poses clear Will the audience get it that once it's refined? I chose this formal story boarding as I can simply reuse this scene when it's time to find the animate. And I don't have to create everything from scratch and things like that. So I guess I didn't contradict my own statement saying You should not touch Brenda, but I guess for this case, it should be okay. Um, the next stage is taking reference footage, so this really helps. In terms of timing, this is a snapshot. This is actual snapshot off a reference video of myself. I had to blow it out for embarrassment and self respect, so reference footage can actually help with understanding pose transitions as well, so make sure that you take good reference videos as it can help you provide more realistic character animations with good timing. Once that's done, you have to create an annum Attic So on Automatic combines your storyboard images with the music in a video editor, the video editor. I also used Blender, but you can use any other video so that you're comfortable with Theano Matic is basically like your final film only without the awesome film graphics and visuals and things like that on the music as well. It's important that you watched the animated again or have someone else watching with you to determine if the story flows quite well or if the timing needs to be readjusted and so on. Anna medics are generally used by filmmakers to pitch their stories to potential film producers. In our case, we're using it to help us organize our character animation better. Finally, we can start to use blender, so the second phase is blocking and refining. So here we can use the post to post method to build specific key poses at specific times. Having the reference video and automatic loaded up can help you with the timing easily. Once all the blocking is done, get feedback and then refine the blocking once again and then do a second level of blocking and create poses in between the tea poses. This is a term called breakdowns, and it helps to further shape the post to keep on refining this way. So after you're done with all that blocking refining, you basically should have your final animation ready. You won't look well, classy. One look smooth. It won't look right and at the animation, but it should be clear enough, and you should be able to get away with it if you really can't be bothered doing politics. But adding a polishing face can really make your animations look a bit better. That's a bit more pop to your animations. But if you don't have polishing, then I think people still be able to understand it. But they won't really say we won't really be draw dropping if you know what I mean. So that's why the polishing faces exists because makes your animations a lot better. So in the polishing phase, you can use the straight ahead animation technique and animate between those poses. You can also go into the F curves and make further tweaks to smooth everything out. And you just keep refining this until you're happy with it. You know, this whole detailed kind of stuff, Andi, I also obviously show you how did that in a lot, Another video. So once the scene is polished, you're pretty much finished. You can then render your completed work and you can now see your work finally come to life in a completed animation project. And at this point, you should feel really satisfied and really excited that you're gonna be showing your animation project to the whole world, and that's it. So I hope this video has helped you understand the workflow that generally goes into creating character animations. In the next video, I'll discuss the five most annoying. You probably come across when animating your own characters, Sort of a heads up. Now, before we go in and actually animated scenes, please subscribe, share and leave a clement as it helps me provide more quality tutorials. I hope you join me for the next video. And thanks for watching 4. Pose 2 Pose vs. Straight Ahead Animation: hi, everyone, and welcome to another video in the character animation Siri's. In this video, I'll explain the difference between post oppose and straight ahead animation techniques, and I'll show the best mental that I'll be using throughout the series. This method is also used by character animators for films, TV shows and such. So let's get straight into it. With straight ahead animation and straight ahead animation, you start from the beginning and you animate frame by frame until the end when played back . This gives the illusion off movement, and this is how to the animation used to be done and also reminds me of how flip book animation was made back in the days of school. By the way, for those who don't know what flip book animation is, we used to draw these stick characters in the corners of our school textbooks page after page, and when you flip through the pages quick enough, you'd seriously those two characters come to life. This was a great form of entertainment for US school students back then, especially when we used to sit through those boring history classes. So what's the good thing about straight ahead? Animation is great for spontaneous and fresh animation, you can be sure that your animations will look authentic and fresh. However, the main issue is that it is hard to adjust timing and poses should you need to make a change later on. So, for example, say you have a character walking and then jumps and later on you decide. No, it needs to jump a little bit earlier. Well, you either have to redo the whole animation again. Or you'd have to delete portions of animations where you want the jump to occur exactly and then re animate from there. Also, in terms of timing, if you need your character, the walk from Point A to point B in exactly four seconds, you better make sure that by the 4th 2nd the character reaches Point B. And this is a little bit difficult to guarantee with straight animation technique, unless you have a very, very good eye for distance and all that kind of stuff. In post opposed, however, specific key poses are blocked in first. That means that you said specific poses for the character at specific times. So if I use the earlier example that jumping for example, you can create, oppose of the character, about to walk on the first friend and at a later frame, said another post of the character about job. So in this example, one frame one have this character about to look and on frame. 10. He looks suspicious. Maybe because it's someone hiding behind a tree or something. And at frame 20 hey realizes. No, there's no one there. There's not even tree over there, I don't know, just just realized that his a little bit. And, yeah, I don't know. You can then break the task that even smaller and create more specific poses in between the key poses that you've already made thus post oppose. It's great for planned animation. With this technique, you're certain to get the timing right. In other words, the character is certain to start at point A and to reach point B in four seconds. Post opposes. Also flexible in the sense that led Iran. Should you want to make a change for the character Teoh? Reach point B in six seconds instead of instead of the four seconds every which me said what to do with, say, a little wiggle somewhere. The two second mark. This is much easier to do in post oppose toe having to delete portions of animations lacking traditional animation in traditional. So in straight ahead animation, which can be frustrating. And trust me, you will make you feel like you wanna kill yourself. So post a Post can do this painlessly, and it's much quicker than straight ahead. The downside of Post Opposed, however, is that you can look a bit fake when all body parts land a specific pose at the same time. I don't know. It does not be a little difficult explain, but for example, say, for the jump animation you'll have three poses. So the first post might be the anticipation as he's about to jump and the second poses a jump at the highest point on the third poses his landing. So with the post opposed by that, as his feet touches the ground, he's already in the landing post, which is odd. So from the 12 Principles video, we know that there needs to be overlapping or some follow through action. That is when the feet touches the ground. The rest of the body should follow shortly after should drag, and they should not land at the same time. So this was the example that I used from the 12 Principles video, and it shows it quite well. When the body is moved, the head sort of drags back before it reaches its final post. If the head and move to the same time as a body, it will look fake. You look robotic. So post oppose is, doesn't handle the situation that will in that sense. So what's the best method to use in character and mission, then? Well, the rule that I use is you start with post oppose and you end with straight ahead. And this is usually omitted that is used by three D animators for films, and it's also a technique that I've employed in my own films. You would first block out the main and very important actions and then review it. Have it checked by the director. If you're doing a film on your own for YouTube or new grounds or something like that, then have it checked by family, friends and so on. That way you get a fresh perspective on your work, and they can not mistakes that you probably wouldn't have even noticed because you probably so into your work at the time, anything is good enough. So once you get all the feedback on that kind of stuff, you would then go and refined the animation again with the post to post technique and then on then, later on, fill in the gaps in between poses with the straight ahead animation technique. Remember, that straight ahead animation technique needs to do is usually done. Last arrested last I mean at the very last, when we're really sure we don't need to make any more changes to the animation, using a combined post opposed and straight ahead animation technique and shows that you get the best off both walls. Ah, spontaneous fresh animation with correct timing and such. So that's it. I hope you learn from this video and found it useful. Much more videos to come out as I release a video each week pleased about comment below, leaving your feedback. Ford's etcetera, as it will really help me give me more quality to toils in future. I'm always looking to improve myself and get better, so any feedback at all just please feel free in the next video. I'll discuss the basic workflow I take to make character relations. This is the workflow that I will use in the later videos. When we finally start making our own character animations the next video, we'll sort of outline how how I go about doing it. Sort of like a guide Blender uses just a few 100 years to go through before we finally get into using blender. Understanding the contents can go a long way in making your character animations just that bit better. Onda please also described like and all that other stuff. And if you're free, just check out my website as well as I do have other tips and to toils on there, hope to see in the next video and thank you for watching. 5. 5 Annoying Stuff About Character Animation: Hello and welcome to another video off the character animation series by telecoms studios. I'll be giving a brief overview off the five most annoying things about character animation in Blender Things is purely personal opinion. Some people might disagree and actually enjoy some of the stuff that I mentioned first up interacting with props. This is the one thing I hate having to set up controls every time a character interacts with some object. Truth is, capture and emission can be a lot more interesting and fun to watch if it interacts with something. One way to do this is to manually animate the objects. In other words, say, for example, your character dances while holding a bowl. Well, you animate the ball by simply repositioning and keying the bull everywhere the hand moves . But this is not efficient and wastes a lot of time. There is a quicker metadata in Brenda. You need to set up constraints every time your character interacts with an item, and you need to make sure it's keep properly when animating. This can be a pain and tends to be time consuming. If your character needs to interact with a lot of objects, I tend to minimize proper usage in my work if I want to get animation done as quick as possible. But if you're patient, the results can look awesome. Second, interacting with characters that that this does sound a little similar to interact with props, but a lot more complexities are at it in it is recommended to also use constraint, since manually animating both characters can be very time consuming. Both characters tend to have movement, and that's it is important to establish who leads the movement. Say, for example, in a handshake you need to decide which cattle have the handshake animated key friends and which character would just follow along because this gets delivered more challenging. If you have a more complex type of animation, such as two characters playing tug of war, for instance, who leaves the animation and who follows in realistically, you may need to switch between the two other other things to consider. From what I've experienced is that if you have two characters talking to each other, it's important that you make sure their eyes are looking directly at each other, especially if the characters continually move around off course. They can look away if they are pondering, for example, or if they're a bit shy or whatever. But what I mean is, don't make it look like their eyes, just looking randomly elsewhere as well. It can at times, appear as if they're blind changing between I K and F K. It's a little bit early in the series to explain what I can f k is. There is another video down the series dedicated to I Can F. K. But very simply put, I K is used to control arms and legs using one boat and the child burns sort of adjust to look natural. Where is with F K? You manually controls the arms and legs using separate bones. Now that probably sounds a bit confusing, and I think I've confused myself. But nevertheless, switching between F. K and I came may be necessary for better character animation. The first image uses F K since the arms move along with the body, and the second image probably uses I K. Since their hands are rooted to the wall and the rest of the arm, bones sort of readjust to the body's movements. Both these images were obtained from wicked media, and these are the best examples that I could find another 2nd 2nd animation is not exactly a three D animation. That's probably a cartoon, which was hand drawn, but just assuming here that it's a three D character model. These were obtained from wikimedia dot bog, which is a free image downloading website. F K and I K actually make character animation easier to be honest, but it is annoying to switch back and forth, especially when you're a beginner and using Brenda. Having said that, the newer version of Blender has an updated rigor fire rig that now attempts to make F K I K switching a breeze. Surely I have to give that a go until you guys were how that experience went walking and run cycles are just annoying, and I mean, really in wing. I always refer to reference video into toils to get the poses and timing right. Walk and run cycles are one of the first things we'll learn in the character animation series, and you'll be trying to inject some of the 12 principles into the animation. I consider walking run cycles to be quite tedious when working on film projects in such one of the things that can be confusing is if you have a captain that needs to walk or run from , say, point A to point B in exactly three seconds, you need to make sure that final step ladders on Point B once you hit that 3rd 2nd Another thing which I struggle with is say, for example, if your character needs to make turns or, for instance, if he needs to vary his walking speeds while he's walking and things like that. Theater situations, which right sort of struggle, even till today. For these situations, I almost always rely on reference video. Here is my first walk cycle for a short film, a very bad walk cycle. I just looked the walk, cycle and and animated the whole counter to move forward. Of course, the timing was just a guess, and as a result, you get sliding feat. Also, this this is a common mistake that most beginners actually make. The Sliding Feat era This'll was a very common feature of most of my earlier animations. Also, another mistake here that I didn't really notice was that the character appears to hover over the ground for some reason, which is gravitationally incorrect facial animation. Once you've completed all the body animation, you then move on to the facial animation. At this point, I usually get exhausted. But it's important that you spend a lot of time getting the facial expressions down packed as the faces a primary focus of your audience. Your audience wants to see what emotion your characters expressing so that they can relate to what the character is feeling. As such, your characters facial expressions need to be expressive and clear. You don't want to have your character looking cheerful and happy at a friend's funeral, for example, most beginner animators tend to either overdo the expressions or under do them, and as a result, we as the audience can't really relate to the story. This image here is an example for my current animation film project, and I don't know if I've overdone it on or underdone it. But there's some facial expression examples. Here is another poor example off bad facial animation. Again, it's from my first film, P. Even the characters expression are a little bit overdone that I feel convincing. Creating convincing facial animation is just hard, which is why it's a little bit annoying on the final one cloth and hair animation. Now I know I said five most knowing things, but I've added 1/6 has this, as I consider clubbed in here on a mission, a za process that can be skipped and you can sort of get away with it. To date, I've only done cloth and hair animation once, and I'm sort of doubling into it. In my current film project, I rely on simulation to get believable cloth and hair animation. You can also manually animate cloth in here if you have a sort of low police set up if you have a more cartoony model. But if you're using particle for clock than for the particle for hair and yes, just using normal cloth, then you may need to use simulations for because manually animating here, for example, is a little bit difficult. In blender. Setting up club and hair simulations can be a pain and can take up a lot off storage and CPU really, really quickly. For this reason, I tend to actually stay away from any form of club and hair animation as much as possible again. Here is my attempt at Pop in Here animation from that same film. This took a lot of time to set up and also was quite heavy on my computer to Rendah. But that was four years ago on an average dual core PC and at a time when my skills with Blender were not that great. We will look at doing more convincing clock in the hair animation throughout this series. About two Thank you for watching. The next video will be about planning and story morning, your next animation masterpiece. So tips and tricks about how to bring your idea into a really into a reality and some free software tools you can use to build your own story board. As usual. If you have any comments or feedback, please feel free to drop one in the comments below. And, yeah, I hope to see you in the next video.