Make Your First Simple Motion 3D Animation with Blender 2.8 using the ship from Futurama. | EduCraft Ideas | Skillshare

Make Your First Simple Motion 3D Animation with Blender 2.8 using the ship from Futurama.

EduCraft Ideas, 3D Animation with your imagination!

Make Your First Simple Motion 3D Animation with Blender 2.8 using the ship from Futurama.

EduCraft Ideas, 3D Animation with your imagination!

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10 Lessons (52m)
    • 1. Introduction

    • 2. Lesson 1: Learning the interface

    • 3. Lesson 2: Adding Objects

    • 4. Lesson 3: Object Manipulation

    • 5. Lesson 4: Learning the Setup

    • 6. Lesson 5: What's in the Background

    • 7. Lesson 6: Simple Motion

    • 8. Lesson 7: Animation with the Graph Editor

    • 9. Lesson 8: Movement Along a Path

    • 10. That's all folks!

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About This Class

With this class, your going to get your first taste of animation. Have you looked at Blender's interface and been confused? Have you thought of all the amazing things you want to create then looked at the program and thought, those days where you create something cool are soooo far from now? If that's you, don't worry. In this class, with just a few lessons you can go from knowing nothing to doing full animations. You're going to learn how to make a spaceship fly. It's not just any spaceship either, I'm giving you a spaceship inspired by Futurama's Planet Express Ship (located in the resources section). I know what your thinking. That'll take me forever to model. Don't worry about that now though, because the entire setup file is given to you so you can just focus on the animation. I'm going to create a class very soon that focusses on the modeling of the ship.

By the end of the class, you'll have created an animation you can show your mom, and she won't be lying when she says "That's amazing". We'll cover translation(moving in straight lines), rotation(spinning), and moving along a path. We'll also touch on particle animations among other things.

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. Introduction: woods up my digital artists. Have I got a class for you? Do you want to learn three D animation? Do you want to learn how to make amazing animations even though you don't know how to animate Yet? Do you like watching Futurama? Well, if that's you, I have got a class for you. We are going to create just some simple animations to get you started, including translation rotation and moving along a path. And it is absolutely simple and quick. And to make it even better, we're gonna use the ship from Futurama. So not only will you learn how to do animation, you'll be left with creating an interesting, amazing spaceship in a mission that you can even show your mom. And she will not have to lie when she says, That's amazing. So I cannot wait to see you inside 2. Lesson 1: Learning the 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 3. Lesson 2: Adding Objects: If you're gonna be doing any modeling, you're gonna have to add objects. So the easiest way to add an object is to hit shift A. Now I'm going to add a U this V here, and that's a sphere, and the reason you cannot see it is this because it's inside of this cubes, I'm gonna hit G that you already know how to do then X why? And that allows me to move that object. The other way to add an object is to go to add, and then I can pick mesh, for example. In this time I could pick a cylinder, and it's going to spawn right there that I g grab or why, and then moved to the side. Now the reason they keep warming inside of this cube is because that's where my three D cursor is. So if I put my three d cursor somewhere else and I say shift a and I pick Cube and that's where this cube will now appear, so that's how you add an object. The other way we interact with objects we mentioned this a little bit before is that we can select Vergis is which is over here lines like this and then also bases. And so if we hit a face and then we hit G for grab and then see, for example, we can move that face straight up in the Z, or I can go ahead and pick Vertex Select mode. I can selective Vertex, and then I Congrats, Z and also move it up or down. So that's how you slick bases or burgesses or lines and move objects in different ways. So now let's say that I wanted to select a loop of an object, so I'm gonna go ahead and get out of three D. Curse a modem back into the default mode, left click on the sphere. I'm gonna hit number, period to center it. At our view, I'm gonna hit Ault a to take all to un or de select everything. Now I say, I wanted to just select a kind of circular reason around here. In order to do that, I hit Ault and then I click right? Sometimes you have to quit more than once to get what you want, but but you can see here that I can select just this circle or loop selection So if I hit scale for s here, you can see that I'm scaling that entire region around. Now, if I wanted to change the entire thing, I want to make the entire thing bigger. I would still select everything and then it s for scale and that makes it bigger or smaller , depending on how I want to do that. Now let's say that I wanted to Onley skillet in one axes I would have s and then X. And now you can see that I'm Onley scaling it in the X and I can do that same trick that you learn before for holding it only to two particular axes Rep ahead s for scale and shift Z. Now it's gonna hold the Z the same the entire time. And I'm Onley scaling it in the X and why? The other thing you may want to do is to extrude different regions. So let's say that I wanted to extrude this little square out because I wanted it to look like, you know, I can't really even think of anything that would make me think of that. But let's say that I wanted to extrude this region there are a few ways you could do that. But the easiest win is to going to face a like mode. Select that face and you're gonna hit E for extrude. And that's just allows you to extrude that face directly out. So if I hit you for extrude, I can't do that. I can also go into the object so I can hit you for extrude here and I could hit de for extrude here and then I can be for extruding go into the object. I can also scale it so I can hit e for extrude and then I hit enter and then s for scale. I can make that face smaller and you can see that it's still on the face now. So if I had period Aiken center us on that and then I can grab and I can move it around. So that is how you extrude and how you scale. The next thing that really useful is Roop cut. So we talked about loop Select. But let's say you wanted to create a little. So the best way to do that is to do control, are And once you hit control are you can use middle mouse button to increase how many loops you're actually cutting into the into the objects. I'm using a cylinder here. If I wanted to create three loops, I would just do that. I'm just once again using that middle mouse button. Now. Once I left quick, I can slide them along the lines. Now let's say that I wanted them to be completely in the centre. Equally space. I would just hit escape. And now I have those Luke cuts. So if I go into Bir Tek Select, Modi hit all to to do the loop select. I can now select the different loops just like I did before, but then moves that I created. And I can also do the scale that we talked about before, and that gives me a different look. Now, hopefully, you're getting an idea of how you might create different shapes from being able to do extrusion, zins and scales, and moving different vergis ease around the next thing. That's probably one of the most important things for being able to make things look better . Is this set smooth? So sets move allows you to make an object that was really faceted and then make it smell. So it looks kind of strange when I put it on this, because this was a really sharp edge, Coptic. But I'm gonna go ahead and add a UV sphere. It's over here. And then I'm gonna g for grab ship Z cause I wanted to stay on the same plane and we're gonna move it where we can see it. Now I'm going to go to object. Shade smooth. So now if I look at this fear, you can see that it's very smooth. And now shades move. It's good. And if you're not used to doing Three Mile Island, you probably don't know this, but it doesn't cost us any computational power, so you can make it smooth without ever slowing down How long it's gonna take to render or how hard or how long it takes you to interact with this three report. You can imagine that if you had a world with lots of different burgesses, that this would eventually slow down, and it would be really toppy and hard to interact with. But when use shades smooth, that is not the case. Now, the last thing I want to show you and I'm just gonna scratch the surface of the modifiers. There are lots of different modifiers you can pick here. I'm just going to show you a couple. One of them is sub circus. Now I'm going to turn off the shades, move by going to shapes black so you can see it here. Now, this one on the right side that says view deals only with the view on the white on one of the right deals with the render and we'll talk a little bit more about rendered later. But if you increase this, you can see that it makes it seem like we have a lot more faces. Now, you can do this without actually changing the geometry. So you look close at it. It seems like we have many, many, many tiny little vergis ease. But in actuality, we only had some model. This this is one way to make things smoother, but it's not the most efficient all the time, because the computer does have to figure out what to do with all these Verdecia. So sometimes it is better to simply use shape smooth, then to use subsurface. I'm gonna go ahead and turn that off. The next thing that's really, really useful is the mirror modifier. Now the minimum a fire does exactly what it says it does, but you can't see it here because our object is centered. Not I go into edit mode, and I hit a grab Giefer Grab X, actually, why? And I move this to side and I make sure that it's shadowed or mirrored about the Y axis. You can see here that I now have two objects that are mirrored about its origin. So that's the important thing to know is that the objects are mirrored about their origin. Unless you decide to mirror it about something else, that's a more advanced option. But you can do that. You can mirror an object not with with respect to something other than its origin, but it could just doing the object alone. The origin is probably the easiest way to do it. 4. Lesson 3: Object Manipulation: 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 5. Lesson 4: Learning the Setup: when you first open a blender, This is the file you're going to see. And don't worry, don't be intimidated. I got you. What was important to me was that you be able to make an animation that's really interesting and really cool from the very beginning. So I gave you an object to do that wishes the ship. I gave you some backgrounds that are cool for you to do the animation within. But before we get into how to do the animation and what's causing all of these things to happen, let me just explain a little bit about the interface to just to make this easier. Now, initially, you're gonna be looking through the camera, and that's this square you see around here. Now, if you want to look around the scene, you can just use your middle mouse button and move the mouse around, and you can see the scene. These air your emitters in your particles, which I'll talk a little bit about later. If you want to look through the camera, you hit on your numb pad, Vero. And if you're using and if you're using a laptop that doesn't have a numb pad, you can go into the preferences and change that. But you hit number zero, and that takes you to the camera view. Now, if you want to move the camera around, you can do that with grab. But the easiest with moved into the camera around is to click this lock camera to view. And that's here on this right hand side panel. If you don't have a panel on yours, which you should because I'm the one who gave you the file, you should open it. You can open it up by just clicking the arrow scrolling down under the view section Tow lot camera tube you. Now, if you use your middle mouse button, it will change the view for you here. Now I have this set up so that you don't see these. These plates, these planes in the background. But it's not a big deal. Let me show you if I hit. If I show it in the camera and I hit F 12 which does the render or actually go to render and hit render image, you can see after it's finished rendering that the actual planes, they're not there. I have them set up so that no matter what you do, they won't be in the way when you're trying to create the render. Now, in order to start the animation, I know you're going to create an animation, but there are certain things that happen in the background just to make your life cooler. So there's a little bit of shake in this spaceship because spaceships have some vibration and their thrusters. So that part you don't have to do the files gonna come ready made with that. Now I'm gonna go into render view so you can see what this looks like. So right now I hit space bar to make it play. It goes through 600 frames and you can see there asteroids and there are stars. So that part of it you don't have to do what you're gonna do is animate this ship to fly around with Bennett. But that's how you integrate. And that's how you interact with this scene as a whole. So that was space part to play. And then you can move the camera around, however you like by clicking lot camera to view where it's where, when it's where you like it, you can simply just turn that off and it will stay there. So that's about all you need for interacting with the scene. 6. Lesson 5: What's in the Background: So when you first opened up under, obviously this is what you see, and I really wanted your animation to look amazing the first time you made it. So I gave it some cool background effects so that when you render it, you'll have something you can Brad toe all your friends about it, cause I know all your friends care about your taking this class. But I wanted you to have something that you could be really proud of. Sorrow Gate. I gave it some background, a little bit of flavour. So let's talk about what's happening in this scene just so you can make changes if you wanted. So if I hit play, I hit space Bar to make that play, I'm going to zoom in with the middle mouse button just to show you what's happening. So I added some shake to this ship some shape to the ship because I wanted it to have a little bit of realism there if you do any kind of close ups. Another thing I added were these thruster particles. So and then I added lights. The other thing is, you don't really have to change that at all. I've tried to make this really, really hard to mess up, So there are a lot of parts of the ship, but you can't really select them. You can only select the main part of the ship. There's a way to turn that off. I'm not going to tell you because I don't want you to worry about that at all. The other thing that we are gonna talk about that I want you to understand Space Bar. To stop it from playing really quickly are these emitters. So I'm gonna play it again. The emitters are these planes here and now I have two emitters. The first emitter is for the stars. So if I select it and I go to the particles tab, which is this little dot here that has dots spraying off of it, and I select that and you can see here it says number so I can control the number of stars because I have the star emitter selected right now. Is that 10,000? I can put that to 100 you can see that there are far fewer stars. But I'm gonna put that back up to 10,000 cause I think that looks better to me. The other thing is, the lifetime of the particles right now is set to 1000. We're only rendering up through 600 frames. And you can see that here because we have that the end in 600. And maybe you want to render even less than that when you actually do your rendering. And I show you how to do that. The other thing is, we're admitting the particles from the first frame all the way to the 600 to the 600 frames , or where admitting for the entire time, something that you might want to change is the speed of the particles. Right now, this is set at 10 meters per second and you can see that speed. If I up this to, ah, 100 meters per second, they would go much faster. So if I hit so let's just start that over and you can see right now that is throwing these particles much faster. That was too fast for me, Jack. So I'm gonna put these back down to 10 minutes for a second, just so that it has something that looks right to me. So if I hit zero. You can kind of see what this looks like. A to de select to get a look. A better look at what that looks like. And if I wanted even better Look, I can select this rendered view here using the e v real time render engine to give you an idea what this looks like. So that is the star emitter. Let's talk about the asteroid emitter. So that's this. Playing here on the back, The other way emitters work is that you tell the emitter what object or collection of objects You want it, Teoh, Admit. So in the case of the star, admit er there these little star particles that I already created for you that are being admitted. But in the case of the rock or us traded Mitter is doing the same thing. But I left invisible cause I wanted you to see So you can tell blender that you want the emitter to admit one object or you can tell it to You wanted to admit a collection of objects. So in the case of the asteroid emitter is a collection of objects, and I put that collection of objects here so that you can see them. You can also see them in the scene selection. Here I put them under particles on the particles is a collection called Rocks. And then you can see that I have these different asteroids here, which are also over here in the scene. Now, what's interesting about benders particle system is that if you give these individual particles rotation that have rotation when they get emitted, and that's what's making these asteroids rotate, it's because if I actually select one of these asteroids and I look at B graph editor, which is right here, and you'll learn more about that when we do your own ship animation, you can see that there's some curves. Here are some lines here that are dictating that these objects rotate, and I can tell that they're rotating because the only thing you can see here are Oiler rotation. So the only thing that's been key framed, which is how do animation is rotation? So that's why you're saying that's you've got two emitters here. Both these emitters work essentially the same way one is in Midan asteroids. Another is admitting stars, and then you got one that you don't really need to change. That's admitting these particles here, and that is why you have the best background in the world just to give you another look at what that looks like. 7. Lesson 6: Simple Motion: So the first thing we're gonna do is start with the easiest possible animation we could dio . So in order to do that, we're just going to do a simple animation that goes from the right side of the screen to the left side of the screen. So just so you know how we're starting, I'm gonna hit play, and you can see that the stars immediately start to flow from left to right. So when we do our animation, it would be good if our animation didn't start until they were already stars in the screening. So this begin with we're gonna start with our ship outside the camera frame. Now, you couldn't move your camera frame, but honestly, I've set this up. You really don't need to move it at this moment. I showed you to how earlier, if you want to. But I think it's fine the way it is. So in order to do an animation, we need to tell blender a few things we need to tell it. The key frames that we want it to set. So a key frame consists of a certain condition at a certain point in time. So we want to start on the first frame and in order to start in the first frame, I'm gonna make that one there. So I just highlight it. Hit one and I can tell it on the first frame because this line here, which is our graph editor, which is already open for you and the timeline are all set to one. Now, I'm gonna select this ship all you have to do this like the ship is left. Click on the body of this ship. I'm gonna hit G for grab. And then why? And I'm gonna move that outside the frame of the camera. The next thing I'm going to do is tell it that I wanted to start there, and in order to do that, we make sure it's selected. I'm gonna hit I for insert key frame and been going to click location. So these are where these key frames are created in the graph editor There, here on the timeline in Bunia 2.8. They're also visible now. I don't actually want it to start moving until the camera has stars across the entire frame . So I'm gonna move my timeline until I see when that happens, so that doesn't happen. I'm using middle mouse wheel to roll so I can zoom in and then pressing. The moss will down so I can pan this over. I can see that it's pretty much covered at frame to 80. So I'm gonna lock another key from here because this is where I wanted to start moving. So I'm gonna make sure that I'm on frame to 80 that I'm gonna hit I for insert key frame and then hit locations. So that means between frame zero and 2 80 it's just going to stay put. It's not going to move at all now. I wanted to move kind of slowly through the scene, So I'm going to then go all the way up to frame, Let's say 5 73 just to be weird. So at five frames 5 73 now that I set the time, I'm gonna hit G for grab. Why? So I only move it along the why, and I'm gonna put it on the other side of the frame. Now I can say I lock location. And now I've locked enough key friends to actually do some animation nap. I want you this. What I want you to do is look at the graph editor here. So if I make everything invisible, you can see that the why location does change a little bit, and that's because it doesn't really go back far as Faras Blender is concerned. But if I unblinking z location and explication, you can see that these stay still. And that makes sense because these are the axes that we didn't change. We only moved on. Why? Because when we have G we hit. Why? For grab. So the other thing is this ex Oiler rotation, which I want you to leave alone because it's the shake of the ship that I gave you ahead of time. So now if I hit the rewind button that goes back to the first frame and then I hit the right arrow or play, it's not gonna move at all until this frame about 2 80 that we said it at. And that's like we said before, because that's when the frame has stars across the entire thing. So we're almost there, and now the ship is going to start to move. It's gonna move slow, and it's going to ease out and then it's going to speed up and then he's back down to zero , which is not a big deal for us. But you can see that it is in fact moving across are seen just like we wanted it to. The only thing we want to do is check to make sure it's what we think. So in order to do that without having to animate the render the entire thing, we're just gonna pick some points in time when it's in frame. And then we're gonna at 12 just to get a look at what it looks like. So that frame looks good. Let's look again when it's toward the towards the end. I hit F 12 see what that looks like and that looks good as well. So we're all set to actually render this. So if you would like to do a render, let's go ahead and show you how to do that. So the first thing you're gonna want to do is go to this tab here, the I'll call it the Output Render tab. It's already set it to be 1920 by 10 80 at 100% so you're fine. If you like it to be faster and you don't need it to be this big. You can certainly change. These were animating one through 600. But really, we only really need to 80 to 80. To About what, 5 70? We said 5 75 so we can do 5 75 now. You could have done the entire thing. That would have been fine. It will, of course, take longer to do that. So if you're interested in trying to save as much time as possible like I always am, you can render just those friends cause over the one, only the ones that matter. I'm gonna change this back to 1 to 600. That way, when we do some work later that won't be affected. About the more important thing you need to do here is to tell it where to put it. That way you can find it, cause this little TMP file is kind of hard to find. So if you hit this here, it will allow you to select where on your computer you'd like to put it. I'm not gonna do that part because you can do that on your own, but The other important thing is the file formats. So P and G is not what we want right now because you want an MP four. So we're gonna check check F F MPEG video and then under encoding we're gonna change this to em, pick war and then and video Codex. Make sure that state that is at eight to that h 0.264 So that should make you all set to give you an MP. For that you can use on your social media and finally to actually do the render you click here and render image. When that starts to render, it'll render frame by frame. And when it's all done, you will have an amazing animation that you can show all your friends. 8. Lesson 7: Animation with the Graph Editor: So the last animation we did, we did more by interacting with our spaceship in the three d View port, which is this portion right here. But we didn't have to do that. We could have interact with we could have interacted with the ship's animation more in the graph editor. So let's do an example of that. We're gonna do a slightly different animation, so I'm just gonna zoom in using middle mouse, button them in a pan using shipped and middle mouse button. And I want this ship to rock back and forth so kind towards us in a way. So what I'm gonna do with select this ship, I'm gonna hit I and make sure you're on the first key frame. Oh, and just as an aside, I started over. So if you did the last lesson, just go ahead and reload a new file. What you did before is great, but you don't really need it to do this section. I'm gonna hit I for lock, and I'm gonna click rotation this time. And just like before it added some channels here. Now we already had X because that is what was causing the ship to shake. I'm gonna close the eye on X rotation cause we really don't need it And I'm gonna look just at why and z Oiler rotation. So if I select this, I hit G for grab and move it, you can see that this is the direction we care about. This is the kind of motion we want to create. Now, if you want to do the Z Oiler and if I hit grab, move that around. This is what you get. So this is not really what I think we should change. So I'm just going to go ahead and select it hit X for the leak cause it's really just in the way. Now let's create this like, swaying effect of the ship without after actually going to the three d report. So what I'm gonna do, I'm gonna make sure that this key frame is selected. I'm gonna hit shift D for duplicate, and now you can see that this frame here is what's gonna create that movement. So I only wanted to sway a little bit, so I'm just gonna drag it up right there. Right now. It's on the like, the 19 frame, but don't worry about that. We will make that precisely what we want In a minute. The next thing I'm gonna do is hit B for Bak Select. And then I'm hit Numb pad, period so that I can kind of see everything in a more normalized view. So this looks good to me. The next thing I'm gonna do is select this original key frame and it shift De and then X because I want it to stay on X and right When that looks about some metric, I'm going to go ahead and quick and put it down. So if I look at this, it rocks left to right just like we wanted it to. So right now this is set at some number. And if we wanted to know precisely what number it said that I can open up this side panel here while it selected. And then I can look at the key, which is what this is, and the value is set to 12.1. But let's just set it at 10 just to make it even so that starts at zero, and after I select that you can see it's pretty much zero. We could make it exactly zero we want. And then if I drag through, you can tell it go. So I also wanted to rock a little bit towards us. So the next thing we're gonna do is shift d X. We're gonna grab this until it looks like there's about the same distance. And the only thing we're gonna do is just change this, put a negative in front of it. So now if we scrub through this or if we hit, play Iraq's both sides and now all we wanted to do is come back to its original position, So I'm gonna go back to where it zero I'm gonna hit shift D and then X to make sure it stays on the X. And now, if I go back to beginning, I hit a I have this rocking, which is what I wanted to begin with. So we have the swinging and rocking that we talked about. But what's powerful about the grab editor? Is that what we wanted to just continuously do this? Well, I can hit a for select all. I can go to channel and under extrapolation. I can say make sick wit. This is gonna make it so throughout the entire scene. It's gonna continually do that. So now you can see that it's doing that. If I hit zero to get into our Tim Review and then I hit all a to D selected. That's why you don't see it here. If I clicked on it, you could see it. You can see it now. Doing this way. Sorry about that. Now you can see it doing that sway by click lock camera to view. This will allow us to move the camera. Oh, by just moving the scene. So if we wanted to do a more close up look like you see here, this is what you would get some not by hit all day so that you can just kind of look at the ship. Yep. And this is a cool effect. Once again, I showed you how to do the render before, but that was render render animation. And then you can go here to make sure everything Sorry. Here, make sure everything is set up. Um, changing this toe ffm Paige, you can get past this if you already did it. But if you skip to this part without doing the last part you want this to be in picked for And you want a Kodak to be h two? That 64 You want to pick by clicking this? Pick the location you want on your computer. You are all set to do an animation that is completely done with the graph editor. Now you are so smart, man. 9. Lesson 8: Movement Along a Path: Okay. The last animation we're gonna do is probably the most complicated looking, but is really not that complicated at all. Once again, we're gonna start from that original starter file. If you did what you did before, that was excellent. I think you can actually leave that if you want to. Just add this animation to it. But not the 1st 1 The 2nd 1 which was the swaying of the ship. But this will allow you to have if you wanted to do a ship that was loop the loop in. And if there was a dark fight between two different ships, this would be how you could potentially do that. And that's because we're animating along occurred. So motion along occur. So in order to start that we first I need to create that curb. So right now the three d cursor is here. So when we create something by hitting shift A, we want curb. And now we want path. Right. So this is a pap. If I hit number period, you can see that our path is a line and that's exactly what it is. But we're going to start with it going more in the line with the ship, so I'm gonna hit are for rotate Zita rotate along the Z and I'm a hit in 90 degrees actually been emit negative to put it around. So I enter that I'm gonna tab into edit mode to see what the line actually looks like. So right now you can see that the line is straight and I just want you to see how this works. So I'm gonna hit G for grab. Why? And I'm gonna pull this near the ship permit period, and you can see now that the line is on the ship, I'm going to select this last piece here that I'm going to say shift s and I'm gonna say cursor to select it. And that's just because I want to scale this relative to this point. So I'm going to say it now, which is this is the pivot point, which is how I set that up. I'm gonna set it to three d cursor on the select A hit A to select all the points I'm gonna say s her scale. And then why to skillet and why? And now you can see when I skillet that point where I have the three D cursor stays put stays in the same place. So now I have a path and I have an object I want to animate along the path. All I have to do is parent them together. So that's really the entire trick is just the parent than together. So if I select left, click the ship and then select left, click the path I say Control P and I say set parent and under the options, quick follow path. So now I have a path that the shift this ship will follow. So about hit play, you can see that it does move along that path, and when it gets to the end, it stops. Now. That was not very inspiring. There are some things we can control about this path, though. As you can see, you can see how it follows it, which is in a linear fashion, which is actually perfect for us. But the other thing is, we can go to the path tab and we can select how long it lasts. So right now we want our path to be in three D like it's already set up to be and under path animation. We have the frame, so right now the whole thing happens in 100 frames. So we have roughly 600 frames worth of animation. We can try to fill that entire thing, So let's go ahead and set this to 600. So right now it will take 600 frames to go from the beginning to the end. So if I hit play, you can see that it's moving pretty slow, which is not what we want. We want it to be doing all kinds of cool, dynamic beings, so we need to make our path more complicated. So I hit Tab to go into edit mode and then I'm also going to scale it along. Why? So now it's longer. So if I hit Tab and then play, it moves a little bit faster cause it's got why that's ago. But so you get the idea of how that works. Let's go back to the first friend now we want to give it some possess, so what I can do actually is move this the set of control points because the control points , let's go ahead and change this back to medium point. This will make our lives a little bit easier. So we can now control how this moves along this path. So it'll move along this path like I hit tab again and period, you can see that it's still moving really slow. But eventually it's gonna go up this path. The Swiss Go ahead, skip forward, and you can see what it does. So let's go ahead and just make this path more interesting. Now, I'm just gonna work from the first frame because everything is not in a way, I don't have to scrub around in different frames because I'm creating the PAP which exist in all Frank's. So all I'm doing now is hitting E for extrude and just doing interesting things with the pack. Now you can do whatever you want with yours. Um, feel free. I'm just moving this around. Okay, so that looks good enough for me for the moment, you could certainly make that longer. You could make it more complicated if you wanted to, but that's all I need to do. So there are few things we should talk about really quick. Eso I'm gonna click lock camera to view, and then I can zoom out by using this middle mouse button. Now don't worry about the emitters necessarily being in a way, but you want to make sure you're seeing has stars on it for the most part. So wherever you decide to put your camera, I'm make sure that the stars were there. So I hit F 12. You can see that there are stars in my scene. There's a lot of stars in my scene, maybe too much, and you can always reduce that number by ship doing what I showed you. But let's do something more interesting. Let's go back to the first frame. I'm going. Teoh Unclear. Quite camera to view, and I think it would be way more interesting if the camera went along with the ship. So let me show you how to do that really quick. So first let's find where the camera is. So it's here, and I'm gonna hit period toe lock on the camera and you can see that it's actually pretty far away. So the easiest thing I can do here is to say shipped s. And I'm going to say selection to cursor. That's gonna put it right where that three person was, which is right where the ship is right now. Now I need to put the camera in a place that makes sense. I'm getting G for grab our rotate Z to rotate it along the Z Then if I Period, it's not quite where I wanted somebody click lock camera to view now and we could dio a side view. We should do a view from here We should do we can actually do of you from almost inside. So right now we're inside the ship, but that's not quite probably where we want it. We should do it from above here. But why don't we do it from from here right now? Her right now. So in order to get it to follow, I'm gonna make sure that the camera is selected. I'm gonna unclipped lot camera to view, and I'm going to select the ship and would say control p, which is to parent it. I'm gonna say keep transforms. Then I'm a camera view hit play, and now you can see that we're actually following where the ship is where the ship is looking. So this is really cool. This is an interesting perspective that we can see from the ship. And then you can also animate this the same way By going Teoh I mean period to stop it. Uh, by hitting, render render animation in the same way making sure that this is said to be 1910 about 10. 80. That this is said to ffm Paige that the coating is set Teoh And before and that 264 10. That's all folks!: Well, my creative friends. That is all I have for you this time. Please give me a comment and review if you have time. And I would love, love, love to see what you've created. So please upload your project so I can see. And I can tell you that I think it's amazing. So I will see you on the next.