Introduction to 3D Character Animation: #2 - Setting Up | Danan Thilakanathan | Skillshare

Introduction to 3D Character Animation: #2 - Setting Up

Danan Thilakanathan

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5 Lessons (50m)
    • 1. Introduction to Blender

      3:43
    • 2. Introduction to Animation in Blender

      12:23
    • 3. Animating a Bouncing Ball

      19:56
    • 4. How To Approach Character Animation

      6:44
    • 5. Character Generators in Blender

      7:33

About This Class

In this class, you will set up your environment so that you can start doing some character animation. You will also learn how we will approach animating realistic and believable 3D characters.

You don't need to have any experience with any 3D software. However, it is recommended that you use the open-source 3D software Blender as that is what we will be using in this class. If you prefer your own 3D software, you will still be able to follow along and apply the principles in your preferred 3D software. 

By the end of this class, you will have set up an environment that will prepare you to start animating 3D characters. You will also learn how we will approach the animation of realistic and convincing 3D characters. 

Transcripts

1. Introduction to Blender: Hello and welcome to the character animation series in Blender by Tilman Studios in this video are teach you how to do basic animation in Blender Things. Video were mostly sweet beginners who have a very basic knowledge of the software and is intended to sort of help you to sort of go in and just animate something. So let's get straight into it. Open up a new blender scene on change this mode here to animation. What this does is it gives you more Windows to work. This is sort of sapping away to sort of being more efficient for animators to work with this. Now briefly describe what each of these Windows does. This'll Window here is a three D view port. So this is where you have all your three D models, characters, cameras, lights and things like that. Here is the camera reports, So whatever this camera sees, you'll see over here. This is the outline. The Atlanta pretty much shows every single object that you have in your three D. V port. So your camera, your cube, your lamp is pretty much all there. So the main reason why we have in Atlanta is say, For example, you have an epic mountain scene with tons of trees and rocks and rivers and all that kind of stuff, and you want to find one specific element. Sometimes it might be a little bit difficult and you, But you may be playing. Where's Wally to find that object which have object that you're looking for. So that's where the Outlander comes in it so it makes your life a lot more easy to work with. And if you can't find it in the Outlander, you can always just search it here. So, for example, type cute. You can just find it right there. A cube. So it really, really takes helps take out the guesswork of fighting. When your object is on, you can just select it right there. And we helped speed up your workflow. This is a properties window, the properties window. Pretty much since the properties for everything. And Brenda, since this is Alice Couples video, I want to be explaining what each of these properties do. But through the card, imagine series mostly piece for properties here, the most important to us here is a timeline. So you obviously have you start frame you're in frame the conference that you're on your play, your information, pulls it, go to the beginning of the animation. Go to the end of the animation and things like that. Here is the graph editor. So he you obviously you see f curvy. And when you start animate if course make it easier for animators to polish the animations and add a lot more tweaks and a fixed that are not sometimes not possible with just key frames. Um, you might look into that little bit today, but I won't really be going into it. Ah, in detail throughout the character animation series here is the dope sheet editor. So every key friend you create here will be shown here. And you can obviously play around with the key frames in this area here. So also are just beginning a very brief overview of how to do some basic manipulation. Vendor in vendor, you can grab everything g. We can rotate by pressing our and you can scale. My pressing s splendor allows you to do more bastards than that. You can also move along. X is so grab X Lovely new along the X axis grab. Why on the Why Crab zed along the zit. So Chris said, So you can do lovely things Are R. Tex Ritter on the X? Andi. It's why scales along the y you can do Tonder. 10. Things like that. Um, that's basically I do some basic manipulation and blender. 2. Introduction to Animation in Blender: Hello and welcome to the character animation series in Blender by Tilman Studios in this video are teach you how to do basic animation in Blender Things. Video were mostly sweet beginners who have a very basic knowledge of the software and is intended to sort of help you to sort of go in and just animate something. So let's get straight into it. Open up a new blender scene on change this mode here to animation. What this does is it gives you more Windows to work. This is sort of sapping away to sort of being more efficient for animators to work with this. Now briefly describe what each of these Windows does. This'll Window here is a three D view port. So this is where you have all your three D models, characters, cameras, lights and things like that. Here is the camera reports, So whatever this camera sees, you'll see over here. This is the outline. The Atlanta pretty much shows every single object that you have in your three D. V port. So your camera, your cube, your lamp is pretty much all there. So the main reason why we have in Atlanta is say, For example, you have an epic mountain scene with tons of trees and rocks and rivers and all that kind of stuff, and you want to find one specific element. Sometimes it might be a little bit difficult and you, But you may be playing Where's Wally to find that object which have object that you're looking for. So that's where the outline A comes in it. So it makes your life a lot more easy to work with. And if you can't find it in the Outlander, you can always just search it here. So, for example, type cute. You can just find it right there. A cube. So it really, really takes helps take out the guesswork of fighting where your object is on. You can just select it right there. And we helped speed up your workflow. This is a properties window, the properties window Pretty much since the properties for everything. And Brenda, since this is Alice Couples video, I want to be explaining what each of these properties do. But through the card animation series, mostly piece for property are the most important to us. Here is a timeline. So you obviously have you start frame you're in frame the conference that your run, you play your information, pulls it, go to the beginning of the animation, go to the end of the animation and things like that. Here is the graph editor. So he you obviously you see f curvy. And when you start animate if course make it easier for animators to polish the animations and add a lot more tweaks and a fixed that are not sometimes not possible with just key frames. Um, you might look into that little bit today, but I won't really be going into it. Ah, in details about the character animation series, here is the dope sheet editor. So every key friend you create here will be shown here and you can obviously play around with the key frames in this area here. So also are just beginning a very brief overview of how to do some basic manipulation. Vendor in vendor, you can grab everything g. We can rotate by pressing our and you can scale. My pressing s blender allows you to do more fasting thin that you can also move along. X is so grab X Well, obviously knew along the X axis grab. Why on the why? Grab said along the zit. So Chris said, So you can do lovely things Are R. Tex Ritter on the X? Andi. It's why scales along the y you can do Tonder. 10 Things like that. Um, that's basically I do some basic manipulation and blender all right. Now it's time to do what main focal of this tutorial is to actually animate. So let's go to the front view by pressing one, and we'll create will create a key frame by pressing the I key. I don't know why the to animate you needed Presti ikey. I thought I had to be a but then nothing is already taken. So I want to get always options when you pressed Nike to start off with some sort of selected location, and then we'll go to frame 50 on a I want to move the object, say grab X, move along the X axis to somewhere around here. Let's say Empress, I again the location you'll see here that two key firms have been created, one at frame one and another had framed 50 so I cannot play back my animation by either president display here or shortcut is to press old A. And there we see our first animation. How awesome does that look? Cool? All right, so one other thing we can do is we can adjust the timing off our animation. So say, for example, that I think this animation a little bit too slow. I want to do a lot more quicker than that. I can always select the key frame that I want, but I can move in closer. You can see that yellow line at the time line being moved a little closer. Let's have moved to frame 20. I want to play back. It's a lot more quicker, so you can obviously easily adjust the timing and such for you animation very, very easily. And I spot it really. Now I'm gonna show you a little bit off F curve tweaking. So F clubs. Obviously, it gives the animated a lot more control over their animation. So, for example, if I you'll notice here that last less movies key friend back a little bit, let's say to frame, uh, 200 set this and type 200. Um, you can see the little bits and rias too slow, say 100. That is the reason why I did This is because, uh, he's going real hard to move it 200 can. One thing inducing impressed. Grab minus one if you can't drag it more accurately, like grab minus one, by the way, moves it one frame back. Whatever Kiefer respected. Okay, so, um, if I play back now, it's a little slow. But now I can see exactly what this F Cove is doing. You can see that as it approaches to the end, it slows down. You don't just Holt to an end. It just slows down like that so we can obviously play around with that. So say we wanted to sort of speed up and and really re quickly. Then we can just go ahead and just change something like that. That's gonna make it instead of going up and slowing down, decelerating down. All that's a decelerating in December is that it goes toward the end. We can change that. Make accelerate toward the end bank. You can see it's sort of accelerated there, So give the enemy as an animated. You have a lot more control over that, and you can also make it overshoot the mark a little bit about that. Followed through that something that stuff that we learned in the top 10 small animation and see sort of bounced back. So as an animator we can make these kind of tweaks and polish without really putting in more unnecessary key friends and things like that. That's pretty much why the if curve editors there. So we have a lot more control over our animation, and that's basically it. Uh, that's that's how you animate another way to animate This is a great to do is keep five. Uh, sorry is to press this button. What this does is when you press this one, let's go to begin off the key being of the animation again. And I've said this to what you can see, like a record. But it so this does. If I grab this, you can see that it saves your water king on. That means any whatever manipulation I do it. Grab, rotate or scale Watermark. You said a key from there. So they say, I start here, Bank Kiefer's only created. That's a move to frame 100 and I'm moving here rotated. Scale it up scaled on the X axis. I don't know. There you go. It's created. It's created a key frame here and one uses. Look what scale. So I deception here. That's what it uses. By default, you can see it creates the location rotation scale, and each of these can be modified and played around with. So if I play back this animation now, obviously we get way. Get Adam. We get our object that animates by changing its location. It's rotation and scale, so that's pretty cool playing rounders, the F course, and it was a little crazy, but people need to be more advanced to know what the each does. So by selected this, for example, I just zed location so I can obviously move the zed and get more tweaks and things like that. So that's pretty much how to do animation. If you don't like to do what a key Faymann. Sometimes you met you may make mistakes by way. You don't want to actually animate something sort of move object on. You don't realize that Oh no. Is something my animate movements all being recorded? You can simply well, absolutely. This you can simply turn this off, you can simply set a king what is called a king set. So what? Sometimes people get tired of putting I and stating option, then moving another few key Versailles and then another option. You can just set a default er so say, for example, I want to set a location of default. Now, when your eye is always going to be location on, then if I'm or you imitated to rotation, just rotation. It's that if I moved in this area, I moved here. So I move the object from that position to this position on Rotated hit by you get that rotation so you see a key family been create for location. A key frame has been created for rotation, so you can do tons and tons of things like that. It's very, very easy to animate inventor and obviously a very, very quick as well. One of the reasons why Animate Blender is because I do all my character animations by myself, and I feel that Blender allows me to create character animations very, very quickly and efficiently. Granted, I haven't tried other three D software, and I I don't really have the money quite cheap So, um, that's why I prefer to use blender. But yeah, I'm just I generally find appended is the breeze to work with animating. So just to quickly recap toe and mating bender, you press pie and slept either of your options. And if you don't want to see these options, you just slept, your king said there. If you don't like that, if you want to be default to look right scale, which is location, location scale, you can just press that on your object, and that pretty much gives you options to animates. So I hope this video has taught you how to do some basic animation blender. In the next video, we'll be introducing the bouncing ball animation and teaching you guys how to do that. And we'll also be following some of the stuff that we learned from previous videos such a 12 principles of animation and some of the stuff that we learned today in this video. So I hope to see you in the next video as usual. If you have any comments, feedback and so on, please feel free to drop it in the comments below that will help me improve and please subscribe, like sharing all that kind of stuff on. Thanks for watching 3. Animating a Bouncing Ball: Hello, everyone, and welcome to the character animation series by telegram studios. In this video, I'll be teaching you how to do a bouncing ball animation. Now, I know this is not exactly character animation, but before we attempt to do something as complex, as difficult as character animation way need to know how to do basic animation when the first. So let's get straight into it. First thing I wanna do is go ahead and change this mode to animation small windows to be that makes more easier for us to do animation so well wonders. I'm gonna go to the front view by pressing Phnom Penh one. I don't delete the camera and lamp right thinking shift rocketing to stay put, and then it's delete. I'm also gonna go ahead and tell it. This cube, I suspect in the Cuban X delete I want to add a bull wasn't shift a and then you ve feel that's it. Then we'll open up the tool by pressing in. What I want to do is I'm gonna sort of drool the sketch off how the ball should bounce, sort of like an outline. So to do that, I want to use the grease pencil grease pencil sort of allows us to draw sketches all over Al Bender. Seen. And when you when you actually render a scene like this, the sketches would actually shop. So don't worry about it. You could scribble away as much as you like. So pressing you new layer and other selective you. What this means is this would draw whatever draw here will be drawn on the three d view. Depressed, surfaced you draw on the surface of the object. I don't really know what the other two are. Some some sort of ignore that I need to be explored ill with later my run. But I need to get more experience rests on a presence. Why person d and, uh, key again. I'm gonna open the team which opened left side of the toolbar. And if I go to grease pencil over here, I can precede views sketching sessions. That sort of allows me to draw as much as I want until I hit escape. So too, does the grease pencil sketch. I'm just going to d and then click. So now I'm in drawing mode. All right, so now let's draw the outline off our bouncing ball so that they can go like that. Bounce, bounce, bounds, bounce, bounce. But on a very good drawing fixed, set up, honest. Going into T escape escape to get you out of the drawing session. T razor. Absolute race that bit on. Then let's just redraw this bit here and draw again. Fix up. All right. I think that that was good enough. Okay? Not a very good drawing, I suppose. But good enough. Okay, so now we won't do it when it's sort of animate our position. Someone I'm gonna put this king fit as before to lock broad scale. You can see it there. What this does is every time, a credit key frame, it will create a new key frame for the location. The rotation on the scale. I want to enable this automatic key frame in session. So that means every time I worked with an object, it'll already create a key here every time they manipulate this object. Sorry. So I'll go the first frame and I'll move the bull here. Now you need to study timing to get to understand how long how how quick the ball would bounce. Everything I've experimented this a little bit earlier, so I sort of know that around friend Tyne. The bull bounce here and then a frame 20. Every time I move the object, you can see the key firms automated being created. Um, and obviously, yeah. So, for example, I'm sleeping with this here so you can see the key from and now been created over here. You want to lead a key frame, you can. Either person old, high and to the key friend. Now the key home is gone. Or Mr Let's put the key back there again. You can select the key frame in the dub sheet at the top or even select the three. The location, the rotation scale. Um, widgets on the graph. Editor X three different Kiefer delete key frames, and they will then delete. So let's put that back there again. So if I go back a sort of automation? Yeah, close enough. But we can see that the bullies sort of start to bounce. I'm going to sort of have the length here now. So at, uh, 25. I wish Lee it's not exactly correct. I'm gonna do anyway. 25 put it here. Make it bounce at 30. Bring it back here. And then it 32 is not exactly half, but good enough. You have to play around with timing a little bit with us. You want to get a better animation that way. Timing can help. All right. I guess that I'm still don't ignore these last two. You can animate those if you like. Okay, you can see that the bulls taking a little while to go down, but then it's not optimal. Go ahead and actually finished the last two. I said I wouldn't, but that was pretty here. And sheer dancing here. And, Yeah, a little bit there, realistically, shouldn't go that far. So that's how I look at the animation. All right, so it sort of looks the time Looks OK, but I feel like the 1st 1 I like it. Sort of taking slow to go slow to sort of fall. But then it sort of speed up toward the end. Maybe we can sort of make this one a little quicker, that much salt issue. So to do that, you know, I'm gonna go to the to the dope. She'll editor press B, which means box. Select and select the settle. The key frames apart from the 1st 1 on moving close. So this make it quick. I guess after the same to this to these frames and move across the uprising. Geeky. So you can see it's now a lot more quickly. Maybe after living a little bit closer. All right. So we can sort of see the bold bounce is the timing is looking OK, this one looks like it's sort of accelerating there. So you need to sort of play around with timing until Europe until you're happy with it. Okay, stand this out. One. Yeah. In that time, it's OK. You can also use reference of video footage if you if you can't figure out the timing on your own, I I should actually be doing that because that gives more believable timing and such. But, um, since this is for tutorial to some sort, sort of the ice just sort of showed the idea. I'm being a bit lazy, so I'm going to sort of hide the sketch bite pressing that I don't buy that. And and now I can, um, yes, we can now work on making the ball. So you look playback animation or whether to play back then Michelle Chris old a which you can see it with. You can also press plate like this and to stop the animation putting escape. Okay, so let's just have a look at our animation really quick and decide how good it looks was that present end pulled a and there's our animation. Um, I guess it's OK to toil purposes. All right, Whatever it's going now, if I had been that grease pencil sketch back again and played back over here were sort of ruined my position there. Back over here, you'll see that the shape off the curve is different off of the dancing bull, like what I'm actually getting is sort of more like, uh, this sort of shape when it when I would actually draw solving this shape, which is not exactly a bouncing ball. When when the ball bounces, you don't you don't get it. The shape on go like this, you need to make the shape more like that you see in the drawing, and it needs to sort of bounce a properly not smooth out at the end like that and obviously it's snowing down, other comes towards the end. We can obviously fix this using the F co editor to do so. Let's closes again. So, um, a super Pac animation. We notice that as a bull reaches, Theo impacts on, it slows down. Okay, You can't tell that here because the animation going written fast, because sort of visualize it, it is sort of slowing down a little bit, so we need to make sure that the impact is really is sort of abrupt. It doesn't Don't slow down to do that. We need to make sure that here we convert the key frames to a vector. So if I select this came from Europe, which is where the impact is and oppressive be, it will change the key from handle type to one of these options of a here, and we construct Victor to make sure. Obviously, I'll actually show you what it looks like over here. It's just like that again, it be alternative, Victor. Now you can see commit to something like committed this sort of shape. You get this tape, which is about which is a lot more abrupt, which means some kind of impact is that could. That's what Usually when you use Victor, when you when you want to portray some kind of impact all sudden turn or something like that. Robots and stuff. If using robotic characters, they also can use Victor because they have movements are more rigid. Using something like these, Automatic is a smooth, organic type of moment. We just suit character animation, but in actually in current mission is always better have these types off shaped curves. It's never okay to have this shaped curve unless you have a character colliding with something we're impacting exactly like this ball. So if we play back animation, that looks a lot better, I guess sort of, since the guts looks a lot more realistic. So with every impact, that's exactly what I'm gonna do. This impact. I want to turn this to Victor. This this impact on this world, Victor Sorry. Here, every two key frames. Pretty much all right, v. Victor. If I play about my animation, you can see the bull bounce and then most not better than before. Obviously, it doesn't look appealing yet. Sort of looks a little bit fake, but you can sort of tell that it's a bouncing ball. I think the timing could still be worked on, but let's see there, the huge jump from here to here. The bill. A huge jump from look, you can see the ball bounces here, here, here, and then jumps a huge distance where it shouldn't should just jump a little bit something. I'm gonna move the bulls back. So to do that, I'm going to move the X location back. But the rest of the key frames also need to be moved back a little bit. So to do that, I'm only going to select the X location and it be, which means it hides all the others. You can only see just the expectation then on the select, all of this, which is all the key frames after this position. And I want sort of moving back over. So grab wife, which means moving on the Y axis. And then I want to move it a little bit back. It's a little bit how that looks on paper. It's much better. Yeah, all right. And Lucille was district at the timing. Let's bring these back again. All right? You play back animation. Very got some pretty cool conducting ball animation? No, Um, let's use on the 12 personal our animation and make this bouncing bull ah, lot more appealing. So one thing we can do is when the ball impacts, we can add some squash and stretch. So when the boy in passing, this is squash and every here we can use some stretching. So, for example, so let's just go ahead and do that that seem if it makes it more appealing. Obviously I want to have the key friend before to have a scale as it is. So this it's on click go one. Keep him further monkey from a hit, this scale and then click left. Click. Let's go back to the to the middle. Keep him again. Let's s owns it, which will scale on the Texas and then this. Move it down Civil playbacks animation. You can see that squash. I know it's a little bit extreme. It can be a lot more subtle, but depending on how cartooning your bouncing bullets can, um, play around with them. So, for example, if it's a very cartoony animation, you can put a lot more squashing on that. But if it's a little bit more realistic. Animation always settle matters. Caution might might be be useful. So let's go ahead and do the same with everything. So the one frame before the impact, the scale one from out in front scale, it's in tow scale on the said on the middle on the impact zone and then grab said on, make sure it impacts with the ground. Uh, I'm gonna hit and I'm someone going into the same for each impact. So staying in town from head to toe back soon, maybe a little less squashing them before because it's not as strong. That should do the same for this should be here. Squish. I want him before still from head scaled. Yes, I said before scale. Hence scale. Subtle, More subtle. That should be okay. All right, Let's have a look at that. There we go. Bang. Thank you. Oh, my goodness. A little bit more settling that. But most of all, right, There we go. It's looking awesome and looking a little cartoony, but it's looking a bit more appealing. So now I'm gonna add it. We've done the squash weaken. Do a little stretch. So to do the stretch or some middle key frame. It is not a criminal, just truth. One a better one for whichever. And I'm unable to beat grease, pencil in kin and sort of go to the middle a little messy, but doesn't matter. That's gonna move it here. Just get that shape, as I said, and then do that. Go to the middle, go to this frame here around middle frame. Tim, this is it. Scale here on moving. Okay, then do the same at each or not said not as much this time, this much this time much good. Much. I think I'm not gonna do it for the rest of them because I don't I don't know what it's necessary. So let's hide the new special and play about the animation and look at that. It's looking sort of like those Disney animation's, and I'm quite happy with that. But I think I actually should have added some stretching toward the end. I am going for that sort of very cartoony look, just adding that one personal character animation has a lot of personality to this Banting book. That's it. We about possible animation is complete. I'm just gonna leave it on frame 47 ended up on frames with someone, and that's a bouncing ball animation. We do some other stuff, like anticipation or follow through or something. And that's it. That instance video. I hope you learned something new. So for this video on, if you were able to follow along on understand the concepts quite well, I think you're pretty much ready to do character animation on. That's exactly what will be the focus of our next video. If you didn't understand something or found some parts a little bit difficult to sort of follow, then please feel free to drop a comment below or message me here or on Facebook. Wherever I'm. Wherever my social media presence is life on, I'll try my best to get back to you as quick as possible. Um, yeah, Thanks for watching 4. How To Approach Character Animation: Hello. In this video, I'll teach my approach to character animation in a blender note. I'm not sure if it's the industry way, but this is the way that I've been animating based on what I've learned from a number of video tutorials and websites. If you're an aspiring animator just starting out, you will learn a lot from this video. Hopefully. If not, then that's my fault, I guess, for not explaining properly. And even though I use blender, anyone from any three D software can follow along. The one I learned from the most was Keith language organized key frame tutorial. It was a bit of an eye opener for me in terms of realizing how to bring my characters to life and make them more lively compared to the robotic, dull, unrealistic animations I created before. I highly suggest you check out his website as well as you will learn heaps from it. That's the link to his website throughout the series. All mostly be using the organized key frame tutorial to create my animations. Little disclaimer. I'm not a professional animated by any means, just a self taught one, which I've been doing for four years alone and wondering why Pixar hasn't seen me yet. But I am learning new tips and tricks after every animation I do. However, if you do prefer to learn character animation professionally using the Pixar standard, I highly advise you to go for one of those paid courses, like Animation Mentor or something. I also wish to do a course like this, but for that price, I will have to wait until I get a proper stable income. But enough about my sad story. Here are the basic steps to animate characters in blender First references. I'll assume you have your story scripts, storyboards, all laid out, and you're just staring blankly at your tapers. Character rig thinking should just start animating this. This ping something that will help is references. You will need references off how you will go about animating that particular shot or scene references can come in many forms. You could capture a video of yourself enacting that shot. Multiple angles would actually be better. You could Della YouTube clips off the action you're looking for. You can also draw sketches of your character. The main poses at different times drawing posters helps you better understand how you will pose your character when it's time to animate. I personally use a combination of video recording myself and drawing sketches opposes more specifically, the more impossible poses that I couldn't be record due to the unf Lex ability of my body on flexibility. Unfixable. Sure, that's the wood anyways. Next we start with the posing and timing phase. Here we block out the main person of the character. Just the most important poses we know will happen and at the exact time we know will happen . For example, take your stereotypical character who walks along the street and trips over banana. The main poses you would create would be the beginning of the walk pose, perhaps the point where he steps on the banana, the post of him tripping over on falling over and a final post where he's just planning. You know, of course, time there's accordingly. In blender, you need to make sure when you pose that all the characters body parts are key, framed accordingly, even if they do nothing In the deputy editor, you see all your key frames organized in a nice straight line. This makes modification easy, since if you need to change a certain pose. You can do so without having to delete and reanimate key frames. Secondly, timing is important really important if you have background sounds such as the sound of footsteps, the timing process is a little easy and Bender, since you can load the sound in blender and pose the steps at the correct frame as it much of the South. If you don't have background sounds, it's better just to use reference video loaded in a little window to the left or right just to get the timing right. Remember, both believable poses and correct timing. Contribute a lot to realistic and believable character animation, and I mean a lot. This stage pretty much covers The post opposed method off animation from that toll, principles, off character and mission. Once you've completed the main poses, you then just go in and do another pass. What that means is with the main poses you already have if you play them back in a little really blocky and lacks detail. I've been like using Skype on Dial Up Into that by adding more poses between the main process, you add more detail to your animation, things like moving holds, transitions, arcs, breakdowns and stuff like that come into play. You don't go shoving some of them 12 principles of character animation in here somewhere. You're starting to make sure your poses are organized nicely in a straight line during this past. After that, you can go ahead and do more and more positive your life. If you want to get more of that detail after you complete your passes, made your modifications and happy with the overall look of your character animations, it's time to make it look well alive. We need to make it look more organic, since the truth about organized key frames or post opposed is that it just looks dull and robotic when played back, even though technically speaking, it is realistic. The key shuffling faith involves going in and creating chaos by messing up and moving, offsetting keys, making sure the entire body doesn't land, oppose at the same time. By offsetting the time for each part of the body, you create more organic and random feel for the animation, and this is a good thing, since our real life movements are organic and very random. If it weren't, you would question our humans get him. I'm sure humanise is a what? No is askew climber. Put it, we start with organized structure at the beginning and transform into disorganized life at the end making modification. At this stage, it will be more painful, Which is why you need to make sure any modifications will need to happen at the earlier stages before you commit to key shuffling. The last phase is polishing. Now I have to admit something. I don't really follow this. I've only used it briefly for walk cycles, but I don't actually follow this face at all in my work. And the truth is, I should. With F Coast, you look at a screen with a lot of confusing curves and tangled wires. Your job is to nudge in twisters wise to make sure your character is moving more smoothly. The more time you spend on F kers the high your chance of getting an Oscar for best character animator ever, and that's it. Hope you enjoyed this video and learn a lot. Please, like share, subscribe and drop in a comment for suggestions or just things you didn't understand in this video. I'll try my best to help in the next video. We'll start with a simple walk cycle, applying these principles. Thank you for watching 5. Character Generators in Blender: Hello and welcome to another video off the character animation series by film studios. In this video, I'll be showing you different ways to generate animated characters for Blender, most of them for free. This is intended for people who don't really spend months and months modeling and rigging and shading creating the character for me personally, I spent three months just to create green months, couldn't animate at all that during that time a video like this would have benefited me a long time ago. So over these I've found different ways that I can generate animated characters for Bender pretty much for free on. I'll be happy to share this with you today. So the first character generate I Want to Show You is the does three D captured in rhythm Test three DS and is sort of like vendors. Well allows you to create films and things like that, maybe films and Anna medics and there's gonna stop. And the difference between deaths, treaty and vendor that I found is it has a marketplace where they sell models and props and environments and things like that. So one of the things that we can take advantage off is, we can use their characters. The's characters were developed purely for death, but they have exporters now that you can send them to other three applications in our case splendor. So you can see here that each of these characters has a price testament. Obviously, the more expensive the character, the more quality intends to be on the lower the price. The low in sort of looks a little low. Polly, one of the most popular death characters, is the Genesis character. So basically what you do is you you have a A base character, and then you can make different, different characters from that. So you could transform your character from, say, this character to this character using a few sliders, and that allows you to create different, different variations of characters. I also used does Treaty for my own animation film called Tripping, which you can find on my YouTube channel. I had to export the death really character and then imported into blender, and once you do that, you need to do a lot off changes to make sure that it is compatible with blender things like making sure that you re adjust the shade. Er's and the materials, making sure the UV maps are all right. Um, make sure the rings are all named properly and so on. And you don't also have, like like a ah proper. I care wreak associated with it. So you need to sort of re re rig the rink. It don't make sense. Perhaps not, but doesn't matter. Sort of like recreating animation controls for this character. That makes sense. Um, does. That's really obviously produces very nice looking characters. The skin textures always all look good. Andi. I personally found that the the characters that were generated from destiny and looked quite nice, the skin textures world look beautiful and clothing tensions are also quite good. But the main problem the cons off this generator, is that it takes a bit tedious to sort of make sure everything is compatible with blender, so that now leads me to move on to the next character generator called Make Human Make Human takes out all that tedious work. Why? Because blender has a plug in that allows you to import. Make human directly so you can create your characters inside the making the software, and then that can then import that with the textures and rig and everything pretty much ready for you to just go in and just animate. So that's why it makes humans a lot more simple. Work with. It's free. It's open source s so you can do whatever you want with it. The car, right? You don't have any repercussions or anything like that. In terms of copyright on, you get a lot of uses for illustrations, animation games and so on, so you can find this that make human don't talk. The cons, however, is that the quality of the character I've found is a lot less than death. Three D. Again, I'm going to be plugging my own film, Stephen, my first animated short film, and these characters were generated from Make Human, obviously, until the quality of the characters are not as good as Death treaty. Ah, there's another character, another character, the two characters that were generated from make human. So there you go. That's the make human generator. The next character generator that is a personal favorite of mine actually is the C G cookie flex Rick. This was generated by Nathan Bergdahl beyond Leonard and Jonathan Williamson from CD cookie , and they basically make it easy for us to change the look of the character. And they give us animation controls, and we work with these directly from within. Benda and the quality of the characters are quite good, but they do tend to more cartoony and tend to sway away from realism. These other captors. It's our another shameless plug off my own film. These other characters that were generated by the CGE cookie Flex Rick so obviously more cartooning but quite easy to work with. I found these. I found the ring, especially to be very raised to work with, and you can also work with facial and animation for the first time. The other kind of generations do not have a facial rig, but surgical reflex rig does so. This allows you to create facial expressions and things like that and facial animation and so on. So this is the ring that I'll mainly be using throughout the rest of the series. I'll be giving you a brief demo off the C, c C G cookie flex Rick, since this is what I'll be using throughout the rest of the series, as I just mentioned eso what you can do, you can change. Your gonna set, for example, changed the size of the head, matching up ahead size, changing the cheek fat, making chubby making skinny, uh, bigger years for the body out. I wanted to be a lot more stronger, so maybe given a lot of muscular look ah, a lot more good in the arms on legs. I don't know. You can play around with this kind of stuff, Andi. Also, you can change the colors as well, so you can give the hair different color the eyes a different color, the skin a different color, obviously, that you don't get a green card. Green color characters Generally the human skin test to be someone within cream colored to brown, I guess. So you can go from Doc Brown to what Andi can make different, different variations like that very quickly. You can create different different variations of cards in your seen in five minutes. Pretty much this is why I love this rig so much, and it doesn't use that much memory as well. The other characters that the other character generators tend to use up a little bit more memory. But this one. This is quite so. That's pretty much it. Those are the free character generators that are available in a blender.