Rigging and animating a character in DUIK for After Effects | Jonathon Parker | Skillshare

Rigging and animating a character in DUIK for After Effects

Jonathon Parker, Passionate MoGraph and VFX Lectu

Rigging and animating a character in DUIK for After Effects

Jonathon Parker, Passionate MoGraph and VFX Lectu

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8 Lessons (1h 34m)
    • 1. Course promo

    • 2. Lesson 1A Creating a character for DUIK v2

    • 3. Lesson 2 Creating the ocean scene part 1

    • 4. Lesson 3 Creating the ocean scene Part 2

    • 5. Lesson 4 Rigging the character

    • 6. Lesson 5 Animating the character

    • 7. Lesson 6 Final Summary

    • 8. Bonus Lesson How to install DUIK v2

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About This Class

Create, Rig, and Animate your own character in After Effects with DUIK Bassel 2!

Character rigging and animation used to be a lengthy process, but DUIK Bassel 2 (a free plugin) makes the whole process a lot easiest!

This course will teach you the Fundamental steps in how to create a character that is ready to be rigged, and animated. Once you have learnt the fundamental skills in this course, you will be ready to animate any character with DUIK!


Course Outline

Lesson 1: In the first lesson we will look at the character that I will be providing for you. I will break down the character layer by layer showing you how you need to build characters so that they are ready to be animated with DUIK. This is a very important part of the process!

Lesson 2+3: We will spend lesson 2+3 building the scene for our surfer. We will use many techniques such as shape layers, expressions, displacements, particle generators, etc. This won't be DUIK focussed, I've left that for the next lessons!

Lesson 4: In the fourth installment we will be importing our character into after effects and setting up our rig. DUIK makes this process relatively painless, but there are some important factors in this process that I will be covering in this lesson.

Lesson 5: This is the exciting lesson, the one we've all been waiting for! Now that our rig is set up, it's time to start animating our character!

Lesson 6: In this lesson, I'll very quickly summarise some key takeaways from the course advising you what to bear in mind in future DUIK projects that you might embark on

Bonus Lesson!: In this quick Bonus lesson I will be showing you how to install DUIK Bassel 2 on your system. Perhaps do this lesson first if you don't have DUIK installed!

I hope you enjoy this course! Please upload your finished work to the Class project section!

Meet Your Teacher

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Jonathon Parker

Passionate MoGraph and VFX Lectu


My name is Jonathon Parker, a Motion Graphics and Visual Effects lecturer from the UK.


Firstly, a little background about me! I have always been the creative type and always strive to improve and push my creative skills further and further.


As stated above I am already teaching in the UK as a Motion Graphics and VFX lecturer – The difference with my courses will be the fact that they come from an educator, not someone doing this just in their spare time! All my courses focus on teaching and assessment. I will teach you a few skills and then set you an assignment to check that those skills have been learnt. I also see the importance of generating handouts and resources for the student, so I have included these in my courses also!

&nb... See full profile

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1. Course promo: Hi guys, welcome to this beginner's course on animating with doing. In this course, we're just going to be doing a simple animation of a guy service and waves. We're going to cover a range of techniques in this course. We're going to be looking at how we actually create a character to animate in directly because there's certain things that you need to know when creating the character, where they're going to be used in a range of techniques to actually create our C. We're going to use in lenses shaped players, loads different affects, a few expressions. Once we've done that, we're going to be going into Dweck and we're going to be, first of all, vegan, our character, and our value down that process for you. And it will also then be animated our character and put our character in the final scene. That's what you should have at the end of the course, is a really neat little animation of a guy, serpents and waves. Now what I want you guys to do is once you've finished the animation, I want you to upload it for me so I can see you. So I'm really excited to see what you guys have done And anything you'd do after with duet. I also want to see that as well. So let's not waste any more time. Let's jump straight on into the course. 2. Lesson 1A Creating a character for DUIK v2: Okay, so let's start off by looking at what we're actually going to be creating. So we've got this little surfer dude, right, and a wave totally modal or me, I'm joking, I've been serving three times and I was terrible. But basically we've got this little character animation. It's a character which I've made an illustrator. I'll be going through that with you. We've linked him up so that we can animate him and he's just got some simple animation NOW, walk cycle, although I do quickly explain where the walk cycles stuff is. But we've got this animated scene as well. So it's quite complex scene to animate all this kind of water stuff. But we've also got this guy just kind of just riding the waves and having a real chill time. So I'm gonna be showing you how to set up and vigor character, how to do some simple character animation. I'm not a full walk cycle in this course, but I learned how to also set up as background as well to make him looks if he's having the time of his life, were not doing any facial animation. You'll see he's got the same weird smile through act. But yeah, we will be doing some sort of character animation with Buick in this course. So we're gonna start off by actually looking at the character, how characters need to be constructed for Duke, because they can't all be your path B on one layer that will be mental. You wouldn't be able to do it like that. And so I'm going to explain that process. We're then gonna create this background in lesson two. And then we're going to make an, animate the character. And you will finish with this really nice final animation. Okay, so now let's take a look at the Illustrator file and how I built this character. So here's our Surf induced, as I've called him. Now if you were to build your own character, obviously, I didn't make this one available to you. If you were to want to make your own, I just want to break down how these need to be constructed. So my layers on the right by here, I've got my surfboard, which is just delay on his own. So I'm gonna turn that off for now as not necessarily necessary for character animation, stuff that you do. Like. Let's start with the feet so you can see I've got R, which is right toes and right foot, so spring damper here. So I've got this turn everything else off. I've got my thought which is broken down into the main part of the foot and the toes. And you can see that these overlap each other. Okay. If someone wants to go on tiptoes, Well, we need these different parts of the foot. I've then got my white car. So the lower part of the leg and then the right thigh and the reason B. And if you want to bend at the NEA, Well again, you need these two overlapping bones and sort of thinking about how all these joints are constructed. We've got the toes, we've got the ankle, we've got the knee, and next would come the hips, but let's just enable all the other side stuff. So we've got left toes. Left, which is actually on top of solar turn left toes on, you can see very slightly. But here comes in because these toes are actually in front, in front of his other foot by that. Ok. So left foot, thigh and CAF. So we've got the two legs built up after this, the next joint as we're working our way up the body, as the hips. So bending, bending forward, bending backwards, kind of flip side to side. And these are our hips. Okay. That's our hip joint. Now, the torso, we break down into a few different parts. I've called them I've called them hips, spine, one spine to a neck. Purely because that's the way you do it likes to work. It'll give you something called hips, and then it'll break your torso down into however many pieces of spine that you want really to seems to be good. So I'll go spine one and spine too. You can see if I turn spine one off these two pieces, basically, they overlap. So any Benz could have happened like that. And the hips, it just so happened that the hips is basically a circle like we saw. And I colored it blue and it just so happens that it looks like sort of the guys were in trunks because of the overlap in here. So Ben's rounds of school known as waste survived was actually a happy accident. It can be difficult kind of having all these overlay and things when you're trying to have a fully dressed character can make things difficult, but this is the way do it kinda needs it. You've then got the neck. So if I come up here, I've got my neck, which is quite a long neck, and it's overlapping. And again, these pieces, next we've got the TOR so broken that down. We've broken this down into all the joints. So tos, ankles, knees, hips, spine, and neck. Now, obviously, you know that we've also got the arms. So I've got upper arm, left and fall arm, left and left hand. Okay. So I've got shoulder, elbow, and wrist now I haven't got any joints in the hand just to keep it a little bit more simple. And actually as I'm here and move this in a better unlocked these, I can just see it's not overlapping as much as I wanted to sort of move all of these just in touch like that. Okay. I've also got right upper arm, so we've got the shoulder, forum and our hand. And the reason I've put them in this t position, like this, arms out to the sides. It is, well, it's a lot better when you've regained slot, easier to click. And if they were kinda have hovered over his body, They would be hard to see. So we just tend to put arms out to the side like that just for clarity when we're doing character stuff and character again. Next, I've got my face. Okay. The hair. Totally Model or mine? Nope, not really. Maybe a couple of years ago when I had more hair. But anyway, you've got the face, you've got the mouth, and you've got the hair. I have done the eyes on separate layers. Now this would be if you want to actually do some sort of facial rigging and animate the pupils of the eyes go from left to right. One go into do is I'm actually going to take the mouth, copy. It's unlock these. I'm going to copy the mouth. And I'm actually going to put them both on its own layer. We're not going to be animating the mouth, but it is always good to have them mouth on a separate layer. So I'm gonna delete these parts now. On one, delete these paths. And now we've got the face on its own with the hair. We've got the mouth, which I can turn on and off and is actually down here. Then I went to Don't want it down there. Who has a mouth on their chest. And then we've got the two eyes. So that's heartbreaking my characters down just into the simple joints. So when we read this character, we can maneuver the character into most positions that are normal human would be maneuvered into. So by all means, take a screenshot of this breakdown. Tos tos photograph, thigh, hip, spine 1-2, neck, upper arm, forearm, hand, and then your head okay. Could break them down further. But it's so important. Like when I say further, you can break down into individual fingers and stuff like that. But it's so important that you label Lyft and left because when you go into After Effects and you've got Caffe one and Caffe two for example. That's really difficult to work with to the point where actually I should rename these layers now, because I've got left toes copy for some reason. It's probably because I copied the right toes and just renamed it to left. Left. So you'll want to make sure that the most important thing to make this easier for you is make sure that all these naming conventions are accurate, okay, so that you know exactly water is water when it comes to link him because when we use directly, we're going to have so many layers that it just gets a little bit Mental. So I'm happy. I'm just going to rename this to mount. I'm now happy with the naming conventions are over here and that's the most important thing to make this simpler for you. And we got our surf board at the bottom. So that concludes this first video. Uh, please by all means, use my character for this. I'll supply to you. But if you want to build you own and the, this is what you're going to have to think about. Now, again, in terms of building my own. You can see if I just say well everything but just for one, I've used simple, simple shapes. Okay, so you don't have to be the world's best character designer. Spend more time on other islands like the hair for example. But look, honestly, I've made out of sync simple shapes here. You can even make this out of simple shapes if you wanted to inside of aftereffects or Photoshop, I've just chosen to use Adobe Illustrator. Anyway, that's going to conclude this lesson. In the next lesson, we're going to have a look at setting up our sort of waves seen inside of aftereffects. Then we're going to jump into the begin of the character and the animating of the character. And yeah, we should be done after those lessons. So I'll see you in the next lesson. 3. Lesson 2 Creating the ocean scene part 1: So let's start by setting up our scene. So first of all, you'll notice that in the project files, I provided you with a file called BG guide. And basically there's a background guide and we're going to just be referring to it in here. So two things you need to do is import your BG guide image. So I'll import my now, and that's just a little JPEG, PNG soy, and we'll use it as reference. And also, I want you guys to import your surf in dude file, so I just need to find mine. And so if in dude, straight, There we go. So I'm going to import that. And when you import this, let's just wait for this to load a second. It's going to ask that are here it is. It's going to ask you import kind, just go with composition rather than footage. And I'm going to go for layer size OK, click OK. Also when you import and selected, it'll ask you here, so it's better to do it here to be honest. So Coke composition and retain layer sizes. So I'm gonna delete that and it's better to do it that way. So when the import is click their composition retain layer sizes and click Import and there you go. Ok. So we've got a composition is given us composition which is 1920 by 1080, because that's how I set up the fired an illustrator, I made sure it was 1920 by 1086, was given a stack composition. I want to actually make a composition now and it's going to be HD. So 1920 by 1080 minus 200 frames, which at 25 frames per second equals eight seconds of yours is in seconds and just change, just put eight seconds in there. By the way, if you wanna change between frames and seconds, Control, click down here the time, and you'll see now it's in seconds. And if we come back to competition settings, this will be in seconds. I personally prefer working in frames. It's a lot easier. Okay, so this is this, this is this they go and we're gonna import now or drag down our BG guide. And basically we've got loads things going on here. We've got a sky, We've got a sun, we've got the water, we've got to animate in. We've got these little water trails. We got these water spurts. We've got the trails up here. We've got this wave loads going on to build their sites. This is going to be a not big lesson, but we've got a lot to do. So and use that as a guide and turn off. So first thing we know is we need to sky. So I'm gonna go right-click down here and the empty space, new solid. And I'm going to go just for a blue color like that, not going to be too concerned about the color and call this sky. Now, I made that new layer by clicking down here. You could also go layer, new solid, okay, or Control, or Command boiler mac. But each time I make new res attends to it down here by right-clicking. So I'm going to go to effects and presets, and I'm going to put on a gradient lamp or knows folder, which is called a band Pangaea equation ramp. There we go. And I'm going to drag it to my sky layer. And now we're going to select a bright white tisch kind of sky up here, or white blue. So a and a Darker blue for down here. And there we go, ask going to be my sky. And I've just realized honey to invert these covers. The lighter things should go the bottom. There we go. My horizon line there. Okay, so that's gonna be my sky. Less have a lifetime to and soft next I need you, I need a sum. So to make the sun makes sure no layers are selected. And go and get your ellipse tool if the sky layer was selected is just going to draw a mask and don't want that to make sure that none of these are selected. And then I'm just gonna hold shift and draw circle mice and simple. And I'm going to come into this ellipse. Now. I'm going to go no stroke which is what is currently at and fulfill. I'm going to come down and I actually want to put a gradient in this fell. So I can tell you I can do it up here, it's easier. So click the word fail and go to radial gradient, and click OK. You've now got this gradient fill. So let's click down in here, edit gradient. And let's get our colored in. So we want a dark orange in the middle. So as condemned here, a bit of a dark strong orange. Click OK. Now, adequate agent and a take this whiteout and our Black. We want this to be a light salt of a lighter orange but not that much like. Let's make this one darker. Again, something like vat. Now what you wanna do is you want to actually click gradient fill in here. And you've got this little tool, okay? You just want to click and drag mix your gradient fill is text. Just want to click and drag to alter this. And they go, we have our sun. And again, let's have a look now at my guide. Yes, I got them, the colors, one wave and again, it's cold on the inside. So let's go back down into, and I knew it didn't look quite back down into edit gradient. I'm just gonna swap these colors around. I was totally tested you when I was doing that. Well, the way that we go, click OK. And we've now got our son service right-click and rename this to some, let's position that over there and we're making good progress. So got the son got the sky. Again. You can spend more time on the colors of yours, but I'm just gonna do mine as quick as I can for you guys. So next what we wanna do, we wanna do this water by here, and we want to have it in Brooklyn. So clue was in the title then. The whole well, I want to do is I'm just gonna get my rectangle tool. And I'm going to change the fill to a constant color. And that color can be just sort of strong, loyal blue, but I and no stroke. What I'm gonna do now is I'm going to draw out one water layer and I'm going to move it down. I'm going to come up with my faculty and presets on, I'm gonna type in Rypple and on this image by honest labor here. And you can see as I increase the radius, we've got these ripples. So you basically want to play around with these. So the width, wave width, I'm gonna hold the side wave hive Tango increase. And with the centre of the ripple, you just want to offset your center to its overhear rather than in the center. So you can see basically this is what it does it a bit like. It'll go from the middle. So if we play for example, you can see that what's happening. Okay, now, I wanted mine by there, so we've got our ripples go in like that. It's a little bit too fast, but we know will, will, will target that. So we change wave speed u2. Let's play it through now. Something like that. Yeah, wave width, I want these a lot wider, something like that. And yeah, wave with hundreds, that's actually quite fine. And I think Height, I'm gonna go for faulty. I was quite subtle, quite slow. Something like that is going to work for me. Okay. I'm gonna leave it like that for now. I know we've gotten these issues at the side. In fact, if the surface come in this way, you wanted to water go into wards him, don't you? Didn't even think about that. So I'm going to put mine my center this side, okay, somewhere like that. Don't worry about these for now. We'll combine them later. So I'm gonna do is refer back to the guide and we've got another three layers to do. Okay, so we're just going to duplicate now this shape layer. But first let's name it to water one. Yeah, that's now go Control D. And during this, just push it up and we're gonna change the color to just a bit of a Hailar. Lou. And let's put water to behind. So you'll now see that we've got this. What I'm gonna do is begin these ripples are go in together and it doesn't look good. So I'm gonna change the speed to 1.5. So it goes a little bit slower because it's in the background, only a touch slower. But you can see as randomness and this randomness at the beginning. So if we just take the Whipple phase and just like all turret ever so slightly, there we go. We've now got this randomness, one moving slower than the other. So lets get water to, and you've guessed it, Control or Command D to duplicate it. Bring it up a little bit. And we're going to get this color. And we're gonna go even paler, blue. Sum, then lie that OK, click OK. And again, we're going to just bring this down to about wave speed of one, offset it slightly like vat. And now we've got these three pieces of Walter, the one closest to the camera moves faster because that's how it would kind of look in real life. You know, if you're going down the MOOC two way or the highway, the street lamps, which are really close to move really fast when the hills and the buildings and distance me will not slower. That's called parallax. Okay, so that's what we've got going on there. Now, the next thing we wanna do is if we put this water, if we put this guide at the top and turn off, and we can see where we are more easily. So, yeah, next thing we wanna do is we want to make this little curve by here is so curve by the way. So let's do that. To do that, or I'm gonna do is get my pen tool, make sure no laser selected. And I'm literally just going to draw something along the lines of US, give US ago something along the lines of this. Okay, really, really simple. So just some shape like And that really simple. Now what I wanna do is I wanna make this the same color. So open a color and I want to make it the same color as this over here. And it almost then hides this nasty line. But you can always bring this lines sort of like that or whatever, but just leave it like that should be fine. And we can always alter the curve. May bring us out to mimic the curve a little bit longer or whatever. Something like that would be fine. I'm happy with that. What I also want to do is if we turn our guide back on, we've got these sort of little lighter sort of spikes. But here I'm calling spikes at and, and what they would be called in real life. But what I'm gonna do now is above the Shape Layer, no Layer selected. I'm gonna get my pen tool and then come down and draw something like this. Okay, it's a little bit to spikier moments and two rounded soil. So what I'm gonna do is alt click or option click and move this point, okay? And alt click. There we go. I'm gonna come in with another one. And alt click and move this handled point back this way and come around like that. And another May 1 be and go like that. Alter clipped move is handled back. Otherwise it'll curve again. We don't want my curve. So just pointed back misdirection and will go something like that. Okay? And now what we could actually do is pick up this shape and move it a little bit more in. And I'm going to get my fill. And I'm gonna pick this lighter blue by here and click. Okay, so basically we've just got these kinda like a weird kind of like water jets or whatever you want to call them. So let's rename these Shape layer we're going to call this water curve. Spell that one. Water curve and water. Okay, I'm going to decompose this control shift see within both selected and call it water curve. And I'm not going to decompose these for now. Okay? Now, the next thing we wanna do is we want to add some, let's turn this back on as we, I want to add these little water trails now if you remember, these were animated. So we want to actually animate them. I'm just going to show you a vendor. I've actually got a version here where it's a Santa acts. It was recently Christmas, even the yeah, we've got these kind of water trails coming in like this. Ok. So that's what we wanna do. So let's go ahead and do that. So we've got our guide there. In order to do this, what we're gonna do is get our pen tool. But first, I think these water things, but here are a little bit too small, so I'm gonna just move these around a little bit. I'm gonna take water to up and I'm gonna bring water free. And I'm gonna make that again from the app a little bit. And with water one, I may just scale it up slightly and bring it up. And again, water Two and Three. Let's just move these aperture so I've got more stuff to work with. And again, really we could possibly scalar. The water curve, Something like that. Yeah. Okay. Anyway, we've got that wave that we can always come back and we can change the shape of it in here. So if we want to, for example, good contents shape path, we can actually modify this path if we wanted to, something like that. But again, you've got that option. So what I want to do, like I said, is start making these trails. So I'm gonna get my pen tool, I'm gonna draw, make sure nothing selected. I'm going to draw a line across here. And I'm going to have it bend up like that. Okay? No fill. And I'm going to have a stroke of maybe this color by here or maybe even brighter, something like that. And I'm going to click OK. I'm gonna increase my stroke true, and we're eight or less go ten. Okay, something like that. Now next what I'm gonna do is I'm going to put a series of effects on necessary and come to my faculty and presets. And first of all, I'm go into table. First of all, I'm gonna come into here, into the content stand here, I'm, I'm gonna add a wiggled paths. Okay, so if we go through now, this wiggled path is basically animate in a wiggle on here. And I'm gonna go down into this and I'm gonna change size to about maybe 30, detail to maybe up a bit and also smooth this out. Maybe a bit too much to something. Just slightly, maybe like lat for 30 and its size or go 20 eggs as well. 20 and the size 14 in the detail. And I've turned into smooth wiggles per second. I think I think I'm fine with yeah, I'm fine with two wiggles per second. Now next what I wanna do is I want to put a soften edges effect on, on this Shape Layer. Okay? And you'll see we're getting a lot more of a watery kind of affect. So let's play around with some of these settings. I'm going to take my border up to around about 15. Edge sharpness. I'm gonna increase this a little bit. So we've got this sort of sharpness by here. So that sharpness is gonna go up to 415. And to be honest, something like that is going to be fine. Okay. So that's what we've got. Now next what we wanna do is we wanna animate the offset and then we'll have these trails go in. So right at the beginning, I'm going to set my offset to 00. And I'm gonna click the stopwatch. And I'm going to come forward to 200 frames. And it's the x value we want to animate. And I'm gonna go minus, I'm going to say minus 20 thousand. And let's click that and see how that looks. So yeah, we've got this water trail now animated and that looks quite good. I wonder whether this keyframe, but here can we go minus 25 thousand? I've got a feeling. It's only going to highlight, it does go to minus 25 thousand. Asked too fast anyway. Until I accidentally put minus 250 thousand. That means do at minus 25 thousand. There we go. Right? Yeah, that mass, that pastor, I like that. Okay. So. What we're gonna do is rename this to water cold water trail one. There we go. I'm going to duplicate this. And I'm going to go into the position and I'm just gonna move it when I'm just gonna move it up a little bit. Okay, so that was that duplicate. And P for position and move it up a bit. Duplicate P for position, and move it up a bit. And maybe one more, duplicate, prefer position and move it up a bit. Now what you can do is you can come into each of these for more randomness committed the contents, head shape one path. You can almost modify this path a little bit just to make it a little bit more random, something like that or something maybe like that. Just angle it a bit more if you want. And yeah, that'll be one thing you can do to randomize it. You can also this offset that all going at the same pace, at the same speed. So you can come back and you can change the Offset, let's say our original one or 0 to 25 thousand, maybe some of these can be 0, 20 thousand, so they go a little bit slower acid and that's one thing you can do. I'm also go into do something else. So first of all, and then select all and water trails. And I'm gonna go control shift c and that's going to decompose them so water trails. Okay, I'm now going to get this little rectangle tool with the layer selected and I'm gonna mask out certain areas. So let's say, for example, this come down into the mask and click subtract, let's say by here. And then come to the mask and hit subtract. I'm going to come by here. I'm going to come to the mosque and I'm going to click subtract. So basically locks are not saying that they're like covenants are anything, but it basically looks like there's an absence of a n certain areas now that's a bit of a harsh edge. So what we can do with these masks is hit em on the keyboard or m twice, come to the feather and helped 20. And maybe we can go even more, maybe say 40. Okay, and they're sort of faded, but may be fed it a bit too much actually. So that's bringing the feathers down to 20 again. And yes, kind of work in. Okay, cool. So we've got them and you can add more diamond. And it just adds a little bit more randomness, but again, you don't have to do with them. So let's kind of see now where we're at. So looking at my original, We were mostly there to be honest. The only thing we've got to add now as this wave and the sort of little water spurts, or I am gonna do is I'm going to break this down into two parts, just looking at the time of already spent on this. In the next video, I'm gonna do the wave with you. Animate the wave, create an animate the wave, and then animate these little sort of water, water spurts. Okay, so I'm going to do that in the next lesson. So well done for following along so far. And I'll see you in the next lesson where we'll finish off this scene. 4. Lesson 3 Creating the ocean scene Part 2: Okay, and we're back to it. So what I wanted to do is cover making the wave with you. We're gonna do one little adjustment to the curve, but here we're going to make the wave and have those little, the animated sort of am, splashes that you kind of see by here. Okay, so we're going to finish it off in this lesson. Now, our water curve, there is something that I want to add to this because very still at the moment considering there's alone of rushing water over it. So what I'm gonna do is I'm going to come over to the effects and presets and go to turbulent displace. I'm going to drag that to my water curve. And you can see now it's, it's, it's all distorted. So what I wanna do is I want to basically I wanna set my amount to around about 25. Let's, Let's solo this. So I'll certainly was on 50 and, and set it to have 25. And size is still a little bit too big. So I think I'm gonna try setting the size of this 30. And yeah, basically turn off, that's the displacement is done is quite small. And what I wanna do is I want to actually animate this. Ok. So the evolution I can animate by here, if I click and drag, you should, let me turn it on, that would help with it. You can see that it just basically does that. However, I don't use keyframes. I went to 2k. I want to animate it by time. Okay, so what I'm gonna do is alter click or option click the evolution. And you can now type time times by which is the style above the 800 thousand. And I think I used last time. So now let's have a play of that. Turn turbulent displace on. And this is what we've got. So now if we un-solo it, this movement can have plays a lot more now with these Walter trails that we've got. Okay, so that's just something that I wanted to cover with you. And I'm also going to now do the wave. So in order to create the wave, we can use this BG guide as well, a guide basically. So what I'm gonna do is I'm gonna get a pen and get my pen tool. Make sure none of these are selected. And I'm going to come in and basically, I'm not going to worry about how accurate mine is, but I'm gonna do a rough, very rough little work around and that will not work. But I've reflected wave now for you. So I'm not going to worry about the edges because I need to come in. For this one. I need to come and do the edges properly. I'm just getting the base coloring. And so if I go click, I'm going to choose a color for my fail. So let's just go something like that, I think. Yes, something along the lines of that. And I'm gonna go for stroke and I'll set it to None and click OK. So this is my first shape. I'll turn it on and off. Now that's shaped one, so I'll just rename it to wave shape one. I'm now going to make sure nothing selected and I can get my pen tool. And now this one's going to take a little bit longer. I'm now going to come around and do this almost like this sort of whitewash part of the wave at, under what's called the foam ha, the wave maybe. And this is gonna take a wild me to trace. I'm not going to do mine as accurately as you know I should because I'm trying to rush through it, but I will time-lapse now myself doing this for you. Okay, so now that I've drawn that in, I can just turn the Shape Layer back Ong's or turned them off halfway through accepted and actually see because they had to fill in, I can actually see where it's going. And we can now select our color and go for sort of almost like a really, really like blue and turn our waveshape one back on. And this is what we got so far. So let's rename this to waive foam. And I'm now going to turn these off and we've got one more shapes do and it's this inside shape by here. So make sure nothing is selected. Get the pen tool and combined and start drawing this last shape in. Again, I'm gonna time-lapse myself doing this to make it quicker for you. Okay, so I've done that shape, I'm now going to change the fill and make it just a sort of almost like a midway between the two. And click OK. Put my previous two layers back on and mine is really, really rough. It's nowhere near as good as the first one, but I'm just doing it in rough just to kind of speed things up for you guys. So that was the before and this is the after narrow spit more rough. But anyway, I'm going to rename this to wave shape too. And we now have our wave. So let's shift, could call them control shift c and call it wave. There we go. I'm now going to apply a turbulent displaced to it. And I'm going to set the amount. I want this to be a little bit more vicious than the previous one. So I'm gonna go maybe amount to thirsty and maybe the size to 70. Let's see kind of how that works. While we actually need to unwieldy evolution. Okay, dash should be fine. Let's alt click the evolution and go time, times 100. And now let's have a look. Okay, that's us looking better, more vicious than normal for I think let's play them together. Cool, OK, I'm happy with that. There we go, right? So what we need to do now is if we have a look at our guide per the tough, we've got these lines again. So it's the same thing as before. I'll do it once in an all-time law. Well, I just need to duplicate actually. So I'm gonna get a pen tool, make sure nothing selected, click and basically draw occur. I'm gonna do it in 2. Actually. Draw curve, something like that, and change the fill to none. Change the stroke to a sort of LightBlue like Bat and click OK. stroke of ten. Chuck a wiggled paths on it. And I'm going to bring that up too. Moving to size up and make this smooth, something like that. Actually the size is too big, so 15 and the detail up to 12. And yeah, that's, that's what I want. And now we're going to put a rock. In fact, I'm not going to put a rough edges on that. I'll be able to copy the rough edges from one of these. So I'm going to copy the rotten edges. Control C and come to comp one, this shape layer control V. And what I should have now is this little animation going. So as I can afford, I've gotten this, However, what I have noticed is it's animating the long way. So let's come to our effect and presets Buffon edges and I'm going to swap. It should be fine if I just swap these keyframes ranked cuz I copied them and they will go in one way. So now they should yeah, is there going to go forward? So I've just copied the rough edges in the previous one and switch the keyframes round. And we've got bat, I'm not happy with the color. So I'm going to make the color if we come to the stroke and, and make that a lot brighter or something like that. And we do have this issue as coming off on the edge, but don't worry about that yet. I'm gonna show you how to fix that. So basically I'm going to duplicate this Now. Control D, move it, move it. Now you will probably in this would have to change the path. So I'm only going to do one a few times, so shape half, and basically let's click these now. Sum, then, like that. Let's now control D. Move it up and coming down into the path and modify that path. I'm only gonna do one more time now. So Control D, move it up. And Georgetown contents shape, HA, and click like that. And yeah, cool. What I wanna do now is I want to decompose these. So control shift C and I'm gonna call them trails or whatever. Okay. And there we go. Now what you will notice is they overlap and I don't want them especially coming onto the sky. But I also don't want them to come in into this sort of white foam or the white foam spine actually. So what I'm gonna do to stop them coming over the side is I'm actually going to take the wave, duplicate it, put it above my wave trails. And now on the wave trails are going to come to the track Matt. And if you can't see the track matches click toggle switch is I'm gonna say alpha matte wave. So what it's gonna do is it's only going to show up within where the wavelength is. Ok. So that's what we've got going on there. So if we kind of play this back. What we've got so far. Now the next thing I'm going to show you to do is I wanna show you how to make some sort of little water, spirit water sort of spray come off here and some spray come off where the surfboard is go into be like it would in real life. So let's start ad in that water spray. Now what I'm gonna do is I'm gonna make a new solid and I'm going to just go for a sort of light Tish blue like that. And click OK. And this is at the top. I'm now going to apply a Mr. mercury effect that don't ask me why they've called it Mr. mercury and put that in a solid. And basically what we what you can see this has done is produced a little globins and, you know, if it was gray would look like Mercury or liquid metal. But what we wanna do first of all is this animation is come towards the camera and it's animation types explosive. We wanna make this directional so we can actually point it in the direction we want. So let's start by putting the producer, by clicking that target, putting the producer kind of just by here. And you know, at the end of this, more or less, at the end of this wave. Now, for our direction, we wanna pull around and have it something like I would say yeah, a 175, something like that. So it's kind of a 165 is kind of just coming out that way. Okay. Something like that. So I'm gonna take us down to 065 by their Mao in terms of the birth rate? No, let's look at, first of all, let's look at come down into the Earth size. They're quite large. So I'm going to take us down to like 0.1 for birth size and still very large. So naught point, naught one and use getting smaller, but the death size has something to do with this as well. So I'm gonna take this down to the north point naught one. And you can see now that there are very, very small. So if we solo these and make the background black, you can see, yeah, they're very small. Now. Actually they get larger. They're starting off as small as I want them. And they should get smaller as they get away from the camera, right? Or as they get away from the Wave. So I'm gonna turn this to naught point, naught 1, naught one more 0.1. Okay? So, yeah, that's what we've got. Now in terms of the velocity. Let's see. I've got a fast he's ago and I'll expect him to be a bit faster. So let's turn the velocity up to 1.5. And it's just gonna be a little bit more explosive and yeah. Okay. I'll leave it there for now. Now your birth rate. I think I want a lot more the service go five, maybe more scope, six, something like that. So this is what we've got. And I like a few of them are coming out over here as well. So that's to do with a velocity. So, yeah, that's kind of what we want basically. And I'm going to leave it there for now. Basically, the problem we've got is this for start. It's on top of the wave, which we, I don't mind that so much, but, you know, there's an OH, coming all the way down here that basically it falls off screen. I don't like it coming out here. I'd have almost expect by the time here kind of goes into such a thin drizzle, you won't see it. So what I'm gonna do is I'm gonna take this wave Control D and duplicate it again, bringing it up here. And basically, I want to now extend this wave. And use either math because if I use it for Matt now, alpha matte wave, it's only going to appear in here with a wave is, So I went to my click stand the matter, this wave. So what I'm gonna do is collapses tour and displace it still. I'm going to put some sort of a thing. I'm going to go for Matt, choke matter, choker. And I'm gonna put that on there. Let's turn this wave back on and have a look at what it's doing. So in order to see what it's doing, I want to first of all solo this and I'm going to turn this black background off. And let's have a look at our alpha channel. So right now it's not really doing anything. Now we want to actually take this geometric softness, first of all, up to us, increase this up to a 100, up to maybe a 100. And show OK, I want to keep it at 75. And let's have a look at the alpha channel she was kind of going on. You can see now there's some interesting stuff going on where basically softening that IVD. Okay, so yeah, I think I'll go a 100 for that. And let's have a look at some of the other stuff. So gray level softness, let's increase this and we're basically now pushing this out. Now with choked to, I'm going to bring this one down quite a bit. Just chuck it out there a little bit. And I think grey level softness will come to 40 in this one. And basically if we turn this on and off, you can see that we're basically extending this out. So all I'm gonna do with Matt choker is I'm gonna duplicate it a bunch of times. So 3456, something like that. Let's come back to RGB. This is basically what we've done to the shape. We can have basically extended et, okay? And it will have a little bit of an animation because we've got that table and displace. So now if we now use this as our alpha, so alpha matte wave and just turn that off. Now, this spray only happens where wave is kind of buy that. It's a spray only happens within there because we don't want it falling off screen. We wanna kinda dissipated really. So that is our, let's rename that. So that's our wave spray. And what we wanna do now is add some spray down here for whether surfboard or b. And we can always move the destination and the producer for it later. So let's go right-click new solid and we'll call this old spray. And click OK. Now we want to get back to missed mercury by here and drop this in. So it's gonna be a very similar thing today. Today it's going to be a very similar thing where there's just a few different, few different parameters. So changed the AMA animation to direction again. Now in terms of the direction we want it coming off backwards. So I'll mangle the surf boards going this way so the spray should be going behind. So 270 will be the angle for battle goes this way. Ok, now in terms of the burst size and death size, before there's no point naught one and no point naught, naught one. I wanted to start off a bit bigger. So naught point, naught three, and then death size or think north to 0.1. And I think those are the settings I used. Now let's move the producer just down to where the board would be. And you can already see these ones are a little bit more chunky than these ones. So yes, as kind of as kinda nice. Now in terms of the velocity, again, 1.5 was working for the speed last time. However, when I play these back, going up a little bit too much or kind of I've I'd like them to go up a little bit, but they're not coming down as fast, strong, and increase the gravity to 1.5. And then basically they'll give them more drugs. They will come up, we'll come down a lot quicker. And they will be getting some energy board to go up, but just coming down a bit quicker as what I want. So I also want to start thinking about the birth rate. So how many we're gonna be getting? Six is what I did last time and I think, yeah, this should be quite a lot there. Maybe we could go down as far as five for that. But yeah, that's kind of less now going to be working for what I want. Again, we can come and move the producer later, so maybe further down or something like that per week. Once we've got the surf in, dude, and we can kind of alter that later. You can come into the shading and you can kinda start taken down maybe the ambiance. I'm just not too much. You can take down the diffuse a bet and basically taking down the diffused seems to help. And the specular, you can start playing around with these and that now fits a little bit better. It was almost too shiny before too polite. Okay, so you can play around in the shade and to get the kinda look that you want. Now, old spray, we don't need a Mac for that. So if we play this now, we basically got our scene set up and ready to go and you can move the sun around, you can make it smaller. Maybe the turbulent displace on this wave is a bit much. And so you can maybe think right, the amount or size down to 50, for example, maybe the displacement down to 25. And let's see how that plays. Yes, a little bit better. Bear in mind this wave is being copied, okay, so we want to come to this one. So it was 2550, we took it down. So you want to come to these ones respectively and turn these dam as well because we're using them as alpha mats. So 2550. Ok, so now that should be working perfectly. So this is our, this is our scene. The other wave looks a lot more kind of like not relaxed, but a lot less mental. The next thing we're going to be doing is we are going to be important in our Illustrator file. We're then going to be rigging the source surfing dude with Dweck. And then we're going to finish off by animating our lake and actually have him in the scene CRF. And so we're gonna focus from now on only on Dweck Now that we've built that seem. So. Yeah, I'll see you guys in the next lesson where we'll start putting everything together. 5. Lesson 4 Rigging the character: Okay, so let's start actually regain our character we've created this background, is looking good, is ready for a server now. Now I've already earlier in the first lesson I, or second lesson, I imported my surf in dude, if you haven't, just remember File, Import File and click surf in dude, import as a composition retain layer sizes and click import. Ok. Then what'll happen is, is giving me a composition called surf and dude. It's 1920 by 1080, which is the same composition sizes. This which works quite nicely for us. And it's because a set my Illustrator file up with 1920 pixels by 10,080. Anyway, let's double-click surf in dude. Here we have him. Now for the most part, I'm going to turn off the surfboard because we don't actually, we really don't need to be concerned with that right now. What we wanna do is start vegan him. So if I go to window and do it basil to make sure that you've obviously installs direct basil. I may put up bonus lesson at the end actually on how to install that. So that's another thing I'll add to my list. So I'll do a little how-to on that. Anyway. Once you have installed this, this'll be the interface that you have. Hopefully, just make sure window and Duke basil two, you've got other stuff that you could install here, but just make sure to battled to is opened. And there we go. What I'm gonna do is I'm going to close out again. I'm just together. There we go. Direct basil two. So this is what it looked like. You got a lot of options. First of all, we want to rig the character, which basically means parent all of these layers together so that we can basically animate him. So if I click, Reagan, got loads of options in here. You've got this hominoid. So that's basically a humanoid character. You click that, you get a full skeleton. But I don't wanna do it that way. It's better to do it on by arm, limb by limb and stuff like that is just more accurate. So a little trick is, normally, I'm working on two screens. I would actually have my composition on my second screen, just drag it across, but I can't because I can't record both screens. There may be a way. But anyway, I'm gonna get all of these. First of all, I'm gonna get my pupils mow my eyes, my mouth on my face. I'm gonna select all of these, just turn them off Yaris the head. I'm going to hit control shift and c. And I'm going to just call this head just to make it easier. A lot easier. Actually, if I did want to animate the eyes, I could just double-click in man, and I've got everything in there, but for now, I'm going to put the head as one. I'm now going to get all of these hits T for opacity and turn that to 40%. Okay, the reason I'm doing that is I need to place little structures in the, I need to see where the joints are, these structures, and it's easier to do that when we turn it down so I can see where all of these overlap each other. Now, first of all, I'm going to come to arm at structure for an arm, let's click here the options and opt. We've got plan to grade, which is a huge way human joints work. It's basically the way that kind of, lets say if it was a leg the way the foot. Of a connects to the ground. It will be different from how, how a digital grade words, which is a dog, cat, dinosaur, stuff like that, and an ungulate is stuff like cattle, things with almost like hooves. But anyway, we're only concerned about the plant degrade here. And you can see it gives us options for shoulder, for hands and claws. Okay, so let's break this down. We've got 123 little links here. So I'm gonna go for arm, forearm on hand, okay? Because we got arm then R four, then our hand. And you can argue this has a shoulder, but actually we only need these three. So let's click Create. And do you recall do its little thing. And you'll notice we've got this little drink. So you can see arm, forearm, hand and arm tip. Okay, so what I'm gonna do is I'm going to drag this arm. I'm gonna zoom in and distill anchor point this circle. I want this to be lifetime where that, where we would want it to kind of like Bend from. Okay, next, I'm gonna get this one and you'll see that link to look. So I'm going to put in this little link on where I'd want my elbow okay. Roundabout by there. And this is why a minimize I've bought time your pasty. What I am going to do before I plant this next bit is this hand and right hand. I'm just going to move this up to little x is a little bit too far in. Okay, now what I'm gonna do is just select this, hook, this next 1a and there for whether restore hand would be. And I've also got arm tip. Basically, Dweck wants to know where the tip of your hand is. So if I just move this like so, there we go. Okay. Right. I've set that up. What I wanted to do now is I want to shift select these. And if you come to hear tools and come to rename, It's really important that you just rename the sweetness, right? Is this the left half, the left arm or the right? And this is why we named these earlier. So in the rename bet where it says suffix, I'm just going to put underscore r for light. And now with them selected, I'm just going to click rename. And you'll see that they've each got underscore r at the end. Okay, awesome. So what I also want to do is right hand. I want to link my right hand to handwrite or handwrite righthand, righthand. So I'm gonna link righthand, righthand. Unlink my forearm to fall arm, upper arm to well arm. And there you go. We've got these linked. So for example, if I were to move the, this arm by here or a hand, they all the actual layers move with them and I'm actually unlinked and do that, but that's what we wanna do. So moving forward now, I am going to come back to my ligand. I'm going to make a nother arm. I don't need to go into the options because I know just gives me the three I want. So I'm gonna make another arm and click and drag, move that to the shoulder. Click and drag this part and move it to the Albo. Click and drag this part, move it to the hand or the wrist part of the hand. And I'm going to get this tip. Selected, so selected here. And I'm going to click and drag this to the tip of the hand, just so Dereck knows where the end is. And again, I'm going to shift select these, go to Rename. And I've changed a suffix to underscore L for left. And I'm going to click rename and it'll l at the end of them. Now, my left hand needs to be linked to the left hand, the left forearm to left forearm, and the left upper arm. I shouldn't just named arm because it is just arm in here. But you can see now why I've named these. It makes it a hell of a lot easier. So we've done the arms, okay. Next thing I'm gonna do is probably the legs because that makes more sense, very similar to the arms. So I'm gonna click in the leg options and let's have a look. We've got toes. Yes. We've got a fought Yes. We've got caf? Yes. We've got a thigh. Yes. So we wanted to for them for this one. And again, this ditch degrade would be for dogs, cats, dinosaurs, possibly bears or would they be I think they know bears would be like humans. Basically, yeah, don't worry, I'm going on now, let's just click Create. And gam, we got a very similar thing. So let's zoom in and sort this out. So let's go for this like first of all, and let's click this next bit, align it to the knee. Let's click this and next bit, align it to the dust that was still selecting that one, alignments to the NY, click the green one. Like so a lightness to your ankle. Now what you'll notice actually is we've got phi, which we lined up. First of all, we've got Caffe, which we've lined up. We've got foot which we've just started a link. We've got to's tip toes and he'll, Okay, so let's select the to's. First of all. So bring this anchor point members, this circle which is the part which it rotates around. So I'm gonna put that in there. Tip toe is this one. So I'm going to put this now to the tip of the toes. And you've also got heal for a walk cycle if you want the character walk-in, Do it needs to know whether heal is because if you think about it, your heel touches the ground first when you walk? I think it does. I just had to check. So that's why it needs it. So that's that one done. Now, we need to rename this again. So select all of these. Let's come to the rename. So tools and then rename, and we've got the underscore L suffix in S. I'm just gonna click rename. And these have now gotten underscore Alice, we know they left. Okay? Now what we wanna do is we want to find our left foot. And let's start with a thigh. Our left thigh, we wanna connect to a thigh, left, our left calf to calf, left, our toes now left toes. We wanna connect that to the toes. And left foot should be in here somewhere. Toes can't fight. Left foot, idle missed out. So left photo, you want to connect to the fact. So we're not actually connected anything to the tip toe or the heel that's just shown us GSA show in New York where the ends of those things are. Ok. So same again now, basically a new lag. So lag by here. And let's come in. Like so let's start moving that to here. In fact, with these legs, I would actually put the anchor point a little bit higher, swell comeback and I'll show you how to change it with this one. But let's carry on with this one for now. Put that knee there. Our yeah, I would need that at selective fought. And that goes on where the ankle is, Bavaria. And get this now, put it down here. It is a bit difficult, several overlapping. Get the tip toe, which is this one, and drag it to the tip of the toe and then get our heal and drag it to the heel which is just by here on top of the other one, which is a bit confusing. But anyway, that's all lined up. And again, what I want to do is I submit mentors really hard to see stuff. Now, what I wanna do is rename these first of all, so thigh to heal us, come to the rename and its changes suffix to underscore R for right unless click rename. So let's come down now to right thigh instead of pick whip in like that and try to find it. We've actually got this little drop-down right here. So right thigh needs to be connected to thigh, right, which is up there, layer number six, right? Cough, I think it'll be called cough, white, white fought. It'll be called photographed. And then right, toes. It'll be called toes, right? Okay. And thus all of them linked, so we're just missing the hips to neck. Now, earlier I mentioned that I actually want to kind of move these, which is a bit of a pain. I want to move this anchor point to a little bit above the leg. If you do want to do that, basically what you've gotta do is you've got to unlink of linked up my what was it? My leg to the yang to this one. So I will be looking for thigh left and I've got to unlink these things so it's a bit of a pain. So the left leg, I'm going to unlink so I can just make a few adjustments. So I'm going to select mold, hit them to none. So what about means now is a laughter relink limb. But it means now I can basically take these cells come in psi left. I can basically take these and I can now move them without moving the actual legs. So I'm going to reposition these to put this at the top. Then I'm going to drag this one down just to position it better. It's always better for your legs just to position them just above. So pull that went in there. And these for the most part. Now, let's go to the toes. Yeah, they're more or less kind of yeah, I'm I'm happy with that. Okay. So now annoyingly, I've just got a link them up again really quickly. So I'm going to go left foot two is going to be called foot, left. Left thigh is gonna be the thiol, left. Left calf can lead to calf left and left toes is funnily enough. Gonna be toast left. Okay, great. We've only got a hips, spine, neck, and head left. So let's come back into direc ringing. And we've got something in here called spine or add structure for spines. Let's click the options. We've got hips and hedge, which is gonna give us, we've got spine for two layers. And I know that I've got two shapes in here for the spine. I've gotten this one and I've got this one. So that's fine. And I've got one neck as well. So that's by default is what I want. So I'm gonna click Create. And we've got this. So let's start lining up. So hips, I wanna put my hips to orientate. Yeah, roundabout by there. I think that's fine. I'm gonna get my spine. And if I were to just for now hit spine one and just solo it, you can see that that's the shape. I want it, I want this thing to be more or less in the middle. So in the middle of that shape is find their spine to if I just solar that it's this top shape, you know, spine ones bind to these overlapping shapes basically. And I'm going to put that Yeah, more or less in the middle. But there might for the neck, this neck 12 with this selectors and I'll drag it down to whether neck kind of a's just by here. We'd wanted to orientate left and right around that point. The head, I'm going to pull this up now. And I'm going to put that roundabout whether knows is just below the eyes is good for that one. And then the spine tip is basically at the top of your head and just wants to know where it is. So I'm gonna put it up here. Okay. So that's our spine. And you know what I'm going to want to do now. It's a bit annoying actually because hips, I'm gonna rename this just to hips. One. I don't know why it's got number I'm going to rename this to spine one, then renamed to spine too, and rename this to neck. And yeah, I don't know why it would number them weirdly, but anyway, hips, now we wanna come down to our hips and we want to connect this to Hips up here. Everything that DeWitt is created, it's given an s And there's the align. So that's just to make things easier, easy for you. So hips, Let's go. Yeah, connect that one. Let's connect spine, one to spine, one spine to to spine too. And you know what, you've guessed it, neck to neck and also head to head. Now, this is the exciting part. Well, I say exciting. It has excited me. Yeah. If we select all of these structures which we've created, hit are, and just rotate them. You'll see the body part looks a bit mental, but the body parts actually now, because they are linked, they move with it. Ok, so all we want to do now is this is the final bit of the Reagan process. We want to select all of our structures, which is all of these layers by here. Okay. And we want to go to auto rig, and it's automatically going to rig our characters or click this and give. Or do you work a little bit of time? It may take longer or faster on yours. This is a new PC, so as relatively fast. But if you've got an old one, it will take longer. Now what we've got is we've got all these little funny things here. We've got a bunch of controllers. So again, we've got more layers. We got 60 layers in your Nowitzki in mental, the controllers of green, okay? And the structures, they have a nice scenario on the surplus of weird gray color. So if I hit hand, liked this controller, what I can do now is I can click this hand and I can start dragging it and look, you can do a little wafer you. So basically you can control his whole arm. Okay, if we get the, for example, the hips, let's click the hips. Its whole body moves as when you move your hips, your whole body does move. So you've got all of these little controllers, ok? Now this, for example, this arm ending along way as mental. If i happens, just click. As you click a control, you'll get some stuff on the side. Just click reverse. And now the arm is bend in the right way. I wonder with the legs gonna do this. So let's get the foot. Yeah, I spend in the wrong way is leg's broken. That looks disgusting. So just click reverse. And let's get this foot. And that bends the light way. Brilliant. So let's reset this. Now another thing, if you, for example, go like that and drag it or less, less not do with a leg is probably more clear with the arm. So for example, let's just go with that. Let's get the hand. And if you pull it too far, is limbs are disconnecting. Ask mental. So if you go into the stretch parameters and disable auto stretch, that won't happen no matter how far you pull this. Okay, so our Character is now linked. So I'm going to pull that out and I'm just going to put him back to his tea position like that. I'm gonna turn Auto stretch off and I'm also gonna turn off TO stretch of for the legs as well. Just so they're not stretching out. Now. That is our character rigged. So it took awhile, but we got there. What I wanna do in the next lesson is I want to actually animate this guy and that, that won't take too long. Now, I want to actually animate this guy, honest. So if a surfboard kinda swaying back and forward with his arms keeping his balance as if he's actually riding the waves. And then we will more or less be done. I will do a little summary at the end, but the next lesson is going to be our main finisher. So cheers for tubulin, well-done for keeping going so far. I'll see you in the next lesson where we actually animate this bad boy. See you in the next lesson. 6. Lesson 5 Animating the character: Ok, I said it last lesson. I'm gonna say it again. Let's get anime in now. Before we do, I just want to turn the opacity backup for all of my layers because I completely forgot that I hadn't done that. So I'm going to select all the layers. I am going to hit t And I'm going to bring it back up to a 100. So we've got our full surfer in there. I'm also gonna turn a surfboard back on because I think he's been missing it. So this is what we've got now in terms of all these structures and all these kind of, you know, all these weird looking things giving on what I am gonna do is I'm going to turn everything begin with S. So all of these layers, I'm actually going to turn the visibility off because they're just getting in the way. And also a little thing which not a lot of people know is you can actually hide these layers. So I'll click and toggle switches. Can you see this little sort of it looks is supposed to be a guy peak and over a wall can a thing. If you click that. And now also click it up here, is now going to hide all of those layers. We've just got the controllers. They are still a, you can just unhide them like that, okay, just by clicking on that. But if they've got this little guide click two years behind the wall, and then you click this one, they're hidden. So I'm gonna do that because it makes it more cleaner to be honest. And I can see more things now. So first of all, I want to eat on his surfboard is out on a time his life. And I want to, I want to really show that. So I'm going to go to the body by here. And I've I've served about three times and I got hit in the back of the head of the board three times. So I don't know the perfect serv impose clearly. But I'm going to go for something along the lines of let's just kind of bring him down like that. I'm not going to worry about his arms and now I'm going to bring him back. I'm going to hit P for position. And basically I'm gonna position FIFO mess. So let's conformed every two seconds. Let's bring him now for Tibet. So just click and drag. So we comes forward and then come to frame 100. Let's bring it diagonal touch and has come to 150. Bring it down and back, and thus come to 200 and a little bit up and forward like that. So basically what we've got is something really, really simple. Actually less that is, we know a little bit too simple. I thought the movement should show a lot more. So let's really bringing forward and that's really bring him back. And again, this may be still over two simple at stand him up a little bit more. And let's now bring him back down at CIA outlooks for now. Yeah, for now with ASA kinda movement I want OK, and I select all of these keyframes and I'm gonna hit F9 to easy ease them. Or if you haven't go offline and a keyboard just right-click and go easy. Okay? However, I'm not done. I want to select the, the position. And you'll notice if you've come across to something called automations in Dweck, you've got load of stuff in here so you can animate something so it's swinging or blinking or springing or anything really, you can animate, you can click walk cycle and it'll make your character walk of ideas AS MAD. Anyway, I'm going to go selected the position, ok, so not just the layer, but I've selected the word position and I'm going to hit wiggle. And that's going to add a wiggle to the position. Okay? Do you exome little wiggles? So for you the effect controls, we'd go amplitude, frequency, and duration. So the amount, how often and how often we wanted to loop. Now my composition is eight seconds, So actually I wanted to look twice, twice, so I'm going to have it to four. That means every four seconds it's going to loop the, the wiggle. The wiggle is random, but it'll loop pet every four seconds or minus eight seconds long. So you know, that works for me. The amplitude I know last time I accidentally clicked reset. I know last time, yeah. Amplitude is set to 15 and a frequency was two. So I'm going to see how that kind of work. So I've got the general animation I had in there. But now I've also got a little bit of, a little bit of a wiggle there. So I've set the original keyframes of back and forth, but now I've also got this little bit of a wiggle, which I really like. Now the only thing that I want to add is a little bit mind. You're not just want to clarify, I'm not focusing on facial animation in this little course. He is going to have the same weekend smile throughout the entire Cerf. Now I will be uploaded in a course on facial animation at some point, and you may already be there by now. But anyway, cuz I'm now going to animate these hands just so he's kind of I wish I had a camera on me, but you can't see me. I'm trapped, pretend I'm solved, stabilizer myself with my hands. I can serve for action. Glad there's no camera makes it looks weird. Anyway. I'm gonna get the position and rotation for the right-hand. So hit P and then hold shift and do our I'm go into zoom in and pull this, something like that because you'll notice as I come in like that is as Hans can have, i don't mind his hands that basically if you rotate, his hand will kind of rotate it a little bit to Swiss say straight. So I'm going to hit keyframe for this. I'm going to come forward to, let's say four seconds. Wingless. I attach and flatter and I just want to rotate his hands. It's keeping straight. And I think I'm gonna come to two seconds and maybe bring that back a touch. Don't worry about these little normally, but for now we're going to Seoul MLA or maybe come down like that and rotate the hand, something like that. So this is what we've got in the arm. Actually, I want to add a bit more. So 50, I'm going to bring it back up and act and, and keep the rotation now. And this one, so it goes from there to there, may just kind of doing it up a little bit like that. So and also the rotation of his hand over there. So we've got a little bit more kinda VA looks like he's got more movement in his hand that I'm going to do the same nine for hand left hold had p and hold Shift R. And let's come across. So I think I'll start quite low. And keyframe come to frame 100, Bring it up, but also rotate his hand and come to the end. And I'm gonna bring it back down quite low. Like that. And his hand rotation. Yeah. I just want to put like that and I'll come in between, so I'm just gonna preview it back actually. Yeah, I want his hand to be I want to see more of his elbow by here. So I'm just gonna bring that maybe up like that and rotate the hand a bit more to keep it 011, just to keep it a little bit straighten up completely straight but barrier. So we got that. And yeah, I'm I'm happy with that. So this is what we've got so far. Almost like he's trying to balance on the Board. Don't worry again about these normally bits were sold them out and I'll show you how to sort them out. Cool. So now what we wanna do is we wanna get serving dude into the waves. So let's come back to here. Drugs, surf in dude on top. And let's scale him down. Hate ass on the keyboard. Scale him down like this. And where's my boat spray, right. Okay. So the spray doesn't come in first. So what you'll wanna do, board spray and wave spray. You'll just want to offset these. So at 0 seconds there was a spray and then you'll want to don't use the waves while just these two layers offset them and then just extend them so they go on for the full thing. And yeah, to be honest, the producer for that ones in the right place. We now have this guy surfing in waves. What we could do is we could try and move him below the wave by here. So as hag, we go below the wave. So it's haggard hidden, but his whole face gets hidden now I don't like that. So we'll just kind of play around with the scale of surfer dude. Or maybe moving down a touch and maybe scale down to about 68 and move him down. I don't mind a little bit of his Haben blocked. It actually adds to it. So Yang and keep him there. It actually adds to it makes it look as if he actually is in the scene. But what I may want to do with the Board spray is have a look at where this producer is. So producer, let's move it down just to the end of the board spray like that. And that's probably bored spray I want to plot below surf in dude as well. So we actually any drops or below as Board. And now, yeah, awesome. So I like that. What you could do to try and sell this more is you could try now and come to serve. And dude, hit P for position, alt, click, wiggle. And we're gonna wiggle this open parentheses or curved brackets to 100 times a second by a value of 40. So that's just going to wiggle the position of that layer. And a kind of a can help. And up to you whether you choose to use that I think I think actually is kind of helping to me. It's not the world's best surf board by the way, it's literally the worst shaped surfboard I've ever seen in my life. So I do apologize for that, but you wanna make it a surf board, please be my guest. But now I'm just going to let that preview in. And then we'll have a look at what we got before we make the final corrections to it. So here we go. Here's our CRF. And dude having the time of his life now though is one thing that we need to clean up and that is these little kind of elbow joints which are really annoying. Okay? Now what we need to do is we need to come in, let's solo acts and solar, right? The surfer dude make the background black again. And what you're gonna wanna do is you need to get your masking tool and gave him proper elbows, get the pen tool. And thus where the album's gonna be and there come off like this and annoying as it is, we want to mask these acts so as HIT EM for Mask and click subtract. And then let's set a key frame for the mask path. And basically, you'll want to go through and you'll want to actually animate this little watchman cola is mosque. Now I have no tests because we've got a wiggle on here. This mask is going a bit mentor, so on and delete the mosque. I'm gonna delete this mask. So I want seconds come, but mentally and delete the mosque. And I'm gonna come down into position. And for now I'm going to remove this wiggle because it has gone a little bit mental. We can put that wiggle back on latest, please don't worry. So I'm going to mask first of all, off here, I am going to timelapse myself when I do this, by the way. But just mosque this off like so. And it will be now a hell of a lot easier to actually to animate these masks. So I'm gonna hit Math Path keyframe and we'll come back. And basically you'll wanna basically at just this for the whole short for his elbows and his knees aren't too bad. But you really wanna kinda do it for his knees as well. So what I'm gonna do, it's gonna take me awhile to do this for about 20 minutes or something. So I'm actually time-lapse myself while I do this, you don't have to watch me do it. And then we'll apply the wiggle back on top and will be done then. And I'll do a final summary lesson at the end. So enjoy this next thirty-seconds of super speed mascot. Okay, so I can now, It was painful and aka lie above now mosque dived his elbows and I was going to do is nice. But when we see him from such a distance, to be honest, I don't think it's the end of the world where a communist coelom, but the show, the elbows are looking at a heck of a lot better. And especially when you've got all this background kind of go in and it's really not that noticeable. So we've got his elbow sorted out because they wouldn't be noticeable because they were just a disaster. But yeah, this is now our surfer. And what we can do now is if we want to add that wiggle onto there, Well, we actually we can add the wiggled now that we've done that. So if we go to alt click, there we go. And brackets two times a second by a value of 40 and clicked off. We should now have a nice little wiggle on our characters will make it look as if he is surfing. So basically that's our little animation I think I could probably do with moving the sun around and kind of maybe orientated things a bit better. But that is our final animation of our little surfer dude. I haven't the time of his life. So I could have animated more character into M, animated his face and stuff. But like I said, I'm gonna be doing a future course on that and really kind of cell in the performance of the character during future courses on that. But basically yet she is for tubulin. I'm gonna do a little bit of a bonus video at the end on how to install direct. But if you've made it this far, I'd like to think that you had direc, But I said earlier I do that. I'm also gonna do a summary lesson as well, which will be the next one, just summarizing some of the key points to take away. So well done for me this far. Cheers for tuning in and also happy New Year's Eve because it's actually New Year's Eve. But anyway, yeah, I'll see you in summary lesson next. Cheers. 7. Lesson 6 Final Summary: So just a quick final summary then. Now what I've got going on here is mainly, I'm, this course is mainly about DUF, but we've actually got other stuff going on. And it's quite nice actually, you can actually see that some of this water is actually passing over the top for him. And with his head pine the wave again, this makes it really looked as if he's there. Ok. So yeah, this is what we've got. I've noticed that we've got this thing along the bottom. Basically the way I will be taken care of that is basically pre compose in. So control shift c and animation, pre-compiled in everything and literally just giving a little scalar then just to solve that. And do that just for now. Yeah, that's that now we are mainly looking at Dereck and just a few things to take away from. This is make sure that your person is split down into all these little different parts. Okay, that's really, really important. Also, when you do this, you can see we go from layer one to ten and interlayer 41, because remember I've hidden some layers and that's really helpful, okay, because otherwise you're 60 layers, it just gets absolutely mental. So being able to hide layers by activating a here and then clicking up here, it just is really helpful. And if you want to hide all the controllers as well, just select them down and just click him. And now I've only got the Illustrator files. Okay? So yeah, that's helpful. Also makes sure that you name things appropriately. So if you are ever gonna make a character come entity week, click these options. So right leg is broken down into phi calf photon toes, or if it's an animal, phi calf photon clause or Oof. Okay. Let's look at the arm. I'm not gonna have a shoulder or am I just gonna have to joint there? 123? I just need these three. Is it going to have Clause, is it going to have a hoof, stuff like that? You can also are at accidentally clip tail and you can also have a tail in here, by the way, and a spine. If it's a giraffe, for example, you probably, you're gonna wanna have like eight spine layers or you could call them nec layers, for example, yeah, I would go hips and there may be two spines for as actual torso. And then I'd be going like ten and their players, you've got flexibility to animate it, curve in mountain and everything. So that's just a few things to take away, hints and tips when making a character. And again, in terms of what we've done in here, we've used quite a lot of stuff. We've used a mixture of Shape, layers of facts, displacements, and some sort of Mr. mercury again Data Wise called bats, but the bizarre name Mr. mercury effect to get these droplets. And we've got online steel animation. So I really do hope you guys took away some learning stuff from this course. Go ahead and check out some of my other courses which I've got uploaded. And Yeah, well done for following along and hopefully see you again. Cheers. 8. Bonus Lesson How to install DUIK v2: Okay, as promised, a little bit of a bonus feature for you today. So I'm gonna show you how to install directly in case you haven't. Got it. So I'm just gonna do a quick Google search frontier with Basil too, and it's brain box laptop, all. Now, product do you wanna go to? And let's click into products and will find duet, which is direct basil two. Ok, so click this. And then what you'll wanna do is download. And so let me just check whether any other options knows it's just a little talk through. What do you think is. So click download. And then we've got the download button again. So click download. There we go. Now downloading. So just like that download and what you'll wanna do is you'll want to unzip that file once it has officially in downloaded. So let me navigate to my downloads folder. Okay, so now we've got deal with basil to in our downloads folder. So let's right-click that and Claire, right-click it and extract here because it's a zip file. I'm going to click yes to all. It's just replace in previous stuff. So it's down here. You've got this little Read Me file. So it's double-click on openness and it gives you some instructions in here. So getting help with Dereck and kind of all light, and it'll give you some installation instructions. So you've downloaded, you unzip it, you'll find loads of files. So this is the important bit script UI panels, panels folder. Okay, this contains a little file which you need to basically plug in to your program files if you're on Windows, or this is the location if you're on Mac applications that are we after fact, Script, Script UI panels, okay, now I'm on Windows, so I'm gonna be showing you that way. A little trick is you can copy and paste this little address. Because basically you need to take the fold that file from script UI panels folder, which we just extract it and put it into this location. Okay, so I'm going to copy this location to my clipboard with Control C. And like we said, what's in here, do you have battled to we need to copy this to that location. So I'm going to open a second file explorer paste in that location, which is program files, Adobe, Adobe artifact CC, and so, so forth, minds obviously in a different place. So C program files, Adobe After Effects, support files and it was scripts. So where scripts? There we go. Now what you basically wanna do is navigate to Program Files, aftereffect support files or scripts. And you'll want to come to script UI panels. And you want to basically copy do with basil into here. Now it's going to ask, do I want to replace the existing one? I'm just going to click, well, you have a place, I've already got it installed, so I'll just click Continue. There we go. Now we've also got optional panels. And here a load of basically handles of just the animation controls, just the constraints, controls and stuff like that. So you can also copy these across to your, normally you see Dr. Program Files, Adobe After Effects support files, scripts and scripty. Why panels? And it's just going to replace all the ones I've currently got. So I'll just click Continue to do this for all of them. And they go, that's how you install Dweck. And if you've already got aftereffects open, what you'll wanna do is reopened artifacts, clothes, diarrhea has been window, you should have Duke battle to and a few answers, all the other optional ones. You've got these in here as well. So download it. Right-click Extract Here. And then it's just popped, it's just popped all this stuff down here. You copy and paste to deal with basil two into c desk. Program Files, Adobe, Adobe artifacts support files, scripts, script UI panels, paste it in there, rebuild to aftereffects. I've now got deal with Basil installed on your system. Congratulations. And like I said, there's a lot of stuff here in the optional, if we go back to the downloads as lot of optional piles in here. But again, just make sure you read the read me thing. Just for any help that you may need. Again, a few or Mac versus the location for you. So that was just a little bonus one view. Because again, you do need to do it for this course. But yeah, chase for 2D and N for this course again. And if you haven't already done the course, go ahead and enjoy it. If you have chairs and I'll see you in a future course.