3D animation- Ball Bounce | Pattie Schleicher | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      How Intro & How To Import Ball Bounce Rig


    • 2.

      How To Set Project


    • 3.

      How to Block Animation


    • 4.

      How to Set Up Panels


    • 5.

      How to Use Graph Editor


    • 6.

      Shooting Final Playblast


    • 7.

      BallBounce Project Recap


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About This Class

Ps Illustration walks you through the basics of using Maya to create a realistic ball bounce! This class shows you the basics of shooting useful reference videos, setting keys, and using the graph editor within Maya. By the end of this class, you’ll be able to animate a simple ball bounce with realistic timing and arcs. This class is excellent if you are new to animation and Maya!

See the Project tab for links to Maya program and the ball rig used within the lesson.

Meet Your Teacher

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Pattie Schleicher

Illustrating, Inspiring, & Equipping Others


My name is Pattie Sue Schleicher, an Artist and Educator, I aim to inspire and push my students in their skill sets across multiple mediums. I am traditionally trained in my illustration background, and apply those principals across multiple platforms within my own art and lesson plans.

My current body of work explores the balance between geometric elements, color theory, and pictorial illustration. Artists that inspire me include, but are not limited to: Audrey Kawasaki, William Turner, and Salvador Dali.

Through exploration of illustration and surrealism, I aim to push the boundaries of the natural world, and challenge viewers to question perception and elements within each artwork.

PS Illustrations here on Skillshare is an upbeat and fun spin on traditional instr... See full profile

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1. How Intro & How To Import Ball Bounce Rig: Greetings, everyone. So today we are going to be working on a basic ball bounce. This is thesis convey video out of the introduction to animation within Maya video. Siri's, um, first we need to import be rig that I had you guys download from inthe e description. I'm gonna go down here to the file menu. I'm gonna click Import now. I just saved it onto my desktop. Um, you more than likely have it in your downloads, but you're gonna want to import your ultimate Baldrick. Okay, so this is what it looks like. Que fantastic. Um, with this rig, there are a couple different controls that weaken dio. So we still have the move tool. So that's by hitting w or clicking this option over here. You could move it up and down Whole shebang e is the hockey, or you can ah, click this over here. This will allow you to rotate Hey, and then ours for scale. And it's this hot key on the left 2. How To Set Project: we're going to go ahead. And before we even start working, we're gonna create a new project case you're going to goto file. Then you're going to go to Project Window, create new, Okay. And then I'm gonna name this basic ball bounce. So the reason why we do this is again it, um, creates an entire project file where all of these will be referenced into one basic folder that Maya can reference. It just makes it easier. For while you're working on your project and set you up for success case, we're gonna hit. Accept. Okay, Save. Seen as. And you can see it's already saving it within the designated project. Um, section under scenes. And I'm gonna say, Ah, basic ball bounce underscore blocking. 3. How to Block Animation: All right, so let's make some keys. So we're gonna go ahead and start the blocking of our basic ball bounce. I'm going to treat this grid here as my ground plane or floor. Okay, so I'm gonna start my ball bounce in the air, because if we were dropping it, okay, and I'm gonna put it just here. Let's say it 10. That's nice and high. Okay. Nice uniform number. Remember to set the key frame. You click. The key s on your keyboard. Um, make sure you're not still typing over here If you decided. Toe, um, alter your translate. Why? By entering in a number, That's something that I dio pretty frequently. So I set my key frame. It gives me a line here, Red line that also indicates that I have a key set over here on my outline. Er k. So the closer that these red lines or keys are together, the faster your animation is, or the faster that your designating a new frame or position for your animation. The farther apart that these are, the slower your valuable your ball bounce will be. So I'm going to do it at 15. I'm a drag this guy down. Looks like one is gonna be a good round number. That looks like my ball is sitting on the ground plane. So one click out of there, I'm gonna click s. So if I repeat thes every 15 frames so then this one would be a 10 and then this one would be at one already trying to set my G. Sorry, guys. Saying 10. And you can really do any round number you want. You can do decimals. Um, for the sake of the demo, I'm just trying to keep it simple for you guys. Okay, This 11 Now something I want you guys to notice on this next frame, I am not going to save my key, and I'm gonna move off the frame to show you what happens. Okay, so over here have changed in my translator, or I've moved it on my own. Using the move tool. You can also click. It's either the hockey w We can click it over here on the left hand side. If I were to move off of this frame without setting a key, I'm gonna lose this information. So if I move over here and then I go back to 90. You can notice my ball hasn't moved. It's because the last saved key is at the translate. Why one? So, in order to have it save where you're working, you absolutely have to set a key. Okay, so I would say, have it bounce at least three times. Generally, you can put your play blast on loop. Um, so it's not a huge deal. Just make sure you do more than one, okay? 4. How to Set Up Panels: we are now going to go over altering our different panels for our view ports. So there's two ways to edit thumb Right now. We are in the perspective you indicated on the left. Here there's on the same toolbar. We've got four put panels and it shows you what view you're in in the centre bottom area, each kind of many window. Um, I'm generally working in either one window and toggle in between the different ones, or I do a to pain side by side. There's more options if you go underneath panels and layouts. Um, we've got all the options that we went over earlier. There's also three pains. I like doing three pain split left a lot because it you can have your main window view here and then you can play with the's. So this is like a North. A graphic view is indicated here. Front. Okay, so it's gonna be a flat view perspective. You can kind of come in here and wiggle around and get different views on this one. It's strictly that view. Okay, if I go here to panels panel and put graph editor So what that does is it allows me to see my graph editor here. Um, generally, whichever one I'm working in primarily, I have it be bigger. What you convey, drag all these kind of play with it. Okay, if I didn't like that could move it back. Okay? I can switch this one. Maybe I want my graph editor on this side. Have my perspective down here, k that way because this is where we're gonna be working primarily in the next section of the video. 5. How to Use Graph Editor: so I'm gonna be creating a uniform ball bounce, changing up the overall timing as well as the spacing for my ball bounce. So I know that we initially set up all of these keys overall to give you kind of a feel of it bouncing. Um, I am going to alter just one part on here, and then I'm gonna duplicate it so that I get, um, kind of a uniform bounce overall with less work for myself. So I'm gonna delete these, and then I'm gonna come over here to my translate way, and I'm gonna change this point here to have a different type of tangent. So if I cover over these, we've got auto tangents, spying tangents, clamp, tangents, linear tangents, flat step plateau, etcetera. I want the linear tension. What that does is it creates kind of like a V. Okay. What that's going to do is it is going to give it the appearance of it bouncing. Hey, if we're looking at this graph overall this vertical, why access on our graph editor is the distance, okay? Because we're working out. Translate. Why? It's gonna be the height. If it were easy, it would be strictly distanced. Notice that this is flat. There's no translation here. There's no change in distance whether why we have it going up and down. Okay, so if we can think of this as distance versus time So if our X axis is time, we can really see how fast this motion path is going. So right now I have it less than 24 frames per second. I don't know if that's super realistic for a ball bounce that seems more like the end of the bounce when it starts toe vibrate on the ground before it goes into a role. So I'm gonna alter this timing, so I'm gonna go to 24 because that's the standard 24 frames per second and I'm gonna have it be a second for my overall viewpoint. Now, notice that when I moved this over here, it created more of these frames. All that is is it's thes here. If I could control Z and instead I select all of these, I can drag it over and it won't duplicate keys. Okay, so I've snapped it now to the key frame, okay? And we've got this now spaced out. So it's going to take a longer here, but this one isn't altered on this site. So if I wanted to drag this one out so 24 it would be 48 for 48. Well, downshift. Drag it out, Case Nowhere at 24 48. So now I've got this overall. Now, when I'm checking my timing overall with this I don't really want to scrub because that doesn't give me a realistic timing because it's just as fast as you could move your mouse hitting over here on the play button. It's also not super helpful or realistic. As faras your frame rate as you're working, you're always gonna want to shoot a plate blast. Okay. Ah, play last is kind of like the in between movie to just like a full rendered export. It's where you're gonna be able to check your work and ultimately turn in for this project . Okay, so I am going to select this, and I am going to duplicated a couple of times just to see what it looks like with just my bottom tangent. Might bottom point altered. Okay, So, copy paste. I make sure to move to the last frame paste. Okay? And it just keeps going. Okay, I'm going to lessen it. So it's at 1 95 uh, 95. There we go. So it's ending on the high point. So this will just repeat over and over again for my plate west. So who was telling me? Caps Lock us up. I'm gonna go here. To my perspective. You I'm gonna get rid of nerves curves. So it's just my ball. This isn't my final play blast, so I'm not gonna worry about any of the other stuff showing. I just want to see my ball. I'm gonna go Windows, play the last. This is how you're gonna be able to check your work. Devereaux. So right now it's one frame for it to drop down. Great. The timing is still super even. Boy, boy, boy, Buoying like that's just like boring doesn't even look like a realistic bounce. There's mawr that we need to do with our graph editor. OK, so we're gonna go back to our layout, okay? And I'm in a select my root control. So now I can see this again. And I'm kind of like I'm not super happy with what I've got. So remember we altered it from up until Perrin frame 48. So I wonder Lead all this extra cook uh, control Z. So you guys, my my is freaking out a little. There we go. Click delete. I want to alter this top tangent. So if I go to Google and type in ball bounce, you're gonna get a lot of examples. Notice, though, that every single one of these examples has got an ark. And then it's got that v tangent here, but your ark overall is whiter. The reason why is we wanted to have more frames, right? We wanted to slow down up at this cop because that's when our ball is gonna be fighting gravity. So as it's coming down, it's gaining speed, right? And then it ricochets off the ground and it comes up. Then it starts fighting gravity, and it's like, I'm not gonna win, I'm not gonna win. And then it starts getting speed again. And it's like, Yeah, happy ball blink. Okay, so this is an example of it decaying over time, right? So that's more of a realistic ball bounce. We are literally just repeating essentially this arc here, over and over again, Like it's not having any decay. Um, between each bounce, we're just having it Fight gravity and repeat over and over again. We're just kind of starting the timing and basic. So we will do the decay in the next video. So if I'm going back to Maya, I want to alter these so that they're whiter. Okay, these points here. So if I select this, you'll notice that we get these little handlebars. We got it. Also down here. Let's switch over to translate way. We also got it down here when we altered it. Teoh Linear tangent. Okay, but we didn't really play with these handles. Now we get to, So I'm gonna select the top point, and I'm gonna drag this little handlebar out notice. I can make it really sharp, right? Or I can make it kind of flat. I'm just going to drag it out a little bit. Okay, let's say there and I'm gonna try and keep it flat, because when I duplicate, I wanted Teoh be a smooth transition Notice, though, that it alters with this motion path here, and it can almost creates like a really shallow sleight s shape backwards. That shape. I don't want that case. I'm gonna come down here and I'm just like this point. Grab this handle bar, and I'm gonna make it more of that V that I like. So right now it's going great. It's translating over time and it speeds up and it's going boing! And then it comes up. And then this money needs to match this one because we're duplicating it over and over again. So I'm gonna drag this guy out. Remember, little goes a long way. It's like this guy crab that handlebar and fix it. Okay? I wanted essentially to be a mirror. Okay, I can come in here and tweak it, but let's let's see how that looks. Okay, So remember when we're checking our animation, it's not through scrubbing. It's not through hitting. Play on the timeline Always always, always shoot a play blast case. So let's go ahead and duplicate this and then we will shoot a play bless and see what just all during this top points does to our animation. So I'm gonna copy paste right, and then we get our boy wing. Okay. Ah, good perspective. Got everything set up here. Click play, Blast. So overall, it's looking better. You can see it's speeding up as it comes down, but we can realistically alter this a little bit more and our timing and our spacing to make this look more realistic. So this is where you guys as animators and artists getting a fool around and try and make this as realistic as possible. I would highly recommend looking at YouTube. There's gonna be a bunch of different project examples there as well as, um, even just Google images on looking at those drawings. Okay, so I'm going to go back to my panel's layouts. Split left. Okay. And all I'm doing is I'm altering the's handles here. Okay? The only one to be altering and translate why, that's where you're gonna wanna play, okay? And it'll just keep repeating. But that's the overall basics of using the graph. Editor 6. Shooting Final Playblast: I have tweaked with my keys, and I've, um, finalized my spacing and timing. So now I want to shoot my final play. Blast. This is what you guys are going to see a bit under the project section for feedback. Okay, so I want to get rid of for my final play blast My, um, kind of my view port here and then the descriptor. As far as where I am looking some to come here down to show and get rid of h you d leave the grid because that's where we have our ground plane. Okay, I'm gonna go toe windows, play blast, Okay? It's gonna render open up in your video editor, and you can see overall have it on repeat, so I can keep saying it and watching it. And it's just kind of like a normal ball bounce in place. We don't have to. Kay. We don't really have differing weights. Um, but this is what I want overall for your first ball bounce video. So please submit this under the project section. 7. BallBounce Project Recap: Now it's time for the project. Recap. So what I am looking for from you guys is your final play blast in your play blast. I would like it to just have your grid and your ball, so make sure you hide the controls, as well as the extra panel information that usually appears in the corners or in the bottom center. I just wanted to be a clean plate blast. Pay attention to your overall timing, spacing, arcs, etcetera of your animation. Um, I cannot wait to see your guys is finished products. I will be sure to leave you guys comments or pointers and feel Frito. Ask any questions that you may have. Um, I would highly encourage you guys to also comment on her peers projects. Um, because it is good to start practicing, giving feedback and looking at others animations for professional critiques. All right, guys hope to see your project soon. Stay tuned for the next video. We will be doing weighted ball bounces as well as, um, having them go across. Uh, a is allocated space with decay with the bounce height