3D ANIMATION: HOW TO ANIMATE DIALOGUE

1. 000 Intro: Hey, what's up, guys and welcome to this animation costs where we are going to be learning how to animate some dialogue. Now this course is not Autodesk Maya specific. This means that if you have access to a character rig for your own software of choice, you can follow along just fine. And in this course we will go through on how to work with a character rigs, seeing what the rigor has provided in terms of controls, then we will proceed to work with the sum. One of the audio files in Maya. We will again go and create, go ahead and create Character selection sets, and then proceed to animate the vowel sounds. Then we can move on to the main dialog where we will start by posing the character, adding moving holds, adding in-between frames, lip sinking the dialogue and finalizing by adding the proper facial expressions. And this is an intermediate costs. This means that you need to have prior knowledge of Maya. If you do not have any prior knowledge of Maya, Be sure to watch my intro to my H antigen to two and you should be able to follow along. Fine. See you in the course. 2. 001 Working with the character rigs: Hey guys and welcome to this lesson where I'm going to be going over the character rig that we are going to be using. Now this characteristic is called or known as Ray. He is from CGT urine. Now I'm going to include this text file that contains all the links to the characteristics that I'm going to show. So be sure to go ahead and check them out, sign up if you need to. If you need to. If their site requires you to sign in so that you can access the rig. But this is Ray. The other characteristic that I'm going to quote. This is the one that I'm going to include incendiary for Ray. I don't think I have the permission to distribute them. So you might have you'll need not, you might have to, but you will need to access it through the link provided. And I don't remember exactly where I got him, but I do know he's can see it's written there is a property of Cogswell polytechnic College. So be sure to check them out and let me credit them right now because that is what the choir, but as you can see, these are the guys who worked on the rig and be sure to e-mail them maybe if you have any queries about the Reagan stuff. So thank to Cogswell college for providing this wonderful ring. They are the character that maybe you guys can use, but my voice-over, Dude, of course, so I don't know how you never know anyway. But to choose who just use my voice on this character rig as well. It's up to you. She's the waitress rig. Again, I don't have permission to distribute rig. Again, be sure to find out from this link and this is another one. I don't think I downloaded this one, but I think it's from the same artists. If I'm not wrong or from a different artist. But be sure to check these links out and download these characteristics. Walk with them. They should pretty much be the same. I mean, the controls should pretty much do almost the same thing. So at least you should have an easy time animating. So yeah, for the other things, which is the audio, as you can see, I do have a project file setup. And again, remember I'm only going to include the Hendrick. So yeah, I do love the project file setup and this is where I understand. This is where you're going to find the dialogue that you're going to be using. Alternatively, you could record your own. You could record what I'm saying and recorded in your own style. And also on the source images. I'm including this image which we are going to be using as a reference suppose is again, forgive my drawing. I'm not really the best artists, but that should do so hopefully you will have an easier time accessing this rigs again, if the site requires you to sign in so that you can access the rig, please do so and credit the artists. So yeah, I should see you in the next lesson. 3. 002 Working with Audio in maya: Hey, what's up, guys and welcome to this lesson. I'm going to be showing you how to work with audio files in Maya. It's really not that difficult. One thing to note is, as far as I can tell, Maya does only imports dots with files. Audio files need to mean they live with formats, so they already that are provided should be in that format. But if you plan to record your own voice overs, just make sure you convert them or format them to a dot wav file formats. Now, if you want to import your audio files, it's at, it's as simple as going to File Import. Under your sound, you should be able to see you audio files. So in this case, the one we're going to be working with, this reference dot wav, important, This can see, able to see it. Another way is let's undo that. And instead of undoing, if you want to delete an Audi on the audio track, you just go to right-click on the timeline. I'll do delete sounds of one. Another way to import audio is by dragging and dropping. So if you were to select your audio file and drag and drop it on the time slider. It's still going to do the same thing. Another way is by right-clicking on the time slider itself. I'm going to outdo and import audio, and this one will always automatically bring you to the sound folder. So let's just import the reference file again. If you want to listen to your audio file, just make sure you, you're cashing your animation caching this blue line has done its thing. It has gone all the way. It has covered the whole time. Time Slider. And I forced you really cannot stop yourself from lying. I mean, come on. Seriously. You really cannot stop yourself from line. Yeah, you should be able to share your audio if the volume is a little bit too low, this, this volume icon here, just come and click on it, increase it or decrease it to the level you like. And everything should be sub-par. But now let's say maybe you want to move this, I'll do. Maybe you want it to start a little bit early. How do you actually do that? You do that by accessing their trucks editor, which is found under Window Animation Editors, trucks editor. And you should be able to see your soundtrack here. So if you click on the drop-down arrow, you can see, you can see your audio track, you can move it, you can trim it, can do all kinds of things on the tracks editor that you may want to do to your audio file. So remember, make sure you plan, or like if you plan on recording your own voice-over says make sure that you are using the dots WAV file format or if not so just make sure you convert your audio files into the dot wav file formats. So yes. 4. 003 Creating selection sets: Hey, what's up, guys and welcome to this lesson. Now, once you've imported your audio file and they'll default you're working with is reference. Let me play it again. Come on. Seriously. You really cannot stop yourself from lying. That's the audio file you're supposed to be working with. So make sure you input the correct audio file again, alternatively, you can import your own. The next thing to do is, first of all, even before we inspect the rig, is check your frame rate, make sure you understood four frames a second is can see 24 frames a second. You can go to your preferences time slider and make sure your frame rate is 24, and this one is 24 X1. Another of accessing the preferences is by going to windows settings and preferences. And we should go preferences. And again, your time slider and make sure that is that your settings match mine. Right? Now once you've done all of these, it's time for you to inspect the character rig you're walking on. Remember? I can not remember, but this is where I would advise just taking a basic rigging course. And you should be fine in understanding why some of these controls are placed there by the rigor. So you don't necessarily have to be a good rigor, but at least understanding why and how rigging works would really help you mean animating. Just check what all of these things are doing as can see your mouth. This one opens the mouth. This one, I don't know. Does this squash stretchy thing, same case with this one? Rigs are different. Like this depends with the robustness of your rig. Every rig is kinda different for even Henry and the waitress trig, It's kinda different from this one. This one is more, it has more extra controls that can give you a cartoonish like movements like this. I mean, controls like that. I don't think Hendrick and do that, but it's all of those things where you just need to inspect before you begin. Make sure that you understand why and more and not even why, but what most of these controls do. And once you've done that, it's time for you to create selection sets. Now what our selection sets, It's just an easy way for you to select. Maybe you've selected these items and you don't want to keep on selecting them again and again. A selection set is like a shortcut for you to. Whenever you click on that button, it only selects these items. Now this is because this is important, is because you want to group some of these items like for the mouth controls here, the jaw, the tongue, the lips. You want to group them into one selection set where, you know what, when you're animating, you walk in steps. You don't just start animating everything at once. In this case, we start with the mouth, we check the cheeks, then we check their eyes, which most of the time go with the eyebrows. And you want to group them into their own selection sets that way. At least, you know, I once you're done with your mouth, at least, you know, you're done with the mouth. You can now move on to the eyes and walk with the eyes. So how do you actually create selection sets? It's easy. In this case. We'll recommend opening your character's mouth to see if the tongue has controls congenitally. Because generally when you're speaking, your tongue is also moving. So I tend to group my lips and mouth control study together with my town controls. If it doesn't have town controls, it's fine. So in this case, ray has so I'm going to open it. Why did she even has to have controls? So this is really a robust string. So I'm going to click on this first one and hold down shift and select all of this first of all on the outside. Do that. Whoops, I want select them in order. I don't know why this one is acting up. Sometimes if it doesn't select, just highlight like that. And but now the problem of that, your risk of into selecting the risk, selecting other items that you don't want to select. So I generally try to click if it's unavoidable, I just drag like that. And I think you can select this. Actually, no, let's go to the tongue and select the first 1, second, 1, third, 1 for the one for the teeth. Teeth don't move. So I'm not going to select them. And I'm going to select this, this, and then this. And then we can go to this, then select this, and then we can end by selecting that. And now we have most, if not all of the mouth controls. I think this is for the jaw stretching, Joseph, I'm going to hold down Control and deselect, remove it from the selection. So you go to, once you've done all of this, once you have your items selected, you go to Create and just say set quick selects it and rename it properly. Remember don't space is contrary views, so you just use an underscore user dot, in this case array. And I'm going to say mouth and I'm going to say Add to shelf. And in this case, if I was to deselect and select this again, you can see I have all these controls selected. Now I can close my mouth and knowing that if I wanted to select my tongue, I know it's an under this selection set, so I know my tongue is always selected. Again, reason as to why. Again, you select, you create selection sets is you want to key, frame some of these parts together. Like you don't want to put a keyframe on this one and then you reach a point. I can do realize, oh, I do not have keyframe this, you see that can be quite tedious because generally, now for me, my way of selecting selection sets on our selections. But grouping parts is, if I look into the mirror right now, is, and I do recommend if you're an animator, you have a mirror or a camera facing you, is, if you look into the mirror right now you can kinda see which parts are moving. As you speak. For me, I know the joy is moving, the tongue is moving, the upper lip, the lower lip is moving, and also the chicks. But these paths generally tend to move in tandem. They tend to move together. So that's my theory behind grouping or creating selection sets. Selection. Selection, selection. Selection. Selection sets, I don't know, I felt like I said it the wrong way. And I'm going to leave it to create selection sets for the, for the cheek, areas, for the eyes and the eyebrows. So remember, group the eyebrows and the eyes together, group the cheeks together. And in the next lesson we should begin animating the vowel sounds. So see you in the next lesson. 5. 004 Animating the vowel sounds: Hey, what's up, guys and welcome to this lesson. Now in this lesson we're going to be animating the vowel sounds. Now, I'm in the last lesson, I did say we load up the reference, I'll do. But for this one I want us to load up the vowel audio. It's in your sound folder, so be sure to go load it up. And it's really a good practice to like animate, like fundamentals of a language. Maybe if these values in Spanish and stuff, you could also do that. But I'm not familiar with Spanish or French or any home most of those other international languages. But it's always good practice to start with the basic basics, right? So I do have the audio loaded in, so let me play it. E, I, O, U. So yes, this is what we are going to be animated. So we're going to start with the a, which has can hear from me pronouncing and I'm going to do recommend having a mirror or just using if you don't have a mirror, use the front-facing camera of your phone to look at how your lips shaping up. Like if it's a just look at how your mouth is forming that a shape. In this case, I'm looking at myself and when I say a, a, I can see that I'm revealing a lot of my upper teeth from my upper jaw, right. So a good tip by the way is just know that tried to keep shapes, right? So if like my joy is open, I'm revealing my t cubed plus shape for like two frames. That way you will avoid stuttering when animating dialogue. And like do not, like, don't put one ship here and then put another shape here. It's going to really start a lot. One thing about the vowel sounds is that they are open mouth sounds, right? So I do have my, I did go ahead and create my Character selection set for my mouth. And I'm going to press S to key everything. So the a begins here and I'm going to start now forming the shape. So give me a second. Let me just let me adjust my camera on my phone to make sure I can see myself probably doesn't need it to perform some lighting adjustments with my phone since I don't have a mirror. But a a what I can see is I can see that my lips, my upper lip is quite up. I can see most of my upper teeth and my mouth is slightly open with the E. And also I can also see my teeth on my lower jaw. So I'm going to hold this lower jaw here and open it. And as I say a, a, it looks like I'm smiling kinda, right? So I'm going to push this control way back. And we're going to do the same thing for this other side. We're going to make sure you write axis like that, a, a. And I can also see there's a slight curve or curl as you may call it. On my upper lip like this a. And also for this rig, it seems that when I rotate the upper lip up, seems that it's pushing it a little bit forward so I can push this a little bit back. So a, a, a, a, look. Again, this is just good practice to look at yourself in the mirror or just look at yourself on a camera because it really helps. Because again, people do speak differently. No, it's not like some people won't be split from this side of the mouth. Some people speak from the middle. You never know. It's just one of those things that contribute to personality. Just see you remembering how someones picks. Anyone has a unique way of doing things. So let's can see a Z that, and I say a, it seems that my lower lip is kinda carved in a little bit like that. So a a the upper lip is curled out a little bit and the lower lip is called in a. So that's the sound. I'm going to select everything and key. Let's play that again. The E begins around there. So a, for the most part, my mom does not change its shape other than maybe a few features relaxing, like maybe my lower lip relaxing a little bit. Same case with the upper lip relaxing a little bit. So those so now I think at this point everything has stopped. So I'm going to make sure first of all, I keep everything at this frame and then go to this last one here. And key everything again, I'm probably just 0 out everything. Now, remember down to 0 out. If you have a scale, full-scale, default scale is one, it cannot be 0. So just remember that. That is if you have scaling controls, so let's play this and a, a, a, a, and the a sound. The sound looks okay. Now let's go over to the other sound, which is the E. E. So here it is. Let's play it in here. E, e, e, e, e, e. Now the good thing is because this might save your time on this might this will save you. Time is since when I'm saying I can already, I'm already saying e at the end. I can just copy the same pose to here. So how do this is? You can a shift and select this keyframe, right-click and say Copy. Then come to this and make sure you've selected all the controls. So make sure you have your character selection set. And come to this frame. Probably delete this one because you don't want stuttering issues. And then right-click again and say paste. As you can see, it's going to **** the same, the same pole for this one. Since it's one, it's just e. E is just one. Like negative e is just a straightforward sound. I'm going to 0 out everything. So let's do that. So another method of copying keyframes is by like, if you were to, let's say you were here, right? You want to copy this pose if you are to middle mouse click without dragging the time slider. Here, as you can see, nothing will happen. So this allows you to press S and it's going to retain the same keyframes as you can see, right? So that's just another way again. Just hold down, shift, click and delete that keyframe. Okay? So that can be a time-saver if you don't want to keep on repeating poses. So we have a and E. Let's go to the other pose, which is the other bar, which is Zoom this one. And now the purpose of zooming in is to see where the audio is ending. This whitelist will give you a rough idea on when to begin a pose or a vowel shape Pi. So I starts with an r and then a. Aye. Aye, Aye. I, I I it's like an E is like an e at the end and then at the beginning. So welcome to somewhere like here. Again, select everything on the mouth. I'm going to begin it there. So let's make an r. R. Now I can see that my mouth is really rounded on this pose. So I'm just going to select this lower jaw. Say, I can see slides slightly My my, my bottom teeth slightly the upper teeth. I can see my appetite. Are there is no rotation. Now one thing I know is wondering, I can see is I can see my mouth a little bit like shrinking in. So I'm going to push this one's a little bit in open there. They are. The jaw a little bit more, or maybe curl up the upper lip a little bit. Sometimes in animation you have to like go a little extra. Because again, it's really hard to match real-life. That's why, like if I mentioned that down wrong, It's so easy to notice when animation is just done wrongly. So just don't be afraid to go a little bit extra in this case, I'm going to raise these corners up. I think I selected the wrong thing. Like does it look like an R? Again, I feel like my, when I look at myself, I can see that my mode is a little bit too rounded. So I'm going to try and drown that a little bit. Raised the upper lip palate just a slight a tad bit. Or maybe curl this up a little bit. Again, remember, and I'm curling this app. It is pushing itself forward so you have to be careful with that. But I feel like that's an arch shape and I'm going to key everything on that pose there. So the a, the a begins around here. So it's like a, like an a, not even an E and a. So again, we're going to use the method of copy pasting oppose. So this is the shape I know the a begins around here. I'm going to middle mouse click on that point. And at this point everything has stopped moving. So again, zeroing out everything. And remember if you have scale and ratio scale is at y. Now, let's look at how it looks. I feel like I feel like for the I I feel like I don't need to reveal so much of my upper teeth. I just feel like it needs to be subtle. Again, even if you're copying pasting poses here and just try to make them different. Because, I mean, remember when you're speaking, you really speaking quickly, like picking one of those things that you could do it pause the pause. But most of the time you find yourself doing it straight ahead, meaning like I'm keyframing as I go because the mode is moving so quickly. That I feel like I feel like I might need to rotate my upper lip a little bit. I don't feel like I see everything clearly. So let's maybe let's, let, let's raise this up. Let's just raise this up to form a more rounded shape. Because I feel like I need to see more of that roundness on the mouth. And I think also it will help me be forced to stretch it back a little bit because I want it to be round. I feel like I'm not seeing the ship clearly. So we have a e and i. So let's go to the next one, which is the O. So let's go to the o sound. Let's begin somewhere there. Soon this one in, again, just get an idea as to where the sound or the vowel is getting. This case, I think I want to begin somewhere around. There were two key that, and for the O is like an O, an O and O. So this is the beginning. So select the key. And then, oh, I feel like for the O, the OH is more of a, it's more like they are, but the lips are more bunched up together. I'm not. Let me copy the other pose. What I'm going to do is let me just try because oh, I can see that my mouth. Oh, Oh, Oh. So be careful. Select the correct axis. Like there's a lot of curling around my lips like, oh, like that. Oh, so again, push this back. I think I went a little bit too overboard developed. Don't want to mess up your reg. So I feel like 00 again, push this back a little bit. We can push this down. Maybe pushed this one's up, just make it a little bit smoother. I think this ones as well. This is why you key as you select them in groups because you see, you know, you don't want like, you know, like you forgotten Keyframing. This one's on the other pose. It's like, as you can see, it's really useful to just kill them all at once because it's can see it's really a time-saver and oh, looks like to me, these corners are really raised up. Let's raise them up a little bit. Push them in like that. Can we push this button? I think I think that's looking nice looking. Oh, oh. They could also push this a little bit in Turin. Do us any harm? Just pushing them in. Oh, because my lips really curled, like from looking at myself in the camera, I can see that my lips are really curled completely. So I think there's more rotations, but then for this one, I notice that. So I think you can also try and rotate the lower lip a little bit more. Maybe push it backwards a little bit. For like that. Now, it looks ridiculous. Now let's try and smooth it out a little bit. Oh, but remember, it's not like this pose stays for long and screen. So it's o. The o is more like the mouth is closing and the lips are up. Like I can see a clear rotation upwards, towards everything. I mean, not everything but most of the shapes are rotating upwards. And again, I think I'm getting to that point where the rig is starting to break a little bit. I think we can also as possible key frame there. Let's just put a keyframe there. And then I think we had pushed that back a little bit. You don't want to be seeing clipping, that's the black thing you seeing there is clipping. And for the o, the o sound is more relaxed. So let's look at the groups that probably, let's close the jaw little bit because it's cool. Maybe let's rotate this slip down on a little bit. So again, let's 0 out everything first of all, and see how it looks like. Feel like the ocean sound is a little bit hard to nail. But let's see. Oh, oh, oh, oh, oh. Fear. Like let's let's trace the upper lip and see if that makes a difference. Pushing that a little bit backwards. Let's look at everything else. Let's just place. Let's wait, wait for it to cash. A E I O. A E I O. O, O. And now for the last one we have an OH and also feel like it's just a matter of replicating since we already have the o and the o sound is just again, one of those things where you just want to practice time-saving techniques. So I'm just going to paste this pose. Can see it begins there. So I'm going to paste. It's actually a, you know, I think I keep saying it in British English way, but you not o, u. So u is more of an e and you feel like that. Usando also needs to be here. And the EU, EU, it's like a e, u, e, e, e, you, you look for the EE. Let's look for the E and paste it you there. And also, let's add Alaska from there and let's see what it looks like. Just so the minute you, you, you, you one came out. Beautiful. So you, it's more of an e ending with an O, U, U. So again, this is good practice. Of course. I think the o sound, oo sound is a little bit harder to nail. But again, I think I can polish it in my own free time for the second node, extending the lesson. But hopefully you're getting an idea as to how to structure in place while this just remember to keep shapes as long as two frames long to avoid stuttering and always remember, vowels are open mouth shapes. These other things like consonants and all this other stuff, you know, like Go practice with them. I did this to include the consonants, audio. You can use that to practice your dialogue animation skills. So let's, let's play this one last time. E, I, O, U. So yeah, that looks okay, and I should see you guys in the next lesson. 6. 005 Posing the character: Hey, what's up, guys and welcome to this lesson. Now we're finally going to begin on the dialogue. Now, this is how it's supposed to look like if not this even better. I mean, come on seriously. You really cannot stop yourself from line. I mean, come on. Seriously. You really cannot stop yourself from line. So you're supposed to animate it to look like that. And as you can see, the main body pose is really convey the emotion scores. I know maybe because you're starting out, you might think it's a good idea to start with the mouth and then go to the body. But generally you want to start with the body and convey emotions because when you're speaking, you tend to speak with your own body like that's why we say body language to start because it gives you an indication of what the password is feeling or the person is thinking. And this is why it's considered not really the best artist. But this is why I had a couple of poses for the spikes in Datalog. So you normally add pauses where you have spikes. In this case, go ahead and load up the rig, whichever you're working on and load up the reference. I'll do this one more. Seriously. You really cannot stop yourself from line. So go ahead and load it up, and let's begin. So as you can see, I do have a pose that I mean, so let's go back to this photo here. I mean, come on. You really carry seriously, cannot stop yourself. You really think it seriously. I mean, come on. Oh, it's I mean, come on seriously. Even forgetting my own hair. Look, you really cannot stop yourself from lying. That's why you can see on the last pose here is emphasizing the line, line, line, line. So he's emphasizing the line, alright, and then it goes back to a neutral pose. So let's start by posing this current. You don't have to use these exact poses. I did go ahead and shoot my own video reference, and this is where I got this poses. So this is something I encourage you to do as well as score out there, pull up your phone and actually record some reference footage and placed side-by-side. This is where I recommend having a second monitor as an animator, or even a third one because it really helps to reference yourself on the other screen. You can import video files in Maya, but that's not the topic for today. But for this case we're just going to be using these photos. So what I'm going to do is I'm going to go to my front view and I'm going to import image plane. I'm going to say import image and I'm going to upload important dialogue pauses right here. And we don't have, again, we don't have, you don't have to use my poses. You can use you as just make sure you place the correct poses or even add more at the points where the audio is spiking. Remember at this point where it's hi, hi, hi. This is where it's much more easier to convey what the character is feeling inside. So let's start with the first pose. And again, I did go ahead and create a selection set for the whole of the body. So mine includes all the arm controls my armies in. My arm is in the FK, meaning it is being rotated like this. Again, this is why I recommend you to do some basic rigging course. Not only jumping into animation, at least it will help you understand when I say forward kinematics, what I really mean, but what it just means is I don't have to move my arm using this control where if you move, this whole arm is moving. So my Amazon FBA right now and as you can see, when I move this joint, everything moves. When I move this joint, this one independently moves from the first joint. Same case with their wrist, right? So that's forward kinematics. But for the legs, the legs, I like to leave them at IK because I mean, you're not just swinging, you also raising your feet up and down, as you can see. That is forward kinematics. How all of these controls that the rotations, the nutrition controls for the arm, for the body, the IKEA's and this one's for the legs as well. This one's for the shoulders as well. I have them under that selection set. So let's start of all. Let's start by creating the first pose. So, I mean, I mean, this is the first pose. I mean, come on, come on. I mean, come on. I mean, I mean, it's the first line, so let's go up to here before everything else begins. So he's in a neutral pose. I mean. So let's take him. I know that we can push, Let's go to the trucks and then push this dialogue little bit farther. Started earlier, I feel like it's starting way too late. I mean. So let's key everything in the body and starts by posing. Going to bring this forward like that. So be sure you don't clip. Again, use all of your controls. Which this for a little bit. Push this a little bit towards the chest that way. That's okay. Be careful of how your joints are rotating. You don't. We add deformations and the arm is in a neutral pose. I'm going to select everything here, even the, even their finger controls are under the selection set. So again, make sure you a proper job and creating this ligand set. What is this? Selected? The shoulder. The shoulder but the chest, the lower chest control can see really nice finger controls. They're giving us a very natural curve. Let's see. Suppose this. To think these ones are not on these selections. My top two add them, I think I had not on the selection set. So what I'm going to do is just going to select them for my selection sets. By, this is where maybe I should talk about the difference between mine and yours. I'm sure for you guys, you created the set, quickselect set, but sometimes it's buggy. So what I ended up doing is just open up my outliner is considered electron sets. Let me outline and shrink that down a little bit. So for this case, where is the re body? So this is everything under their body, right? So if I was to open up my script editor here and clear out everything, remember that everything you do in Maya is generated at a script. So this is how you can learn, also teacher, so scripting. But I'm going to clear out everything. And what I'm going to do is let's go ahead and do that clear out. Let's select the first control, the last one. And let's add this, this, this, this, and this. And also do the same thing for this other arm. I feel like also I might have missed this ones as well. This this, this, and this. And do it. I think I need to add anything else? I don't think so. I'm just going to highlight everything. You can press Control a alternatively and then middle mouse drag it onto the shelf and call it a male. I don't know why my edit button is not popping up. It had popped up as a big window. It's not showing up anymore, but there's an option to edit the icon name. So alternatively, I can just use this one. Only that if I figure out why it isn't popping up, just one of those bugs in mind. So yeah, I'm going to use this one called antibodies. Let's just press S to make sure that everything is now key framed properly. But let's pause the other arm because that's how it's able to edit this and called them the proper names. But let's do the same thing here. I know this one is resting on this. So I'm going to slightly raised that a little bit. Other one is below there. Can see it's, it's really it's really on the body there. Then it's dropped down this shoulder a little bit. And it's pose this properly. You can adjust just want don't want it to clip. To clip. I think this one can be raised up to avoid the clipping of those two arms. And then for this one we could just rotate it that way. Did this way. Again, remember not to clip. Then this point, just select everything there. I'm luxury, deselect the things that it's using and rotates the fingers back. Again, this is such a nice theory, but it really a good job. And I'm going to pause this dump properly. Avoid clipping, maybe raise that up, then. That this down like that. And maybe you can just be curved like that. Downloads I assume it's resting downwards the Qin so much clipping on the arm twist towards itself. So it's trying to fix that. Again, be careful of the book because I guess it's kind of popping there. So be careful you don't run into those kinds of things. Again, this, this is one of those things where I will say it depends with the short. If the camera is really close up, It's really not in this case, I know it's a fairly short it's not something that is going to be so recognizable like the clipping. So don't stress yourself out so much in trying to perfect it. But I think we can do a good job will be reached at his elbows. Seems like it's laying like that. And I think last loop that looks proper for the legs, I can see his legs facing the other side. So when select is leg control, push it a little bit. No, it's slightly. And it's good practice to balance out your poses. This case, he's probably leaning this way. So maybe a little bit down to curve is nice like that. And if he is moving that way, that means is our body is like if he's falling towards this way, that means his upper body is going this way. So it's just good practice to always follow a principle called follow-up, follow through an overlap where the last things, the appendages, this case, your head, your chest, tend to be the last place you want him to look balanced. You can press seven to look at him. In this lighting. See whether they pose looks balanced or not. Because you don't want him to look like he's not he's falling. So since he's the chest is moving towards this side is head. Again, it's the last thing should be moving. Maybe he's supposed to be facing somewhere down there because it's like, it's like angry and stuff. So see, that's the first pose. Selected. This one. So the next pose is a common. Come on. Now, make sure you hold this pose in place, meaning user holding frame. That just means hold this position. Suppose because you start posing here, it's going to, let me pause and show you what's going to happen anyway. Let's just keyframe. Its mark on the arms again. Let's open them up. Again. It's one of those things where I could say just 00 stuff, stuff out, it's just quicker. Instead of you don't run into gimbal lock and stuff. Just 0 out where you're going. You don't gimbal lock. You're going into values that are absurd. It's can see this arm is clearly rotated way too much. You don't want that. Now I'm not selecting and then zeroing out everything because I want to maintain the legs. The leg poses. Think we could add everything here and just deselect this case for this other side, control shift by day, then Control D to deselect and think it's just a matter of rotating everything again. Now the arm is open. This one's also be zeroed out. And yeah, I also think for this just controls as well. Can also 0 them out and straightening. So let's pull, let's check this pose which is come on. Come on, come on, come on. So most of animation is just exposing and stuff. So I can see my arm is already twisting weirdly. So that just means Let's look at my elbows are raised up because he's kinda becoming tense. So it's just why is that? We can pose this is just a model of widening. No, because it's like come on. His arms are really like asking the question, Come on. Come on. Why you seriously can stop yourself from line. You had that live in your life. So the feeling of being lied to. So you can tell that this guy is clearly not happy about this guy being about this guy lying so much. So come on. Come on. Okay. Feel like the elbow could go a little bit up. The aim of course looks weird like that thing, That's better. I think I did not mention if you drive a car, another camera, the one that you want to view, it already propped up. So we're going to do that in the next lesson. But again, Js this elbow because he's tense. Come on, come on, come on. Let's open up. Let's flip out. So open up the fingers. Thumb, that does seems to be doing a better job and does have a slight bend like that. That's makes the pose look way nicer. Come on, come on. Stretching, stretching out the fingers on little bits really helps them stand out. I can already see it looks like he's really in maybe. Is this a little bit? And you want to avoid twinning where one side looks exactly like the other side. So I'm going to maybe drop that on a little bit of maybe no, maybe push to spend a little bit forward and come on. I think at this point he's looking at the camera and his head should be straight. And notice that also the head control is not in that. So let's look at all the poses are. Okay. No, I just can see that controls are not in that selection set, so it wasn't keyframe. Right? So we want you to hold this position. We're now saying right. So and also the leg is back. So the leg seems to be like has brought itself back and he's more raised like this. I feel like he needs a curve where maybe he's bending towards this way. And then his upper body is swinging soon towards this way. Maybe he's head tilts ultimate down. And it's more of a confrontational pose. You can press seven to see whether your pose looks more convincing. Seven is just the unlit mode. So it'd be a little bit, push the chest a little bit that way. Just try to sell it. Sell it again. He's falling towards this way, so his upper body will tend to move in the opposite direction. Right? Come on, come on. Let's keep everything clean. So that's, that's the come on the scene. You should hold your poses. You don't want it to be moving. Like this. Animating all the way through. The common needs to be so instant come on. So what I'm going to do is there. But the time is ending again. This is where I'm going to middle mouse click on this pose here and I'm going to press S. Again. Control is not in that selection, so I'm going to press S. Can see now it's more instant like come, come, come, come, come, come on, come on. Come on. Again. If you feel like it's a little bit too instance, we could just say Control Shift and click and push these four paws backwards. And also remember it also push the head, the head one backwards as well. Come on. Right. You want you to be holding your poses. Make sure you have a hole and then release and then go to the next pose. Because if you don't, the animation is going to start looking floating rates just constantly moving, which is something that really doesn't happen. Of course you're constantly emotion, but that is why we have something we call moving calls where in this next pose, maybe your pose is moving, but I'm going to leave you guys to continue posing. And in the next one we're going to continue posing with the other poses. Probably. You guys as well. I've already done it since you've already gotten the gist of it. So see you in the next lesson. 7. 006 Adding moving holds: Hey, what's up, guys and welcome to this lesson. I did go ahead and finish out there the poses, as you can see, also created a camera, which is done by coming to Create Cameras, camera. And if you want to sit through your camera, just go to Panels, perspective. And for me it's coming around and I have it locked. So let me unlock and uncheck all of these things. The grid. And for me I wanted to place it there. Now you want to activate this film gate because this is showing you what the camera will render. So for me, I just want you to be able to be there on this side, not fully at the center. Let's see. Because it's like talking to someone off camera there, which is something that you tend to see in a little movies. And then once you're done positioning your camera, just lock it with this icon up here. Or you can just come to view and say low camera. For this view, I'm going to disable NURBS curves and I want you to see the poses I did manage to opposing seriously. You really cannot stop yourself from line is considered finished. All the other poses and spaced out. The ones that I felt to be too quick. And yeah, so this is again why I emphasize maybe having a second monitor because for me I can just tear off a copy of this camera and it's going to I'm going to place it on my other monitor. But if you don't have two monitors, what you can do is you can split your view into two. And then this one can be your perspective or your camera depending on issue. I don't know what prevents you have, but this one can be your camera and you can work on your perspective here and your playback and be on this other side so that you can be able to see what you're doing. So that's just a tip for you, right? So now that we've sometimes I don't know why it does that. But now that we have done posing and creating all that opposes, what I'm going to do is I'm going to add moving hold, snout are moving holds. But for the last pose, this one, I'm not holding it because it's more I'm moving in between. So I'm moving in-between, so I do not have to hold it and I didn't feel like it being necessary for me to hold it. So a moving hold is just basically, you know, it's like an idol is like I'm going to x, but I'm trying to find a better explanation, but it's one of those things that you do subconsciously and you don't know, like your body is being affected by gravity. So it's not like you're going to stay still like this. This just looks dead or it looks like a robot or something. So I'm moving hold is basically, it's the same, you holding the same pose but you're moving slightly to give it more life. And I was gonna see moving holds are added mostly on the last, on the last frame of the whole. So in this case like this, if he's holding his arm, I expect that gravity is working on his body a little bit. So maybe he's hips can drop down a little. Not so much. It needs to be subtle. Oops, and I think I was on the wrong key frame. There. Wasn't this on this one wasn't all. Also this was not on the selection set. That's o. Since it wasn't, I think we're just, let's just add it anyway because, I mean, let's clear the script editor. Click on this. It's going to add everything. I'm also going to add the hips and the head. Instead of having two every time. Keyframe the hips and just realize that it's not there. Please start where everything is keyframe. So now this means that after this means I have to go and keyframe every pose again because again, the hips just realize the epsilon naught there. So don't worry. It's part, it's part of the processes. Making mistakes are part of the process. So at this point, alright, so maybe I can, at this point, I can maybe raise the hip a little bit higher so that by the time it's getting into this, it's dropping down just slight, just slight. It needs to be very it needs to be very subtle. That's the point of a moving hold. It needs to be very subtle. Maybe this one will be the arm is like gravity is working on it a little bit. Maybe there's a little bit of compression and downs, but I don't like messing with them so much since they are already clipping through the chest. But we can drop this bit, we can even drop the shoulders because again, remember gravity is affecting. But like gravity is affecting most of the things, right? And this may be, as he moves up, the head is obviously going to move up a little bit slightly. And also, he's probably going to move this way. Maybe move this way because it's falling. So it's gravity, right? As you can see, just some slight movements really add some life into the character as it moves. This way, I do believe is justs will want to move the other way round. Okay. So let's go to the other moving hold pause. Come on. So it's the next one. Now for this one, again, gravity, remember gravity is working its magic. So I will drop down a little bit to go into that a little bit, but removed because this way you following the animation principle of follow-through and overlap, the appendages tend to move less so as this arm goes inward and downloads and inwards this one up and go outwards. Because this is the last thing this will do. The reverse. Just always remember, that's how you can see. It really adds some life onto that. Some kids for the other side, it's going to drop down and maybe move a little bit inward. Think that's too much. And again, this will do the reverse. And they will also do the reverse. Again, the shoulders, I do believe we'll have dropped even further because again, it's gravity. And this point is hips have probably, he's probably coming down because he was really raised up. Maybe push him that way. As you can see, he's just swaying little, but you can see how much life this adds onto the character. I mean, come on. I mean, even let's just remove the knobs, girls so that you guys can actually see. And in fact, let's even go to our camera view and see what's happening from the coupon. Coupon. I mean, come on, come on, come on, come on. Let's go and see. It's really adding breathing life into the animation because it's rarely are you actually standing still. There's just something happening and your eye tends to pick up on that. It's just subconsciously you pick it up. And now unless someone animates it and you like it's for someone to animate it the wrong way and not have moving OLS is when you'll notice that there's something off about this motion. So let's go to our perspective and continue. Perspective. I don't know why I chose this. I don't know what those that activated. But again, let's go and find the other pole and the switches. Again, I feel like he's also kinda going towards this way, which will also again trigger the chest to go this way. Maybe the head will bounce up and go down. Seriously. Don't worry, there's always in-between poses. This is the transition to the next pose. This is something we should do in the next lesson. But for this one, I just want you to walk on the movies. Let's see, just see. He's really dropping down because he's like angry and stuff. So his hips curling. Everything is coming forward because he's like really angry. And again, remember, the head will go in the opposite direction. This one's will drop down. This one's will go in the opposite direction and this one will go the opposite direction. So I'm going to drop down this one. We will go back and it's on, we'll come back. Alright, maybe even a little bit. Again. He believe this will drop down as well. And he will lean on that. Pause even a little bit. And four didn't even a little bit more. So. So hopefully you have now understood and like keep gotten the concept as to how to add moving holds. It's really not that difficult. It's just a matter of remembering that gravity is working. And also using the principle of follow through an overlap. If your arm is falling down, then the appendages will always go in the opposite directions because there'll be the last ones to catch up. So I'm going to end this lesson here. And hopefully in the next lesson you will have added moving holds for all your poses. And we can work on in, we can work on the in-between frames. So see you in the next lesson. 8. 007 Adding inbetween frames: Hey, what's up, guys and welcome to this lesson. Now, I did go ahead and add all the moving holds. Now it's probably a good idea to do a play blast. So I'm going to go to Window play blast and I'm going to use this settings. It's going to store the images in your Temp folder. So yeah, play blast. And I'm going to pose this as I wait for it to catch the animation out. The animation is done caching. And I'm glad Scott, Come on. Seriously. You really cannot stop yourself from lying. I mean, come on seriously. You really cannot stop yourself from line. I mean, that's gonna see like just adding the moving holds really brings life to the character. So that was played blasting from the camera. It's one of those things that just, it's just a helpful tip to make your animations look more realistic. But now I'm going to work on the in-betweens, meaning because considered already added one. Something's in-betweens com, where there's some animations that need more polishing or need to, need to make more sense. Like in this case has can see. I chose a middle frame where I had to raise my feet because the food was dragging. So I just and in this case, you don't have to keyframe everything. So you just keyframe individual elements that look out of place that look like their movement is weird. And also the in-between frames also a good time to add arcs and curves. It's also another principle of animation. But you should definitely check out if don't know the 12 principles of animation initially. I mean, you should really go nu two men, check them out. I also added a curve towards the arm, don't worry, this is because I was using the grease pencil to plot out. It's another way of just drawing onto the screen. Yeah, it's just a way of defining anything. I'm going to use this one. So you want ox, you want OX, OX everywhere. So even when you move, food is moving. It's an arc like it's going from here to here. Alright, so those are the kinds of things you want in your animation. So, yeah, I think it's adding another keyframe now these are not like actual keyframe. So just like drawing keyframes, like right there, just from the Christian. So don't worry, if you're seeing these boxes. It just means you add some drawings from your responsive. So I think for income, once we are done and think you can go to another frame and look for someone like this in the middle. Again, as you can see, this food is also dragging itself. May you can I think I can just a tad bit. And of course, as the food is raising up, we know it's kinda dropping because of gravity. Alright. Now also feel like that poses benefitted me just dropping it a tad bit like that. I feel like he's not moving this way, needs to move in this way. This in-betweens are therefore that kind of work. I know it's just adding more polish to your animation is not really something that is slight. You'll want to be doing at the beginning of your animation. It's something that you want to be doing once you may know, rough and out or you've plotted out the the main poses you've added. Moving old. Now in-between comes there, it's just a better way of walking. Basically. Can also see my arms are dropping, right? So again, remember, as you, as your arms are dropping, this things tend to move up. It's just going to add that bit of realism that moves up, that goes down. And probably this way, some cases it is if the elbow is moving down, this one goes up and this includes this way. So those things are just add realism to your animation. And also as the chest moves down the head, we also tilt back a little bit. And let's see where the other keyframes, okay? Alright, and you know, as MIB and even the head might in all settled down a little bit. Doesn't have to necessarily straight all the tiles. Can see that juggle, that small jiggle just adds a little bit more realism and more, just makes the animation more lifelike. Let's look at it. It's also good. Thing to also be playing your animation buck as frequently as possible. I mean, come on seriously. Come on. Seriously. I mean, come on. Seriously. I feel like he's really nodding so much. It's good. Yeah, but I feel like I can erase that a little bit. Okay. Let's go to the next pose. Before I even go. Is there anything else? Again, this is another in-between, so he's moving up, so his shoulders going backwards like that. But this will come up because again, those things follow follow through an overlap. It's one of those times for follow through an overlap. Put my phone on silent. Again as he moves up, the head will kind of go down to is there anything on the lower body that needs the same treatment? But mostly the follow-through and overlap is very noticeable on the arms and the rest of the fingers. Those are the areas that they follow through. An overlap is very noticeable, specifically at the arms and the tips of the wrist and the fingers and stuff. You can just look for another thing. For another pose for swap non in-between. His arms go out. Um, it will make sense that this elbow will rotate this way. And there is a Pope, the Pope, a bad poem itself. So I feel like there's something going on there that is so strange. I think we can yeah, I think the elbow is rotating too much there. That's why. Again, it's also another way of fixing in-between. So as you can see, it's really popping off badly, so yeah, you want to correct that in an in-between those as well. We're going to see it's not only like a way of adding, like making the motion more like moving an arc. It's also another way to like go ahead and try and find issues in your animation. So let's consider elbow there was, was popping in. Sometimes you just have to add more keyframes because there's no other it fix it like what I just did. As the arm goes this way. I do believe this should be going be the last one to catch up. Right? Probably Probably. This can go down because it's no, it's going down and then up settling. Remember it's the last thing. And also I can see his arm is moving up, like he's not up or down. So I think this is a good point to add an in-between as well. You can also walk on the other arm. Let's check if it has the same. It's possible to color these keyframes are for this. Let's go to this other arm and see if it has the same issues as this other one though. Fortunately, this one does not feel like this shouldn't be more than once. Again, we go forward and add a follow through poses is like this is the settling pose. This is the let's look at that again. Again, I insist it's a good habit to keep on checking your animation. Let's let it save. Let's go to my camera and see what's happening. We may even have added more problems, but animation is basically this is just going back and forth and trying to see your animation looks. You really cannot stop yourself from lying. I mean, come on seriously. You really cannot stop yourself from line. Come on. Seriously. You really cannot stop yourself from line. I mean, come on seriously. Now I do notice that I feel like this pose is too stretched. For the fingers that is full. We can let's look what's keyframe is there? Yeah. This is I feel like it's too stretched. It's maybe straighten it out. Alternatively, you could just delete the keyframes and start afresh. You know. I mean, unless you're in a hurry, if you're not in a hurry, I will suggest, you know, sometimes deleting and starting again because, you know, messing up is part of the processes I've seen. Not really feel guilty like, Oh, I messed up. I can do I don't want to do it again. It's just part of the process. Men just don't be don't be ashamed to do it. Just do it because from the mean, I feel like, okay, you know what, I feel like this pose is not necessarily just delete it and see. Let's look at it from the camera and see what you're seeing here. I think we could do another play blast. Let me do another play blast and let me pause this and then come back when it's done. Okay. So the play blast is done and lying. I mean, come on. Seriously. You really cannot stop yourself from line. I don't like that last pose. I'm just going to, for the sake of not extending the lesson is much. I might walk on it. I might not walk on it, but again, it's up to you and your animation and whether you feel like it's polished enough. It's all of those things where I can't teach you your own niches. Everyone has their own. We wanted to see things. So if you feel like Genki animation, maybe that's your style. You can leave it like that, but if you want to polish, it can also go ahead and polish it. There's nothing stopping you. So I feel like maybe the arm needs to be seen a little bit more. Maybe that's why it looks so strange to my eyes, but I don't know. It's just want to again, all of those things where it's just a personal preference or pet peeve. Again, you're going to work on news and I'm sure you guys will have a totally like stylistic animation from mine. Probably yours will look old, reflect to like more of who you are or how what your style is. But again, remember it's just one of those things. Just polish it. Don't feel like you need to rush things. Don't feel like I don't feel like you don't overwhelm yourself with trying, trying to perfect it again, because you're new, just give yourself room to actually make mistakes and actually learn as you go. And again, the more you do it, the better you become. So I should see in the next lesson. 9. 008 Lip syncing the Dialogue: What's up, guys and welcome again. So we're now on the mouth. I want us to start animating the dialogue. Since now we've forgotten the whole body to present a more presentable phase. So again, using the basics, using the methodology that you learned when we were animating the vowels. We're going to begin with this dialogue. As you can see, we have spikes in here. So let's just listen to this. So it's, I mean, I and I'm going to zoom it into I only I until where the eye and so i, so let's select them out controls and say I, I ups. The mouth is rounded. Let's look at it. Let's see. Maybe a little bit of the upper jaw is not really necessary for you to see the upper lip amino. Like the joke can benefit from being a little bit open ups. But again, I don't want it to be so much that it's popping. Again. You want these poses, last two frames. These are coming in here. So select everything and q dots. And let's say let's switch to stretch this. No, the other one I'm I mean, I'm I mean, me me begins here. Remember that is you can see it's mostly T on this one. Mei, Mei, Mei. Again, pause, keyframe everything. And let's select everything. And for the mouth, I mean keyframe. I mean his tea that shut. And there's more lips there's more teeth showing. I mean, maybe maybe push this lip in what I mean. And then there's a cut. And I feel like, okay, let me move this for a day so that it can last two frames, 12 and then four. Here we can 0 out everything. And then we go to, Come on, come on. It's an a. It can repeat this sound here. 12. Let's just suppose that. Okay. So by the way, this is also another point where it should, another point in time. Why should talk about creating a camera for the face specifically, you could do that by, again, camera, camera and look through that camera Camera tool. I want it to be parented to the face. This camera will always remain centered on his face regardless of how he moves. Now show you how we do that. Select that. What you do is you select camera with this button or just go to View and select carbonate should be some way that select Camera and hold the Shift, select the head control and press P to parent. Now, whenever the head moves, the camera will move us. Just a neat way to make sure that instead of having to move, because all obviously animated, you want, you want the camera to move along as well. So again, it's going here. I'm talking really quick Can not really a slow talker. I'm talking really, I don't know if all I will say above normal speed of talking about people complain they're not hearing what I'm saying. Come on. Come on. I mean I mean I mean I mean, I mean, sorry, Ed, pose a little bit. I mean, like the m can be emphasized more. And there's just a slight, slight folding of the lips. And also it's a little bit stretched. Again, use a mirror. Look at yourself. Oops, that's too much. I mean, I'm the upper lip on the m seems to be the one folded a little bit more. Cut them again. So we just duplicate them. That one too. All. We're going down. Oh, come on. Come on. When did I rotate the tongue? Strange. You don't you don't remember rotating the tongue? Is actually strange. I don't remember actually for taking the time. But yeah. Again, it's just an O an O shape. Come on. Foot like this one is just so just packing it like it's just, it's just so prominent. Clarifying that bestseller it is age. But on, on, come on, come on. In. So the posts, we pose the come on. Then. Of course, he's done animating, he's done, I mean, the tiny meeting, but he's done talking. Let's just look at that up to that point and see what we see got big weaker ligament. Look through the camera to me. Come on. Come on. Come on. Come on. Oh, does an audit one? I mean, come on. I mean, come on. Come on. Come on. Come on. Okay. Okay. Okay. Okay. Let's head on over to the other one. You really you, you, you, you you might think put a hole there. So you seriously so I'm looking at my lips. You've seriously, then you can always record video footage of yourself saying this. It would really help if you don't have a mirror and if you don't want to use your phone, you see, you know, these aren't, right. No worries. You can see all this. You can animate all the all the letters. You just need to find the ones that are more prominent in a statement. So CDR see asleep, see sleep. So o and y is my mouth open. It needs to be shot at this point. Another S coming along. Select everything and keyframe. At this point. E, e, e, e, e, e, e. I feel like for E, I don't I don't see my lower teeth. So we can close his mouth a little bit. Seriously. Going here from this, but up to this point, he's already stopped talking the way, so started coming out. Let's let's, let's play back and see what's happening. Let's go to our main comment. Oh, and we own camera tool this time. We should have locked this. I forgot to lock this. It's fine. It's fine. It's fine. It's fine. Let's let's let's lock it. So when you look it, you can't really move it. So I'm probably use that as well. I wanted to be level like fat, probably probably properly in the center. Let's hide their naps. Cows. Come on seriously. I mean, come on seriously. I mean, come on. Seriously. I mean, come on seriously. I mean, come on seriously. Seriously, seriously, seriously, seriously. I feel like the L shape is not being seen. Let's see. I can hear the sound. No, let me let let me let me select the tongue controls. I'm not going to select everything else, but okay. Now I feel like maybe the mouth will reveal more of the trip as he's like, seriously, you feel like this is that maybe even more stretching of the mouth. Hopefully that doesn't create a cause stuttering because it's being animated so close together keyframe, like maybe a little bit of rotation will help. Okay, let's go to, let's go to come in. Let's put comma two and see what we are seeing here. And see what's happening. Come on. Seriously. I mean, come on. Seriously. I mean, come on. There's something there's something wrong. I feel like the sound should have been here. Maybe we're revealing too much of the lower teeth. Oh, I press Render instead of pressing the corrupt. I feel like these teeth at this point are being revealed so much feel like it's more of the upper teeth actually really seriously. Okay. So hopefully you guys are getting the idea as to how you can animate the rest of these lines, right? Again, if I was to automate the whole of this is going to take me a long time and the last one will be extended. And I'm just repeating the same thing over and over again. So again, animation is just that. It's just it can be tossed and because it's repetitive. But again, just dive into the process. Listen to the words carefully. Listen to the shapes. Look at your face as you're animating and it's really something that is going to help. And in the next lesson, I should be done animating the rest of the sentences. Hopefully, if you've, you've understood how to proceed from here. So see you in the next one. 10. 009 Adding Blinks to the character: What's up, guys and welcome to this lesson. Hopefully you finished animating the face. I mean, not the face, but the lips should have something that roughly matches mine. I mean, come on. Seriously. You really cannot stop yourself from line. Now it says, can see for this version I had already put my own facial expressions, might add the eyebrow is moving his blinking. But yeah, for this one. For this lesson, we're supposed to animate the blinks and blinks are really not that difficult. Mostly you put your place blinks where these movements no more, where there is movement and usually those are the points where your blinking because there's a lot of air moving which triggers your eye to blink industry moisturize your eyes because that's the purpose of blinking to make sure your eyes don't dry up? Somewhere like there. These are the mouth control. So let's look for the eyes. And we can, we can, we can set a keyframe, you can set a key-frame. Let's hold. Set another keyframe. Think somewhere is when we can keyframe. I think by here. I think that's way shorter. Let's see, even delete this, but I'm holding Shift and clicking if you're wondering now, selecting the keyframes. I feel like I feel like that's a good spot for him to being. But I also need to hold the eyes open up like that point. Does it make them blink a little bit fast because it depends with the mood. If you're speaking usually that usually blink so fast. But if you're maybe waking up, you're relaxed, you're just having the time of your life, the blinks. I usually slower in this case, I'm just going to go to my eyes here and let's, let's close them up. This tree gave on that 0. Yes, for this rig up on that, if you place a 0 on this eye, controls it really close because it's not fully closed, but we're going to use the other controllers. So let's just 0 and then use the other controls to close, really close their eyes. And I mean, it's happening so quick. I don't even feel like you're going to notice it as much. But as you can see. So let's play that and actually have an idea of the timing. I mean, come on. Come on. Come on. I feel like blinking. I feel like he's opening the eyes too slowly. So what I'm going to do is I'm going to move this last keyframe a little bit closer. And obviously that's going to change the timing for the blink. But let's see what's happening. I mean, come on, come on. And I feel like that's more natural. And you know, to make like the blink more natural, you could offset some of these key frames. Maybe make the left eye close like an A-frame earlier than the right one. Really creates those natural feeling, that natural feeling. So I think it's for this controls the side. I don't think there is another one. It's just, you know, we can just hold, shift click and push this keyframe backward. Not that one. Link itself. Push it backward for this eye. And as you can see, it really adds, it really makes it so much. Basically because it's more like symmetry. Symmetry is rarely occurs in nature. Nature is, nature is perfect because it's imperfect. Meaning, like it's very rare for you to find something symmetrical. It's human being so obsessed with symmetry. So let's look at that. I mean, come on, come on. Just that slight offset really, really adds and mix the high feel like, oh, this is actually a real eye blinking. And I think we can even offset for this one and push it up earlier. And even like for the eyes opening, you can also do the same thing you can. These are the kinds of things that form the personality, like the way you remember someone will be someones picks from this side, maybe someone who speaks while shutting off one eye. It's adding those imperfections in the timing that really Kiva personality to the character that you're animating. I mean, come on, come on, come on, come on. Come on. So again, it's not only like when you're moving your head, is each a good time to add blinks, but also like long, extended periods of poses. Those are areas that I feel like you should also add blinks. I feel like you could go for at least two seconds without blinking and then you blinking because again, when you're speaking you're bleeding so fast it's an amine. I'm even blinking myself and I'm trying to even observe myself in the mirror right now and I can see that I'm blinking a lot. I know even here when he's moving. Seriously, we can add another blink. Keep selecting them out controls, but no can add. We can process. Let's add a keyframe. I think like, I think this one was added to our list. And we can shut them off again, just 0 them out. And for the eyes, as you can see, it has a lot of control, some kinda avoiding selecting a lot of them because you know, an offsetting, you don't want to waste time selecting stuff a lot. That is assuming you have if you have the time, yeah, sure. Go ahead and finesse it. Fine tune it. But if you're running low on time, like in the movie, it's a draft that is needed. Don't really need to spend so much time selecting stuff. This can see, it really makes the car, I mean, come on seriously. Again, I feel like those blinks way slow. And he's gone foundation or this point. So I'm going to hold down shift and click and drag. It's going to create a range selector. If I was to click on this range and push it this way, it's scaling the keyframes inwards. Basically it says shortening the time. Now the danger to this is if you don't snap, you might have keyframes that are like 0.1.2 something. And you don't want that. If you want, you should really like, maybe sometimes it's good, sometimes it's bad. In this case, I want it to be on a whole value, like if a keyframe is that you do, I don't want it to be 2 something. So I'm going to right-click and say snap, snap them to whole numbers. And I feel like maybe you can push the key frames a little bit farther that they don't have to be so close to the other. Blink. This is a good time to look at this. A good time to look at the camera for the face. I mean, come on. Seriously. You really cannot. Let's see. Let's look at this shot camera, which is camera one. Let's just upsetting. I clicked Open my mistake. Let's hide everything is and should check this camera off. I mean, come on. Seriously. You really cannot stop yourself. I mean, come on. Seriously. You really cannot say, Oh Kay, I think I push them a little bit. I think they could do just use once they get in somewhere like that. Let's see. I mean, come on seriously. You really cannot stop yourself coming, Come on, seriously. This is our locator that is showing up on the character. So I'm going to go to show, and let's uncheck Locator. It's usually at the bottom. I can see clearly let me move closer to my monitor. Locators. It's not off. How can I don't know what's this that keeps showing up. But I mean, come on seriously. You really cannot stop yourself. I mean, come on seriously. You really want to feel like the blink is a little bit way, way, way too fast, way too fast. So I can scale it out again against nap. Let's look at that. I mean, come on seriously. You really cannot stop yourself. I mean, come on seriously. You really cannot stop yourself. I mean, come on seriously. You really cannot stop yourself. Again, I feel like for the timing right now, it's okay. Again, it's one of those things where you can really refine it to your own style. For me, I feel like a maternal k points. Let's see. I feel like I can also paste that blink here and I'm going to copy this instead of actually having to do it again and again. Just going to copy these keyframes. Want to say Copy. And I feel like another blink should. Here, if your leg is going to stay stationary for Ireland. And coping, as you can see, saves a lot of time. So let's see what that has done. And this is the benefit of creating selection sets. As you can see, it's quite easy to speed up your work. I mean, come on seriously. You really cannot stop yourself coming, Come on seriously. You really cannot stop yourself. I mean, come on seriously. You really cannot stop yourself. I mean, come on. Seriously. You really cannot stop yourself. And the offset is the offset. Okay. Let me just move those skin because I feel like I don't know. I don't like I don't like the way it looks, man. I really don't see I mean, come on seriously. You really cannot stop yourself from lying. I mean, come on seriously. You really cannot stop yourself from lying. To me. I feel like the blinks at the end are fine on one thing though, I feel like the offset is I don't like that offset. I feel like it's quite distracting actually. I feel like maybe the last one, the last frame can be managed. Let's see if that is distracting. I feel like we can get rid of that offsets. Because I didn't know. It's just so distracting. Like at the end there. I mean, come on seriously. You really cannot stop yourself from lying to me. Come on. Seriously. You read. And I also feel like I don't like the spleen. If it's the timing, that is all. I'm just trying to, you know, think about it. Like again, animation is, It's this basically, it's basically, you know, it's you animate. And you don't want the character to feel a certain way for you. Maybe it might not feel weird. It might not feel like the timing is off. Again, I'll like to see some of your results as you finish animating so that it's really interesting to see how different people approach the same process. I mean, come on seriously. You really cannot stop yourself from lying. I mean, come on seriously. You really cannot. I feel like it's quite keep selecting the mode control. You know what, let's push this last one here. Maybe I feel like that is on that is I mean, come on. Seriously. You really cannot stop yourself from line. I mean, come on seriously. I also feel like I feel like it's happening so close to this keyframe that it doesn't pass blink that it doesn't really feel natural to me. I don't think you can blink that. Many times, especially like when the guy is in a confrontational mood like this. I mean, come on seriously. You really cannot stop yourself from lying. I mean, come on seriously. You really cannot stop yourself from lying. I mean, come on seriously. You really cannot stop yourself from lying. I mean, cow. Okay. I think at this point, I feel like the timing is right now satisfied as to how the blink looks like. I still like my earlier results. My blink was my blinks fell. More natural law on this one. You know, what's funny is I can see also this one, also this one. So on this in-frame, I don't know why for this one I feel like it's so unnatural. But maybe it's because he's not expressing his face. Again, it's one of those personal things where like maybe for you, you might feel like you don't even need the blink. In fact, let's just get rid of this link altogether and see what feeling we're going to get. And let's play that. I mean, come on. Seriously. You really cannot stop yourself from lying. I mean, come on seriously. You really cannot stop yourself from lying. I mean, come on. Seriously. You really cannot. Hopefully it looks okay. Without that key-frame. Can see I'm really leaning on to not having a blink on this specific version of the animation. So go ahead and add blink pseudo. You can add as many as you want. It's your preference. Again, I really want you to see the end result of what you, what you will come up with. And I feel like I feel like it's going to be interesting. People will pull, will always come up with different end results. So I don't want to extend this lesson anymore. And in the next lesson, I feel like that's the last lesson. We are going to animate the facial expressions, the eyebrows, me, the chicks puffing in and out. And we should conclude the lesson. The cost there. So see you in the next lesson. 11. 010 Animating the Facial expressions: What's up, guys and welcome to this lesson. Now, this lesson we're supposed to animate the eyes following the head and be the official expressions because obviously he's kinda hungry and we need to show that you can like it can not only speak his anger, he can express his anger. That will make more sense. But one thing you need to notice for this eye controls as Consider the following the head. So it doesn't really give you that much control over the direction of the eyes. But if you wanted to control the i's individually from the head, as you can see, you should have channel attribute called Headspace. I don't know if he has one. Maybe I feel like for AND the i's namely used to follow the head. But headspace one just means the eyes will follow the hair divorce to turn this off by typing 0 or off, it's going to see the eyes won't follow them. And now that's where you might have a lot to my tab, but you will have independent control of the eyes. And a good general rule of thumb is the eyes always lead for us. So in this case, let's just key frame the eye here and move it down. Alright? So he's like looking down. The mean is like, Oh, I mean, seriously. Even before the head turns, the eyes should have already indicated where he's going. I think we let, let, let's look at the last keyframe of the head. Now that point the head has already turned. The eyes should have already gotten to their resting position way earlier than that. Remember the eyes lead, the head follows. So let's just make sure it is straight on by going to the side view here and making sure that he's looking straight ahead. This is where you need to be using the other views. And let's see. Let's look at that. Let me know. Let's look at that from the main camera because that's what we're supposed to be viewing through and see. I mean, come on seriously. You really cannot stop yourself from line. I mean, come on. Seriously. Can see, you know. I feel like I don't know. I don't like let's see the timing again. I think the eyes could do some rotation as well because I feel like no need to really point to head. Oh, why is it Genki? All of a sudden, let's, let's investigate and see what the problem might be. That is actually strange. Oh, it's maintaining the rotations. So let's rotate it back to 0 because I was wondering, alright, alright, alright, alright. That had kinda freaked me out. It's not going to lie. It's a silk at the camera again and see what's happening. I mean, come on. Seriously. You really cannot stop yourself from line. I mean, come on. Guys can see it's pretty much almost doing the same thing as just following the head. So again, I'm going to leave this up to you if you choose to animate the eyes moving in a different direction. Again, remember the eye's lid and the head follows. So for me, I'm just going to, instead of actually deleting these, another way of getting rid of animation on objects is just going to the channel box here, highlighting everything, right-clicking and say break connections. And I'm going to going to 0 out everything and turn on the headspace back to one and I should follow the head. So yes, let's head on over to admitting the eyebrows and these are my eyebrows controls. Again, he is angry. He is like looking down. So let's push that much. But there's some times if you notice the camera is misbehaving, just press F to frame up and then rotate this kinda upwards. Because you want to convey clear in that I mean, as, as, as, as, as, as I squint Decker notice that also might chicks are raising up a little bit. So my my my cheekbone, which bone is really puffed out. And I think I do have the two controls. I'm also going to keyframe that. So be sure to also add new selection set for you to control me. Come on. I feel like at this point his way angrier or he's like, you know, like his eyes. It's like come on. Come on. Thank you. Doing are you taking me for full camel? Come on. I think for the eye controls. I feel like you'd add more, should add a keyframe here for these IOs, I feel like they should be more open because he's like, Come on, come on. And let's take this down. Again. You don't want tuning where this side is equal to this other side. So that's why now, because you'd make it more angry and it's making more angry. No. For the eyes, by the way, instead of adding more keyframes, another thing we could do is let's just get rid of this keyframe. Another thing we could do is we could create animation layers. Now what animation layers do is they basically place animations in their own separate layer so we can put the base animation for the eye controls on one layer. So let's create a new layer and call it, you know, I underscore blinks. Then we have our new layer up here. And as you can see on eyes, scumbling, so you have the blinks. And for this one now we can add new sets of keyframes. So now we can add now the expression keyframe so we can rename this layer and Let's double-click, call it x PR. For expression I, let's actually call it I. And that's called EXP or now, if you click create the layer using this button, having selected something, it's going to automatically add those items on that layer so you can just right-click and say Add Selected Objects. So going to say key, reason being he's angry, so he's on you, angry you're Lowell lead is kinda up because you're like, you know, thinking a lot. So your feces kinda tenths. Right? So let's look at the eyebrows. Again for this point, you could go back to the eyes and again, let's widen the gifts. I feel like the eye should move in on the eye, on the, on the eyebrow that is raised. Just creating that dynamic look. Also, the eyelids should be a little bit open on that one. Again, avoid symmetry. There's going to be an OT affecting the blink animation. So that's the power of using animation layers. You don't have to interfere with the blinks. So let's see. I feel like at this point he is, we hold this right? So we hold this expression as he goes forward. So I'm going to hold this. I'm going to middle mouse click on that point end keyframe. And I feel like at where he's saying seriously, He's like he's like giving you that. I see you, man. I see what you're doing. No. I feel like also this brow should be down. Like seriously, seriously, seriously. Seriously. Let's play that and see stone off the clutter and look at it. I clicked on playing diverse. I mean, come on, seriously. You really cannot stop. Let's play that again. I mean, come on. Seriously. I'm not lying that I is why a way to open. Yeah. That's excess. That's excessive excessive light. It's so distracting. You have to find a fine line between distracting. Now also fill you should add holds for the eyebrows as well. So because then we can hold this again. No, and we can hold this. And you really can raise this one up. You really think you can play with me. And, you know, raise it up a bit, maybe mess with this one. And I think we can go to the eye keyframes. Again, we can hold by Moody most clicking cup and pressing S is going to copy paste this keyframe to this one. You really, so maybe the eyes a little bit open on these points. So again, let's play that and look and see what we have. Let's see. Let's see what we have. I mean, come on seriously. You really cannot come in. Come on seriously. You really cannot. I mean, come on seriously. You really cannot. I mean, come on seriously. You really cannot. I mean, come on seriously. You really cannot come in. Come on. Seriously. You really okay. Okay. This is the heading somewhere. It's heading somewhere. Just feel like we need to make those expressions more, more expressive. But hopefully you've understood and you're getting, it's getting your understanding of the concept of how to approach animating dialogue, animating the face. It's really not that difficult. Again, it's just one of those repetitive things that you really have to commit yourself to doing. Even before we conclude the lesson. I'm going to go back to my display. I'm going to uncheck reference. Feel like I don't know why the eyebrows don't have the same material as the hair up here. Let's look for there. Material until it is MTA. We could double-click on that eye dropper and much much the same match the hair's color. Right? Because I feel like that's also I mean, come on seriously. You really cannot. I mean, come on seriously. You really cannot. I mean, come on seriously. You really cannot. I mean, come on seriously, right? And I feel like for these expressions, right, I feel like they could benefit from me just exaggerating the more light rotating this a little bit. Be moving them. Seriously ill, like it should convey more anger, exaggeration. She's a principle of animation. For suicide. If a person is sad, making more SATA, bus, one is angry, making more angry. That's basically what I'm trying to do right now. Let's just try and exaggerate. That is considered expression is more readable that way. And for this one again, exaggerate, exaggerate. This pulls its expression, make it more readable. I don't feel like I should wrote it that much. Maybe slight eye-opener? No. Okay. Let's just turn off the clutter and look at that again. I mean, come on seriously. You really cannot I mean, come on seriously. You really cannot come in Come on seriously. You really cannot come in, Come on seriously. You really cannot. I mean, come on seriously. You really I mean, come on. I feel like for this seriously. Yeah. I can see that it's not expressively. I think I need to hold the keyframe. Wow, yeah, but if this was a hold frame, hold keyframe, That's why it's not holding the question. Again, I think we need to repeat the same thing for the eyes, for the eyes, the eyebrows. It's hold that expression. Yeah, I think that was the issue. I wasn't holding the expression in place for a long time because you need time to read the expression. I mean, come on seriously. You really cannot get better seriously. You really cannot. I mean, come on seriously. You really cannot come in, Come on seriously. You really cannot select it from the facial expressions. It's the same thing as, you know, like there we were posing the whole body. It's more about finding the right bits, looking at the data, and seeing where it's a good time to place a specific expression. And then it's just a matter of knowing where to add holds. Moving holes are holding keyframes. And, you know, it's, it's that way for the rest of the dialogue and just, you know, finding the proper timing, making sure that the expression is more readable. And again, hopefully you have understood how you can approach own dialogue or your own projects when you're animating or trying to lip sync dialogue. So, yeah, hopefully you enjoyed the lesson. I should see you in the next one. 12. 011 conclusion: Hey, what's up, guys and welcome to this conclusion. Hopefully this course has helped you to understand how to approach your own animations. And again, hopefully you can go ahead and refine your own animation, work on your own dialogue, even use your own dialect. Don't even use, not necessarily using mind, but just practicing and refining the dialogue. Obviously at rendered, this is just a simple rendering scene because this is not a gender rendering course. I mean, you could check the introduction to my day, talk about rendering a little bit. But yeah, and obviously you do notice that my character looks different. And I've shown you how to change the color of the eyebrows and this other stuff that you don't like the way they look, maybe like a darker skin tone characters. So just make sure you go to your character, customize it, customize them there you want. Just mess with the material on. Don't mess with anything else. If you mess with anything else, you're bound to make the rig maybe stop functioning as it was created, right? So there isn't a soy you might want to change is to make the character appear more clear. And maybe you can see these expressions even more like in the case of the previous lesson, maybe had to duck and the eyebrows to make them more visible. Well, expressing. So yeah, hopefully you guys can send over what you were able to come up with. And I enjoyed making this course if you have any questions, post them down on the forums. On this course pages, on this cross page, that is Skillshare. The other platforms are made upload to again, hypoblast. Remember, be patient. Of course, I was not. I was not like I was getting off of screening, doing, finishing and polishing up the animations. Again, take your time. Don't feel like you need to rush and try to understand. And again, make sure you have a mirror. Make sure you have a mirror. Look at yourself and really analyze your character rig and see what your character rig really does, right? Because the rigor, the triggers for this rigs did a nice job. Again, thanks to Cogswell college for providing the Hendrik, which is done that I'm going to be providing. Now for these others, remember, you can go and check the links that I posted and use. Sign up if you need to sign up and download their drinks. And I think we can play this online. I mean, come on. Seriously. You really cannot stop yourself from lying. Yeah, hopefully you have something like that. And this was a beginner course for animation. Maybe I can make another one for the animation tools talk about all of these Keyframing the graph editor. For those people who might not be familiar with the Maya animation tools. So see you in the next course.