Maya Animation For Beginners - Mastering The Fundamentals of Animation in Maya | Opi Chaggar | Skillshare
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Maya Animation For Beginners - Mastering The Fundamentals of Animation in Maya

teacher avatar Opi Chaggar, Senior Animator + YouTuber

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

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.

      Course Introduction

      2:17

    • 2.

      My Mentors

      0:48

    • 3.

      2. How To Download a Free Trial of Maya

      1:04

    • 4.

      Zurbrigg Media Player For Animation Playback

      1:36

    • 5.

      How To Download your free rigs for this course

      1:43

    • 6.

      Animation Interface Introduction

      4:00

    • 7.

      Manipulators and Camera Movement

      2:22

    • 8.

      How To Create Custom Hotkeys

      3:06

    • 9.

      How To Create A Playblast

      2:01

    • 10.

      The Graph Editor Part 1

      6:07

    • 11.

      The Graph Editor Part 2

      7:17

    • 12.

      The Motion Trail Tool

      2:13

    • 13.

      IK FK

      6:16

    • 14.

      Principles Of Animation

      40:17

    • 15.

      Why Is The Bouncing Ball An Absolute Fundamental To Master

      30:03

    • 16.

      Key Poses And Breakdown Poses

      9:44

    • 17.

      Exercise Bouncing Ball

      9:06

    • 18.

      Bouncing Ball Squash And Stretch Exercise

      10:51

    • 19.

      Light Bouncing Ball Exercise

      16:47

    • 20.

      Heavy Bouncing Ball Exercise

      21:11

    • 21.

      Anticipation And Overlap

      25:10

    • 22.

      Overshoots

      5:15

    • 23.

      Upper Body As The Pendulum

      10:15

    • 24.

      The Arm As A Pendulum Exercise Lecture

      7:16

    • 25.

      The Jump Exercise

      37:11

    • 26.

      Introduction To Walks

      17:56

    • 27.

      The Importance of Arcs And Paths Of Action

      22:05

    • 28.

      Planning And Blocking

      11:05

    • 29.

      Blocking Walk Cycle Hips And Legs

      18:47

    • 30.

      Splining Walk Cycle Hips And Legs

      11:43

    • 31.

      Polishing Walk Cycle Hips And Legs

      11:59

    • 32.

      Walk Exercise

      19:44

    • 33.

      Exaggeration Weight And Balance

      23:36

    • 34.

      The Importance Of Reference

      23:20

    • 35.

      Exercise Side Shift Of Weight

      24:29

    • 36.

      Exercise – Picking Up Heavy Weight Shifting Exercise

      40:25

    • 37.

      Games Industry Standard Default Animation Set

      5:23

    • 38.

      What We Will Animate From The List

      0:49

    • 39.

      In Game Idle Animation Exercise

      20:37

    • 40.

      In Game Run Animation Exercise

      41:39

    • 41.

      Creating a Showreel For A Job

      7:31

    • 42.

      Networking

      2:50

    • 43.

      Applying For Jobs

      5:43

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About This Class

Get ready to do your own 3D animations in Autodesk Maya!

Learn and master everything you need to know to get started in animation - taught by a Bafta award winning animator

Maya is the essential industry standard 3D animation software. Maya is a must in the film and the video games industry. In this course, you'll learn how to master the fundamentals and principles of animation to give you a solid foundation when starting your animations from scratch.

Meet Your Teacher

Teacher Profile Image

Opi Chaggar

Senior Animator + YouTuber

Teacher

 

 

Hello, my name is Opi.

I'm a Professional Senior Animator working in the video games industry.

I have over 18 years experience in the Video Games and Animation Industry and I've created these courses to give back what I have learnt and hope to inspire the next generation of animators.

Companies I have worked for:


- Ninja Theory (UK)
- EA (UK)
- High Moon Studios (San Diego, California)
- Trion Worlds (San Diego, California)
- Sony Computer Entertainment Europe (UK)
- Warner Bros (Tt Games) (UK)
- Genjoy (A Scopely Studio) Seville, Spain/Culvar City, California)
- LavaLabs (UK)

My Mentors:

- Jason Schiefer - Weta Digital/PDI Dreamworks
- Steve Gagnon - Cady -Weta DigitalSee full profile

Level: Beginner

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Transcripts

1. Course Introduction: Hey guys, Welcome to the online fundamentals animation course. If there's one thing in my animation join, it has helped me. And that is going back to the fundamentals, breaking everything down into simple forms. My name is OP. I'm an animator in the video game industry and a graduate of animation mentor. I have worked out some of the top gaming studios around the world and high educational institutes and given talks as a guest speaker at universities during the last 15 years in this industry, I've been lucky enough to work with some really talented people. I've also started a YouTube channel where I share a lot of my knowledge from what I've learned in this course, I will be taking you through everything that's needed to master the fundamentals of animation, the course will be split up into three sections. Number one is that theory. The theory will cover everything from the principles of animation to the weight, appeal, timing, staging, everything involved in the principles of animation. And why the actual bouncing ball is the key fundamental to learn in animation. And number two is the practical and enter practical. You will be doing exercises along with me or are your own pace. We will do the classic bouncing ball, walks, idols, runs, weight shift. So there are loads of exercises that you can get familiar with and getting into the workflow of Maya. And number 3 is how to create your show row and how to put your name out there. How to start your online portfolio, how to network, how to use social media to leverage your contacts. Getting your work in front of the right people, tailoring your show real so you can work for a company that you want to work for. And also learning how to take constructive, critical feedback to improve your work and apply for that dream job that you're aiming towards doing this course studying the 31st, then the practical is very important because we will be implementing the theory to the practical. I mentioned most of these techniques on my YouTube channel by now on Skillshare, everything is all put in an orderly fashion so you can start off at your own pace, work your way down. So it makes, so even if an existing student of mine or a new student, and you're wanting to learn more about animation. Hopefully this course will add a bit more fun to your journey and so that you can enjoy the process more. So what are we waiting for? Let's start animating. 2. My Mentors: Hey guys, Just want to do a quick video on the mentors that have helped me during my animation career, especially during my animation school. And I just pop them up here you'll see on the screen these are the mentors that have helped me that told me. So I just wanted you to get a little bit of a background of where I've got my teachings from sunlight. You know, that it's, it's, uh, I guess valid in a way because these guys are professionals. They were working professionals mentoring new oil. They were at these companies working. So just a quick video to let you know a bit of a background on myself, my, my teachers and our mentors. Yeah, so let's get straight into the course. 3. 2. How To Download a Free Trial of Maya: All right, my friend. So in this video, I'm going to show you Maya and how to download it before they used to be learning addition. So you could get it and have a license for students. For some reason, maya stop that now, Autodesk. But the only option I can see here now is just keep changing your e-mail address every month as a free trial hair download, free trial, three days. So for one year that's 12 email addresses. Yeah. Just use Gmail, use a different e-mail address. And I think that's pretty, pretty good. Pretty good. By up to re-install Maya again every month on as a biloba and do the hotkeys and everything, but just go to my website and download free trial, put the email in and then you're all good to go. Yeah. So we'll do that in the meantime unless something comes up. So that's the only way around at the moment. Okay guys, I'll see you in the next video. 4. Zurbrigg Media Player For Animation Playback: Hey guys, So this is a program that I use for play backing my animation and it's really good. So I just wanted to let you know where to get this on it. If you type in debug this rubric media player, and if you click on the link, there will take you to a link area. Now you can download it and you can get yeah, you can dive a Windows is a trial version. Now you can use that or you can buy depending on the eyeball it, and it was definitely worth it. But see, I feel you can buy downloaded for free and just use it. Or if not, just use Media Player QuickTime. But I really like the features on dissatisfied to mention this really dislike a video I did reviewing. But the thing that's really good about this is I can press the mouse button and just drag forward, back, forward, back. Yeah. I can go through the frames. Are that oh, I can just do lead arrows, lab grade, and dislike forward, back. And you've got the frame numbers here. It's just really good at referencing your animation frame-by-frame. So just a quick video on this software is really good software. You can get it from just putting a brick Media Player. So just to quickly click one day just to equip you with some special software fuel if you want to use them. I just recommended. All right. I'll see you next video. 5. How To Download your free rigs for this course: Okay guys, so their insulin to be using for this course, you can use any ones you want. But I'll be using these ones. And I'll put links in the resources. But you can see here the links are paired then onStop net. That's history nebula. So you're all earrings or head that you can get it. Okay, Now there's so many rigs out there, so many free rigs and really good rigs as well. So you can go to animation methods. They have a whole load. I mean, look at these rigs. Absolutely brilliant. So you can use all of these, any of these if you want. I will go for a simple one, has the, has the one we're going to use a soil health. So these are great rigs. And then you've got a Gora, which is brilliant as well. They've got nice rigs. Rusty animal got some nice links to similar rigs as well. And then it's premium luxury combined. And of course bananas. Yeah. This guy has all of the rates here as well. Yeah. So use any regimen. This is about animation, so it doesn't matter what rig you use. To just have a feel for certain read, trade enough. You probably have to get this one for the bouncing ball stuff in everything, right? So this bouncing ball that we're gonna do. So the course is more towards like these controls. So it might be better to the studio early foundations tablet in a character stop, let it run the walking and OLAP and gain stuff you can do with any review on. Okay. So just a quick video on where to get the rings from. And yeah. See you next video. 6. Animation Interface Introduction: So now you've got your Maya open. And this is just a quick overview. Now as animators, we're not going to over-complicate literally free to using it for animating. So this is going to be short and sweet and you don't need to worry about all this other stuff. We can go, we can teach us as we go along. But the main thing for animators as a graph editor, which is where you're going to be using this throughout your animation journey. This is your best friend. And I'll explain this, all of these tools in more detail in the next video or the videos coming up. This, this will be in detail. I will show you everything about this. So don't worry about that. Led is not as complicated as it looks. And then also Perspective view, this viewport. If you come here to the corner, you can split into four. When we do walks or jumps, or the bouncing ball will be using the front view or side view here to do our work. So we'll get used to work in a new and then obviously when we're doing more action stuff will come into her. Mainly side in front are very good for animating and blocking out first the legs and the hips. That's your space bar. When you press space-bar, you can make it bigger and smaller. And you start to make each window before he can make it bigger. So you choose your window the best, the graph editor, viewport you didn't work in. And this timeline, the timeline is your, is your companions where you're going to be using this a lot. You can change the range below here to 100, or you can change that to 1000. Present matter. And then here you have the little to rearrange where you can bring frames back. So save you want to work on 30 frames. You can do that or you can just type it in here. And then you have settings there. For example, when you load Maya, your height would probably small like this. I like to keep it on to, you can have unfortunate depending on yourself. Also the tick size, which I'll just quickly create as fair. And I'll talk more about manipulators in the next video. But basically, if I, if I press S, a keyframe, will be set on the bottom AC. Now here you can change the size. So you can do one, which is then to free for animistic own file. I lacked to keep you on too, but choose what you feel. And then you go, you don't have to worry too much about these settings. It's mainly the time slider. And if you want, you can interface, hey, if some people would like this cleaner. So you can just get rid of these. And you can see all the PAN-OS going away. Or you can just keep them dependent entirely up to you. And here is where you can get rid of all of these. Well, you need your time slider, but you can check all this off. So however you feel happy, you feel Congo, you can do that. And also you can tear. You can come in and you can tear off windows on and you can go here. And you can press this topic which gets rid of the window. So the floating see there are some times when you come here and you want to show stuff, you have to keep going back and show keep going up so you can just tear off and just quickly do that. So just to keep it simple, because it only over-complicate animation is very, wanna keep everything simple animation, simple as the best. So orbiting this print line by pressing the Alt button and the left mouse key. And then your timeline at the bottom here. And your graph editor does all you're going to need. More or less. We won't enoughness. It's really very simple. Okay, so now onto next video. 7. Manipulators and Camera Movement: Okay guys, Welcome back. A brief video will go over tau, and this is showing how to pan around, which we briefly went over in the previous video. So you just press the button and you can pan around. And if you press the middle button is still hold the Alt button down. And you can move it sideways. And if you press the right button, you zoom in and out. And you can also press a, which frames? So if your back, you can press a or you can press F, F, F normally bring them in closer. So it's fun. A keeps a buyout. And you can do that with these other panels as well. So you go side, which is the same, only the, as you can see that the left button won't work. Only the middle to pan and zoom, zoom pan, zoom pan. Okay, so that's your basic going around the models which you will need. Now, the other thing is in this, in this video I'm going to show you is the manipulators. So hey, if you press W is selected. Well, sometimes the council doesn't come up, you press W, you can translate. And if you press E plus Rokia. So these two other are what you're going to be using the most, you've got scale as well. But normally there's controls that we're using a channel books with scaling. But here I just wanted to show you if you want to move, you can see these values here on the top right. If you move the bomb translate and Y move if you notice. So to make it more accurate, you can choose separately choose this. So say if I choose y and I move it, you only notice y value is going up. And you only notice x and z will only know is that. So that's important as well. And I'll find that electron in the course. Why that's important. Now, that's just the basic. Only need to know is we'll keep it simple and that's all you need to know. So translate for w and rotate. E and q is select. Okay, See you next video. 8. How To Create Custom Hotkeys: Okay guys, this is a video on quick video hockey. So when you're animating, you're going to create shortcuts on your keyboard because it will just make the workflow much more better, much more quickly. A service animal is a bull head. And it's going to show you if you go to windows settings hockey editor, now, you got options if we go to menu items. Okay. Now here's all your keys. So we're going to go down to animation here. So if we go into animation table, for example, you can come in here and go to or I play playful and you can see, I've got this button here, say asthma playback. Yeah, so you can go down and you can customize next key, my right arrow, left arrow. So I've got this all customized only do is just, for example, if I select this and I do left arrow, it has left. So I want the next cue to the white arrow, and I want this one to be left. And after you've done your keys is safe. And if you look in here, because corner button is moving yet, because number one it stops. So what about go in the hotkeys? I'll go back to my menu, marking menu. Playback. Number one is stopped. Play is the top corner on this one. Yeah, number one, stop. Now, these two hey, is next. Which connects key. Yeah, next frame, previous frame. So they are this one. Next frame present as a next key. Let kids the arrows. Yeah. So these you can adjust. So if I press stop, if I press these two now, it will go every frame. So I'm going back and forth. But people have it on 12 area. And once you stop in these customers in an S, it will make your workflow much easier. So that's just one. That's why the show you one way or the only way actually inherently great hockey. So hockey editor. So you go to windows settings, hockey area, and there's other settings in a, depending on how you want to. You've got the color settings in Maya. We can have a law background, so you can change the background. You can actually change the background in Maya. So if you want to do that kind of stuff, you can do that. Okay? So there's loads of things you can do any gradients where I'll be. Alright. Okay, See you next video. 9. How To Create A Playblast: All right guys, this will be a quick video on just shown you how to do play blast. For example. I'll choose a caveat. Aside, you move up to say from one to 50. So your key, frame 1, frame 50 is moving randomly and move it down to 25. A cubit click OK. So as just moving yet. Now play blast. So it's played out sometimes you might want to do a clip of this movie form. So only do just have a look reanimation. Literally just right-click in here. Go to play, blast to the square options. See in hair, he set your settings to a 100. Scale to a 100 might be halfway when you load Milan. In addition to that, our food do from Window. And then you can just open this up a bit more. And here you can save, save FiO2, go to browse. You can either have something on a desktop calling it played loss test, underscore 001. And then you can just press play blast and what it does, it does play blast that scene and then you can see the ultimately opens it up in a video file. So that's just a quick way if you want to look the animation, so right. 10. The Graph Editor Part 1: Alright guys, so the Graph Editor, this is your best friend. You will be having a relationship with this scarf for the rest of your life, as long as your anatomy. And you know what? The graph editor is very good, very friendly. It looks intimidating, but trust me, it's not it's really, it's really straightforward. There's a few things you need to know. That's all we need to know. So e.g. I'll just make this, put this window here. Here's your graph editor. If you want to find it, I'll turn it off. Windows animation Editors, Graph Editor. Okay, Now when you first see it, you're presented with just a blank screen on there. So what I've done, I have created an animation here which is like a bouncing ball, right? Just e.g. sake. Okay. So now I've selected it. And let me show you, because I've got two keyframes on it. It's created these keyframes. This is for the bouncing ball down, up. Now in the graph editor, really, there's, there's a spline that these interpolations here, these are what you're going to be using. There's also this cycling. If you're in video games, you have to cycle of runs, idols and what have you, you have to use this psychosis we're going through. And what I, that's all I use, these interpolations, which I'll go through it and cycling and also curves non waited and waited. And I'll show you what that is. Because when you first keyframe stuff, the handles and everything on these points, they come in like default and then you can break them, but I'll talk more about that. But anyway, so we wanna do is when you select this character, I'll just go through all these options with you. E.g. this one is blind, right? So your, your character is going to look like this. Floaty at the bottom there. That's your spline interpolation where everything is smooth, ease in and ease out. Then you have flat, which is similar to ease in, ease out right? Spline is more easily and then shooting back out. And then you've got linear. Linear is more robotic. So if we go down here and say e.g. let's play this animation. You can see as all robotically. So you would use this for robot movement. So let me just go through them again. Then you've got spline, which is a bit more float here at the bottom but hits at the top. Then you got flat, which is ease in at the top and ease in at the bottom, then you got constant. So constant is used a lot when we're blocking some of these you can see pose to pose. So that's what we're really planning animation. We're going to block this Posen and the next frame, frame five frames their block, block. So when you're blocking, which is really important in animation, when you're blocking, the idea is you're literally blocking dispose. And this frame, this pose on dataframe, that frame dataframe. Then you're really sculpting in the treaty the poses you want. Then you come out of a flat spline, really start breaking down animation. But we'll talk more about that in the videos to come. But that is the constant one. So normally that's what I use. I use linear depending what the movement is, mainly a spline. And I use blocking this constant for blocking out animation, which we'll go into more there, the interpolations which you're gonna be using. Now, e.g. let's go back to spline, right? So if I go, if I come in, so let's delete these keys just e.g. sake. And I've got a keyframe here. And let's copy that to 20 and then bring this down here. So now we've got all these keyframes made now, right? So let's play this. So that's how it plays. Now, what we wanna do is when you keyframe the handles all of this by default. Yeah. So you've got a control, but not too much control. Now what you can do is you can go in here and go to Curves and go to non weighted. You see how they've gotten smaller. And then what you can do, you can come here because there's an option here where it says brake tangents. If you click that, it's broken them. Right? And if you do break this one, sorry on that one yet, you've broken them yet. And now you have more control. But we want to do, we have more control but you don't have more control going forward and back, only up and down, right? And that doesn't give you much control because look at that. You've got, you're flipping like that. So what you wanna do is you want to go back here to weighted tangents. That's what you want. You want weighted tangents, not non weighted. And then when you break it and come like this and now you have more control over your R will do it here. So if we come here and we go to curves, weighted tangent, you can see it's changed. But when you're controlling, this handle is affecting this one, or this one is affecting that one, then what you do is you come in here and you can break the tangent so you're breaking the handles now. See you broke it and now you've got ultimate control. That's what you're trying to get. I like working at that. Most animators don't, but I like working like that because you've got more control. When you can do. Now is. 11. The Graph Editor Part 2: We're trying to do this bouncing ball. We can do now as we can, as it comes down, we want an impact there, right? So what we can do is we can create an, because if I show you the animation now, look how it's not an impact at the bottom, there's floaty right? Now what you can do is if you play with these tangents, it's going to shoot down an ease out. Now, it's going to look like a bad feel like Unbounce there. So that's the power of tangents. And then you could do that with like say, if a character's jumping and then it lands on the hips is going to have an impact. And then come up, it's gonna be a blob. And then come up. Quite interesting, these parts of the body, the hips and what have you. So that's what, that's what the whole point of that tangent breaking as you can do, all kinds of, you can do it with your wrist, whatever, whatever the movement is. Your character might want to go, snap something and it might be a quick even and then straight in. So you can do it for all kinds. And we'll go more into that. I know this might be a bit alien to you now, but we'll go into that. But that's just 11 way of showing you how you can use tangents. And the only thing is that, okay, so 0-20, you've got an animation plane here. Alright, that's cool, but I want it to go on. You want it to cycle? So e.g. say if we put this to 100 and if we play it stops at 20, right? It's not going as because it's not cycling. So what you do is you select your bowl and then you select the tangent. And it can be, alright. Remedies two buttons. We're talking about a cup. If I press that, you can see there's a cycle there, but not on this side. So then you do the other side, press that cycling to infinity. Now, all the way you can see all of these going on, on, on, on, on. Now if I play it now, carry on cycling, which is good for when you're cycling. And the only thing you need to be careful of here is you have to go back to your original keyframe and have a look and just remember to see if this end is matching up with this. And this is matching up smoothly, right? Because sometimes what can happen is your tangents could be like that. And then it's not cyclin puppy is plane like this. Then it goes up to standing, flips down again. And then you'll see in the animation, there is a little bit of a pause, pause, pause, write. As a common mistake that can happen with beginners only do you just come in and if you're just matching. So when you lift this up, you can see on this side, if it's going to match or not, that is not matching, right? But if you bring it up, bring it up and you got a smooth transition up until right there. That's pretty smooth. And then if you play it, That's move right? The other way to do it is you can just flatten the curve. And that will create a nice ease in and ease out. And then you can just play around with these curves. If you think the dancers too harsh, you can bring it in softer like this. Then you can just make it softer like that. So it's just showing you this video, just showing you the power that handles have really, that's all for Graph Editor mean. Here you have your channels, right? X, y, z, translation. Let's say e.g. as it comes down on my do a rotation, as it comes up, rotate again. And then if I go to here and I'll just delete this middle one and make it linear. Oh, I haven't cycled. Oh, this is another thing. If I cycle this, can you see how it's going up, down, up, down, up, down. So what's going to happen every time a cycle, it's going to go back to the star. On. There you go. It's cycling. Now. You've got your psychedelia. Is it? Yes, smoothness moving up. Another way you could do that is if you post infinity cycle, which is these two in-between, you can see how it's going straight all the way. Now if we play this now, It's more smoother, right? There was a bit of a Jada before because it kept going like that. But this is posed to validity. It means it's going forever straight. There. The tools that you're going to be using quite a bit in animation. So I wouldn't get too complicated about the graph editor. It's very simple. Literally. You're just checking the axis here to see how your animations are and what x is. You don't have to worry too much about what's happening in the graph editor. You want to worry more what's happening on your screen because that's the end result, right? Mix all the arcs are looking good in the screen. And then you go back into gravity and just clean up some curves there. And the same thing with rotation. That's where you're gonna be doing, checking out your values here. And you have your non weighted weighted tangents, which we'll be going over them as we do the video. So don't worry about that. Here you can show different objects. What have you in the explorer area. Here, you can see stuff clear below. You can clear it all if you lose everything. And list tangent, this is the same. You've got spline linear clumps stepped, flat, same as hair, clumped, spline, linear step, same thing but you've got the tangency brake tangents. Are we talking about here when we're breaking them up to worry too much about that key is if you want to insert keys, you can insert a key here. Press the middle mouse button. And there's a key inserted there. There is. And then you can move that around, have more control if you want. What else is there? You don't have to worry too much about here step for these select. You've got your copy, same as copy and paste. So you can select e.g. you can select all of this and literally to copy and then come to the end here. Or maybe come to 30. And you'll be like, alright, I want to paste any paste and it pastes it. So it's copying and pasting curves which you might want to do as well. That's about it really. There's nothing really else, but you need to know there's a timeline here you can use to brush. But really you don't have to keep it too complicated. It's very simple. Keep everything simple. Don't be overwhelmed and don't worry about the graph and it tells your friend is there to help you. So I hope you found that video useful and I'll see you next video. 12. The Motion Trail Tool: Hey guys, So this is a tool that we are going to be using quite a lot. Well, we're going to be using it a lot and our animation more or less all the time. Once you start getting your iron, then you can kind of do without it, but you do need it in polishing is law, and it's a very powerful tool. And this is the motion trail tool. So what we'll do, I just did a bouncing ball here. Just for an example. I want to track the arc. So in animation, we're tracking the arcs of our wrist and cause an hips as mainly, and also the nose. We're tracking all the arc to see if the character is moving organically. And we'll talk a lot more about that in detail as the course goes on. But for this example, for example, SAT honestly the arc of this board, what you do is you're going to drop down box here in the corner and Maya, and you've got different sections from rigging, animation effects. What have you? We just need to stay with the animation that customer does are speciality and then only do is when you change this to rigging, you see the top area changes to the whole of the area here changes, right? The toolbar. So animation, it changes here. Now what we wanna do is we want to select a control or the shape in this case. But normally you want to slip the control on your character and go to visualize editable motion trail. And thus it. And as you can see now, if it's not showing, only introduce go to show and motion trail area as you see. Okay. It turns off. Turn it on, comes on. So if you're thinking it's not showing us probably that. But now if you look now, you can see trap the ox. And that's basically what the tool is. It just tracks the arcs and it's really, really good when you've blocked at your animation. And at the end, you want to trap me arcs. You can just select the hip control, press it and it tells exactly where the hips are, whether your hips, hips are jogging along, fall in a nice arc and you can really fix and really polish animations. That's just a video I wanted to show you on this tool and emotion. Co2, very powerful too. We'll talk more about as the course goes on. Yeah. Okay, I'll see you in the next video. 13. IK FK: Hey guys. So in this video we're going to talk about IK and FK. What are they? Okay, so IK is inverse kinematics and FK is forward kinematics. What do I mean by this? When we're in simple terms, when we select this on this is FK because we can rotate it. We get nice curves. Yeah, forward kinematics. So FK, FK, FK, yeah. Normally you this when you're not pushing and pulling objects. The same things. If you notice when a client comes in, you notice that legs are with ikea. Ik is like this. So you have IK, you can move it around. Pull around, yeah. And you have this pole vectors in front for left to right. So that's it. So the simplest form. Now what, how do we use this when I'm walks and runs the fee are always IP because you're pushing down on the floor, the torso. You can have high kf case coins, but normally it's FK a nice rotations. So you get nice rotation, spin with the head. And then in each module you'll have an area where you can switch. So for example, you can option. So if it's like this, if you look at a topic and say switch to IK advocate. So if we press 0, you can see how this turns. Its control tends to IK and now you can move it so normally, okay, used when you want to push him, pull it. For example, if you open a door handle or push an object and you do IK FK us. I'll give you an example. I'll show you an example where we thought, let's go to a website. I'll show you an example from my shoulder as a good example of what I'm trying to say. Just load this up. Basic Khan he got. So if you go to my website here, and I'll show you a showroom should load up. So for example here. So we've got this guy who's coming on. Now that's because it's got little holder and extraction back. He's always IK, see. And now he's going to push all of his arms and legs as I came. Electron naturally be because they have to stay on the floor. But if you notice the pulling, it's all it's all likely pulling and pushing. So we come here, we're pulling with the arms. So the locked and a pushing head for the locked. So that's an example like JFK, which we use head. So we know it. So mainly is mainly used for pushing and pulling. And normally you get, generally you get nice ox and advocate. For example, I'll show you hit Save we key here. And show you a mucus. If you play it, it's doing a nice curves right? Now if we go to FK and try and doing it, we started back here to bring it down to just quickly do an example. So if I go here and forward here, if you look at, if you want to see the difference, it looks like is it looks like IK, where it just looks smooth. So that's how you can animate, animate as you work on an IK. But then when I K is what you have to do. So, for example, if we look at the curves, It's very linear, right? So you have to put more keys and basically what it is. So you have to put a key in hair to create nice curves. If we go here. And the article pack, like this. So you just have to put more key isn't even there. You can tell it's still IK. So you just have to go and again in between promote key isn't even here. You might have people. Another key, this. So that's all it is just up to promote keys and to make the most movable area. So that's just the difference. It's more work, but you can do it. But normally use it for pulling and pushing for the legs. Or the legs are always the only can the legs. So pKa and go to one day become advocates. And you can blend between them as well. Alchemy uses is between a flying KCI jump in India and in a spinning kick, you get nice curves than otherwise, they're always FK, especially for walks and runs yet because he kept pounding on the floor. And it stays on the floor because it will never stay on the floor if you do an upgrade. So hard You have become eaten every frame and it always be decree. So you've got go for each frame and track at you. You never wanna do walks and run an advocate. They always normally more or less state. So that's the basic introduction to JFK. And just remember IK is mainly for pushing and pulling movements. Sometimes we construct for IK to advocate and a good video on how, because then you have to match a lot of the poses to make it look seamless. Yeah. Overall, just the basics of alkane Epicurean. Okay, See you next video. 14. Principles Of Animation: All right guys, welcome to the 12 principles of animation. We'll go through each one step-by-step. So let's get started. So the principles of animation. So if we go through the first one, which is squash and stretch. And stretch. Okay, so what do we, what do we mean by squash and stretch? Like when you first think of concentrate to think straight away, the ball comes down and it stretches up right like here. But there are many different explanations for squash and stretch. You can think of the whole body as something that you can squash and stretch. Perfect example here is you are, you've got a character, hey, you've got the typical bounce here. We go. Nice stretch and squash coming up is what you would first think, right? But then if you look at the body here, you've got the overall body. You got the black shape of the beam. Then you've got the whole body squashing. And then as it comes up, it's stretching. And the whole body stretching as it comes down to land, and then it lands in its cautious for the whole body can be a volume of a squashing and stretching. You often find controls in the chest which has squash, squash and stretch, which is also quite common when he works out working in video games and other feature films are a lot in feature films. And squash and stretch can also mean a lot to do with the actual overall compression of the character. So what I mean by that is it, for example, if you're doing a jump, which is perfect example here, right? So you've got jumpy coming down. And then this is all a stretch and then you got a squash hay. Okay. My pen up so I can explain it better. So here you've got an overall rectangle, I would say, I guess triangle shape. And in coming down and coming down you have a nice circle. So does the contrast someday. From triangle, sorry, to circle. That's the massive contrast. Thus was going to sell the shapes that you compress it into. Again, owl does also known as causing stretch. And again, if we look here, this is a perfect example here where you've got a normal head. In a normal head and everything care. This is stretching up now and then compression going down. And then look at the next stretch. And then even the mouth is stretching. And even though the neck is slightly overshot there you see the overshoot. The head is slightly higher position that way. And then the mouth closes, and then it compresses back. So that's a perfect example. The squash and stretch used as the whole body, not just like the bouncing ball, right? Again here. Perfect example. You've got face, hey, you got the whole body. You've got stretch of the mouth. Can compression. So that's what it is, is stretch. And in compression, That's all you're doing in the examples. Stretch, overall shape of the character, and then compression and in take-off law here with goofy. So overall, the whole body you're looking at when you're doing a jump, you're, you're kind of down in say, a circle in Azure taking office a rectangle. Then Azure in the air, it becomes a circle again as you're coming down. It's a rectangle and then a circle, right? So it is all these shapes that you're animating contrast. That's what makes the animation for going from one pose to another. So just does what this principle is all about. So moving on to the next principle. Anticipation or antique, as we like to say. So anticipation is one of those where you have to have it in because you need to cut the audience to know what the kind of thinking. Okay, if I just do this, pick up, if it's acting suspicious and I just pick up something, Pulpit, this controller will start okay, that was cooked up, could be readable, but it's not clear to the audience. By if I went like this. And then look, I'm gonna win. And then got it. You know, there's a bit more of a anticipation and grab it. So there's a anticipation in the library, especially in there and grab that. So you want to create that anticipation to the audience can read it. And then audience knows what the character is thinking. And then, because every action has a reaction, right? So perfect examples like when you're smashing the Ramadan, classic, anticipation here. Line of action, character goes up smoothly, say, so you've got a nice line of action. And again, nice line of action contrast as we were talking about. And if we look, hey, anticipation, coming back. Anticipation, heterodyne, back to again, see you're preparing, That's all you're doing. I guess the patient is letting the audience know what the character's thinking before it does an action. So you know that the character is always thinking, which is so important to keep the character live in animation. So this is great examples here, basic anticipations, very simple stuff that doesn't have to be too complicated. And yeah, that's the basics of anticipation. Yeah. So you just kind of preparing the character to think before it does something. Every action has a reaction. Ketose, I think as well. What's the next move or do I do? Oh, I'm not going to go over there to check those out the window. He was happening. Okay. I'll look first. The anticipation is maybe to look out the window versed, then walk towards it and have a look outside was happening. So all these little micro moves that you do in animation, then you've got pre antics and anticipation before the anticipation, you know, we have slightly or movements. And then there's a anticipation movement before the anticipation. And then there's an anticipation, then you get the movement as well, which we'll talk more about pre antics. But overall anticipation is basically preparing the character to think. So the audience can think, Sorry, know what the character's thinking is, what I mean. So basically you're just like could be a preparation for like grabbing something circular. Like we're talking about the remote control. So thinking about grabbing it is showing the action. Have moving old you can have, and then it picks up instead of just straightaway picking up with no anticipation. There are exceptions like in video games. When you do a jump. When you do a jump, you can't anticipate to go down first and then up because for gameplay purposes, it won't work and it doesn't feel right. What happens is we put the pose of the character in an anticipation pose, perform that anticipation pose. It jumps up in the air and thus very instant, instant jump. So there is, I guess there is an anticipation. India is suppose that the anticipation, but it doesn't, although it physically is not right. It feels right when you play the game, right? Because we gave it. You got to think about the game play and the game player, how the user experiences. So all these things will take into account. And then what's happening. Games as people have built systems in ways around making it feel like there's an anticipation when really there isn't. But yeah, thus thus anticipation. Let's move on to the next. The next one is staging, right? So staging, this is, comes down to like focal points on the actual camera frame. Silhouettes are very important, clear silhouettes, staging, but it's more to do with that composition as well. So if we look here, you can perfectly see that this is clear, you know what's happening without even seeing the character array. So the staging is so important is because you can see the negative space in-between hair, the negative space in here. Even in here, the little tiniest negative spaces make all the different, right? And then you've got all these white around, which is all the positive space. Oops, sorry, let me go back. This skipped a bit. Wanting to just get UCA. Okay. But then you've got staging areas all look, I'll clear this is a perfect example. Hey, look how unclear that is. Look it up, right in front, right. But sideways is so clear. You even need to see the character. You can just see the exactly what's happening. And also in when you come to it with mood is suddenly staging. So this is another great see the director is, they're very conscious of what's going on, right? So they know, just move this here. They know that the focal point is the woman hair. But everyone else is clear. You can see every more or less, every single person is not covering each other that much. You can see maybe this one at the end, but the rest are all clear, clear space in-between. This is all, the actors are all conscious of this rondo directories consciousness. Well, in often you see photographers saying two models or just move. Motto might be standing like this and then I'll just move the arm out a bit. So you move the AMA and you see the gap in-between there. So thus what photographers know and they know a lot about silhouettes staging as well. And that ties in a lot into animation, because in animation, need to know a bit about everything can literally jack of all trades like you need to know the camera neutrino, which camera angles entertaining you need to tell the story? Is the story entertaining? Is a silhouette clear? Is it reading to the audience? Do you have a sense of timeless? So many principles are coming to animation. And again, same example, a silhouettes, brilliant one hand the middle. This one is just simple and so clear. You've got again like this. Yeah, you've got three characters. These separate on his own reason, silhouette. Yeah. Very spacing. So you've got too close together and far away, which is good, you know, you're burying it. And here, even though the clothes, you got negative space, all of these negative space in between, you can exactly see the pose and how clear and what they're doing negative space in here. So again, when it comes to clarity, is key. Being clear in your frame, being clear with your poses, being clear, with your composition of where the character standing in the actual frame. You have to be very conscious of that because it becomes very confusing to the audience. If the characters right in front, if there's a small kind of right in front of a fun character, and on top of that, if the colors are different. Another way to kind of avoid that, if the mesh colors, if there is a character overlapping another character, maybe the colors can be changed just to make it look clearer as well as another thing you can do. So there is very simple, straightforward, keeping things very clear when it comes to staging. And I remember we went to the next one, straight-ahead action versus pose to pose. Okay, to straight ahead. So sometimes you might have a director or you might have a shop in pose to pose. So every frame like I'm going to pose up frame one, this character pose at frame 5, this character Preserve Frame 6, this character. And these are all mitosis does pose to pose animation. But then you've got straight ahead, which is the foramen, is going to be like this frame to this frame feel full of these providers. Now they both have advantages and disadvantages. Now, pose to pose is the good thing. Of course, poses, if you want a post to hit a certain frame, it will hit it, right. But Australia head as you're doing it like all away and you don't know where the frame might hit. So then you got to play around a bit more with the timeline into our view to get it right. But the best method people are using as a hybrid method built both right, straight ahead and pose to pose. But for opposed to post for when you're doing walks, like Hey, you've got one pose, a perfect example here. One. So you're going to contact. You got your next post parsing position, high position to adapt is an example of postpones. Whereas Hey, this is 12345, groups, 56789, 10. This is straight ahead animation. So you're going to straight add animating as you go through the frames. Whereas hey, you're posing systematically. Poses about this on one pose, dispose on frame for frame 8. And so you're systematically doing posting pounds, then he can bring in the breakdowns and keep doing that. There are advantages and disadvantages. But blending and using a hybrid method of both is good to people normally key every three or four frames instead of 12345, right? So you get a bill pose to pose and straight ahead, which works fine, which works fine for me, I would like to. So that's the main difference between pose to pose and straight head. But of course, when we start doing more of the body mechanics stuff, I'll be explaining more than in the blocking or what have you follow through an overlap in action. Okay, So let's check this out. Follow through. I just made it a bit smaller. So the cell hair follow through is the action that follows the main action. Okay? So it is the opposite of anticipation. When a baseball bat hits the baseball, it does not stop abruptly. A boxer does not freeze up the Lanza punch overlap. It actually means that, oh, spelling mistake there, that the elements do not stop at the same time. A good example of overlapping action is movement of animals tail. Perfect. So example, boxing, right? Punch and then follow through. So that's the secondary actually follow for action. Yeah. And another thing you could do is like, for example, here you have like capes is. So the initial movement is the main movement of the body, right? So I'm moving and then I stop in my head, comes forward and then comes back and demarcate, comes forward and comes back on. So these kind of movements is what keeps the character moving unbelievable too, because those things work with gravity, right? So it just makes it look more realistic and organic. Great example here is the hela, we talked about cape coming down, Kp coming down here. We have yeah. So the main action, he's come down and he's settled within the cape, is coming down. After the main, the main action is done. Same thing here. The square root goes up, it goes up, the tail, drags along. The main action is coming down, the tail is dragging and there is catching up. And then again classic one with the, with the rabbits had to and also with the main head head. This is a good one. She got the head that turns into a one. And then the Tikal, soon as the figurehead gets mixed the end pose, endpoint, then the cheeks follow and kind of settle of the domain head has already settled here. So as the main action. So secondary is the action that happens after the main action happens. So it's very simple concept and this is what makes your animations organic, unbelievable. You hear the word organic and law because realistic people move in organic ways. So I'll be saying that a lot and tried to get that in during the course. But yeah, this is a nice little thing that you can do after you do your main action is nice to come back and layering all the secondary emotions, secondary actions, overlapping actions as well. As again, a perfect example if follow through and overlapping action, not everything happens at the same time. When you start off in animation. It's very easy to fall victim to I mean, everything at the same time. So you move the whole character, the arms move, the legs move the head, move everything. And that's very, that's very common for students. I've been through there everyone's folder. At the start, it will be happening. Don't kick yourself over that. That's fine. It's a process that you have to go through every element it goes from it. You realize that later on It's all about breaking things down so the head might land, then the arms follow. All. The secondary motion of the hair is like we talked about the k. Even the arms can be delayed as well. Like when we do walk and stuff, the lady hours by wanted to offset the keys. We'll talk more about that obviously in the course. But it's very easy to fall victim to that when you start animation. So I'm just trying to let you know that these things are expected. Don't worry. When you go for it. Then you will go for it again and we all learn from that. So don't be too hard on yourself data. Okay, so that's overlapping. Action and follow through. Slow in and slow out on tape. So this is what we talked about. In the example I did not earlier videos about dancing bowl for slowing the slots are basically ease in and ease outs, which we will be doing a lot. So for example, my other pose here. And I want to get to disciplines, right? So you could either favor this pose and better. All right, Do I want to hold this pose? I want to go. What do I want to go? Even? What do I want to go? Fast too slow, right. So that is the slowing. So he didn't want to slow in to the next pose. Or do you want to fast and then hold slowing? So that's what you mean by ease in and ease out. Everything eases and eases out. Perfect example is, the more drawings you have, the more slower it's going to be, the more frames you have at the start of a process. He got pose here. And the next pose is the same pose you want to hold is like 20 frames away. That's a long hold. Right? But when you've got a post closer to her in closer frames, like free frames away from the first pose. That's going to be quick, right? It's gonna be a quick clip transition. So here you can see the spacing plays a big spot. Partners are. So you can see a slowing, speeds up and slowing slows fast, slow, slow, fast, slow. So it has to do with the timing and spacing. Here you can see the spacing. You can see how it's reached out. So it's slow in and slow out. And as often hold imposes as well. So all is just slowing this nella. Here too. As you can see, this is a good example because when the ball gets to the end, the momentum takes away, slows. As a momentum picks up, is less, less than as drawings, and it's more spaced out than the space closely together there and out and in closely together at the end. Same here the SEC, not think of that bowl concept as the whole pose of the body. The whole pose of the body. They've got more drawings because it's, the anticipation is winding up. So you're holding the pose more. So you're gonna have more frames. So it could be like 20 frame. And then quick thought would be a quick that we're not maybe two or three frames. So that's what you mean by slow in and slow out and using them as the whole character. It means loved using the whole pose. So you can have a pose like this and then come back and hold this for about 10 frames, winding up straight away that way. So you're doing like a quick wind up holding the pose of the whole frame. There could a whole body as a bouncing ball is all the controls. And then just winding back, push in and hitting. And that's what we mean by easing in and easing out. And I'll show you more of an example when it comes to the bouncing ball isn't easy. We'll do more of that in the course to show you. Okay, so the next one, next one is ox. So arcs are really important. It's not just tracking your wrist, hips, had nose area, and your ankles. Ox is also looking at the whole character, which is the character moving in the arms as well. Like, if I'm going like this and I want to come, hey, is it following Isaac? Is it following a nice flow? Flow? The Archaea could be Solitude doesn't have to be too hard. And consciously. It could be like, you know. So the overall arms or they follow in a nice arc. Like, Hey, we've got an example in the overruled body. Is it foreign eyes are going up? So hey, this is like a anticipation. And then a wind up with the whole body is following an arc. But we don't want robotic lungs. We want like nice Ox o. This is like if you have a robotic calculator, you could have done. But hey, you got nice arcs, right? Normally you track them from the wrist. In animation, you'll find the US what very common to track how body composition, like this competition to those scrunched up, right? But this is so much more pleasing to the eye because you've got a nice energy of going into the character and in the seats, filling in the C-shaped day and the overall shape, you can see the energy is going this way. So that's another great example. This one is great for that 1000. He's jumping up like his pose, the pose, the pose here. But overall, you can see the AAC, the kite is taking an arctan up could be pure, clean like this. You can have arcs on this slide. This is an dance animation, but you can see the ox is Kleenex going like this must be the cycle of the arms and the legs. So the following, a nice arc, how they're going. That's what's going to make your character fluid and organic. So keeping an eye on ox is massive. But this topic normally do when you're polishing. And again, a hammer going down. Perfect example. Ox hailed legs, arms fallen ourselves can imagine if he had one arm that was in a bit. You get a nice arc and then other, right? Maybe like a Jagger, Jagger, Jagger. You'll find that an animation. When you do your animation, you feel about others is because either your hips on for your nice, OK. Because the hips on point and that's OK, then everything else gets affected. That's why we have to concentrate on the hips first, make sure that's all following in flowing really nicely. We start working on the other side, other bodies and other parts of the limbs. Perfect example here of a head turn. A simple arc at the top. The symbol of the doesn't have to be like massive arcs, exaggerated arcs and it can be very subtle ones which unexplained more in the videos. But again, arcs are really important. Principles are important, but these are really important as well. But let's move on to the next one. Secondary action. So secondary action is more like it's not overlapping. And stuff like that is more to do with it. You know, you're chopping like, like this is a good example here. So say if someone's chopping, the secondary action could be looking somewhere else, right? To check what's happening and then coming back. So that's another form of secondary reaction. Again, hey, the secondary action could be getting the overlap action whenever it is, kind of kind of mixes in-between overlapping action as well. But it's more to do with, I guess is more, more to do with like you've got the main action, but then there's a secondary one supporting it if you'd like. But then it does come into like capes as well. Kind of like the above. But I think the other thing that's different with secondary action is you've got the main action and then you've got the second action basically using. So you could be like cut, cut, cut, cut, back, cut, cut, cut, cut. They'll move this book. Just move stuff out the way wildly. Carry on cutting with the main action. So that's another way you could put that into your animations. So very simple, but it adds a lot more believability TO character, which is what you want. So good, good principle to know in them. Let's move on to the next one. All right, guys, timing and spacing. Okay. So let's set this up. The animator is the actor of the character and act as timing is based on instinct and personality, is the essence of the art. As an actor, you have to know when to pose. Hold that propose for the proper amount of time. An act, dad, I must learn the value of holding poses so the audience can register was going on when we talked about holding goes to the right. The actor. Just move this out of the way. The actor, it was also decide if they must jump into holder ease into which we talked about in the previous principle, you ease into oppose. As well as jumping or easing out of a pulse. So that's all it is, easing in and out of process, right? So the next video, so on my YouTube channel operation, I've got a video on turbulence spacing. So take, take time, go through it. And everything's in here about timing and spacing. Because this is the ultimate for me to show it for you if your video is to explain it, contaminants spacing is is can be quite hard to explain. But hopefully I've explained that well in this video by using tuples. Sorry, two spheres as examples. So I'll just show you quickly. I've got, I've got an example, two bonds here and run. Just talking to you about space and having abolished is not going to be clear like this, but go into automation and just search for this one, a animation and spacing. That's the one you want. And you will see it, you see in the video list and in from the flu. And then we'll go on to the next one. Next principle. Okay, So the next principle. So the next pixel, so this is a timing. So this is a timing and spacing. If you've seen the video, sorry, I'm just coming back to this space and this is still on timing. But basically we're talking before about easing, easing out timing here. The more this ball is going at the same time. Goatee differences, the spacing. What do we mean by that? The specific what we basically mean is this more drawings and the front hair and is less in the middle and more at the end. That's what you mean by spacing. That's what quakes too quick, ease in, ease out or the spacing could be even. So everything's is going even. That is it in a not so nutshell is quite simple, yucky, little complicated. So for example, Hey, time in slowing. So imagine this ball head as opposed. That could quit, click, Go into all these frames, four frames, and then ease in to the next poses more during their senior from one pose quickly, your spacing is quick case-based up anytime to another person. That's all it is. And then he got even poses a slow in first and Dennis speeds up. And then you've got speedup. The hang time is slow ahead here. Sorry. It's slower and then it speeds up. Sorry, I don't have the Arab Giuliani was behaves like quick. And then Islam's slumps down even all the way. So the poses E going for one personally evenly. It's kinda slow. Hey, It's going faster, faster. And perfect example, a VLookup. If we look at this one here, smooth not doing, this is a pose. One pose, I'll try again to dispose. And you can see, hey Howard, if easing to this browser. So it's going fast, fast because there's lot of space in between. Then it slows, eases as into this pose. That's exactly where it shows a more whitespace. Whitespace, whitespace in there is slowed against closer, closer, more drawings again, closer, closer. So it's easing into that pose. So we kick out the next. So I'll just rub this out. Exaggeration, right? Let's check our exaggeration. Exaggeration is exactly what is saying on the screen here, right? So it's basically pushing the pose. You're pushing the pose more than you think. Again, when we start off in animation, the pushing the person would do a pose like this. And normally mentors and teachers will say, you know, push the pose more. So you're getting more stronger lines of action, right? Stronger lines for the whole body. Like for example, here. This could have been a subtle pose like this. Maybe the teachers at all right. You can make a more exaggerated, so is it made it more exaggerated ideas here, pop brings to push the poses more than could be shy from pushing it. So really push proposes in your planning as much as he can. Because when you push it, you can always turn back. That's the great thing about animation code. Specifically animation, you can turn stuff back very easily. Other forms of exaggeration is, again, eyes bulging out is a classic, right? So many years like stuff like that. The eye is coming out really, obviously in realistically, we're gonna do that, but cartoon, you can get away with it. But here too perfect example. Here. You can even push this more. You can push it even more like that. The poses that really wind up so subtle, relative punchy and exaggerated 0.2 I have prepared, for example, reaction to seeing something or delayed reaction, perfect example here. So exaggeration kinda speaks for itself. You know, it's like making depending on the style of animation, depends on what you did. If it is stylized, realistic, then you've gotta be very subtle about exaggeration. Exaggeration could be also in terms of the acting doesn't have to be the action could be exaggerated reaction to something, instead of just the reaction, I couldn't be. A minor thing happened, but a major reaction happen to it. Like in terms of emotionally and in people did not want or calm down while you so much no volume, so exaggerated about stuff. So it doesn't necessarily mean exaggerate the pose. It could mean exaggerate emotionally when we're talking about acting and other styles of animation. But when did you, when you got cartoon animation, you can just go out, saturate, break joints, break poses where I'd be. So exaggeration, there you go. That speaks for itself. Solid pulsing. I can't stress this enough. We went through this before. We talked about silhouettes and our animators need to be aware of storytelling, poses, camera angles, staging, appeal. This is where all comes to develop posing. When you're posing a character, when you're planning, you really want to make sure you're planning everything clearly towards whatever camera in games is different. In games, you can oppose the actual character, so it works in order. Friday is more challenging or feel as long because we would feature film, you've got that one camera fixed. And it's literally even they animate in 3D is today really is flat. So just animating and controlling everything in that one plane. Whereas games, you're going to make sure that camera is working. The poses work in all angles of the camera for the seller has to be very strong. So hey, and also make sure that the joints and everything are working well and all the angles are not broken. And in these are just perfect examples. Again, silhouettes, clear negative space, negative space on the prop here. You know, this is brilliant examples here. Negative space on the arms. You know exactly who that is. I mean this, you know who exactly who this is, even though there's no negative space in between the legs there. You just notice Ironman again here two lovely low separation of the arm. Say this one is Boolean to, this is really good. You got subtle little things. They in no land after trigger point. You notice is the gap with the magazine is here. All these little dots are all shouldn't be taken for granted. You know, like the other difference between knowing exactly the silhouette or not. All these little things where it tells you a rifle is, this is a rifle he's holding. Same thing here. Negative space here. Positive space around toasters, space around here. Clear, despite this, one bit is clearing everything up. So little details like that. When you're posing, really take the time and trouble out to really like concentrate on the pose, the line of action, just the overall silhouette, the shape of the actual crankiness shape could be square, rectangle, triangle, Circular, the line of action, you know, each line, make sure it's strong. Cone food and body flowing going through the arms. These are the kind of things you're thinking about when you're posing an animating, panning around the camera cosine, if that composers work in all areas because it might work in one area, but you turn it round, the arms broke. I'm going to move that work around. So you're always orbiting around. You're always looking at the pose, always making sure the line of action is right. And that's just a constant thing you're learning over and over again. As your enemy, as you build experience. And a pill. So a pill is where you're making the character memorable. I think you'll find that character appearing hilar art. Remember that character, so it could be anywhere. I remember Woody from Toy Story. This is kind of a pill to the calculator, you know, straight away, you know, is something that's built in your memory when he went to see it. And then I can't get a pill and had empathy at something at a motion that connected with you. So you're trying to create these memorable performances. And another way you can do that is one of my mentors told me was, when you go out, when animating live, live your life as well, you know, go on, experience life. Perfect example of this would be salmonella coffee shop. And I see a couple of dating on a first date. And I might be working for a film company, feature film company. And they might say to me, okay, we've got a shorthand to people on a first date. Can you think back on remember that time when I was in artisanal coffee shop and I saw that couple. So you're building a library in your head and kind of think about, all right. Was there any appeal in there was anything that caught my eye. That's what's going to make your work original. Then you put that real life experience into your work. And you're trying to make that character, you're trying to pull up, pull out any appealing stuff from that day when you remember your building, that library and you had two. And yeah, you're creating those memorable performances, which I would think comes under appears or you know, again here, this is from The Illusion of Life. Appeal is what is the pleasing and fascinating quality that makes a person enjoys what they are, what you, this is what I mean way. So this is exactly what I'm saying. Is it memorable? Day enjoying it is terms of the empathy, right. Oh, I've been in that position. Yeah, I remember that. So you're trying to create those kind of memories. So yeah, so they are the 12 principles of animation. And I would argue that one is missing, right? And I would say weight should be in there because I think weight is very important. I think wait, you don't get the weight right in the character, then everything is off, doesn't look believable. So I'm not sure that comes on the timing and posing, but it's something that I always wondered why was on weight in. There. Should have been 13 principles of animation or 12. Well, you let me know you comment on the course has somewhere or my YouTube channel wherever. I might do a video on that too. But anyway, me, that's all of the principles of animation that we went through. We'll go over them in more detail as we do the exercises. But all in all, yeah, they're the core principles of animation. And I'll see you in the next video. 15. Why Is The Bouncing Ball An Absolute Fundamental To Master: Okay guys had been during the course so far. This is about the bouncing ball, the fundamentals. Why is the bouncing ball is so important? And I'll be using examples in this video. And it will be showing everything from breakdowns using low so arcs in their hips, explaining the hips as the bouncing ball using examples. But the key thing is always, I always used to ask that question when I first started learning animation, why am I learning about symbol? Wildcard is animate characters. And it took me five years to realize that, okay, animation is about the bouncing ball. And in this video, I will explain everything about that. It's basically the central gravity of your hips. You got a bone. And it's moving everywhere. Now, if the character isn't moving properly in the hips, It's going to affect everything. It's going to affect everything. Arms, torso, upper body had been quite. So. I will explain this more in the example. They will make more sense rather than me talking about it. But what I want you to take from this video is really think about and be conscious about the hips. The hips are very, very important, dell'Arte, the center of gravity. They will drive everything in your animation. And if they are off, just by a little bit, even like a little like say if you've got a nice curve and it just goes back and then goes, you will, you will notice that, you know, you will notice all those little glitches, which we do fall victim to when we first start animation. That's just not true. You know, if you're beginning to animation, that's going to happen and don't worry about that, that's fine. But I want to give you this information so that you're more conscious of it. So that okay, if you do do it, you know, you can go back to this lesson and think, okay, I've got to make sure the hips are right. Come, go, make sure the hips are smooth, working properly because they will be affecting everything in my animation. So this is the kind of thought process of just what you need to kind of begin to start put in into your workflow. Because when things aren't going right and there will be times when you're animating and things don't go right. You have to come back to the basics and you think, all right, my dimensional working, What's wrong? Let me look at the hips first. One with the hips, the bouncing ball. Okay, Let's tracking. Is it moving up? Is it moving? What's happening? Is there a jitter in there? And this is all be explained in the video. I just wanted to give you a little introduction to this exercise. And without further to do, let's get into the video so you can understand what I'm talking about rather than just talking. Okay, So let's get back in the video and let's explain this properly step-by-step. Okay, welcome back, guys. This is just an example video that will show you on the importance of the bouncing ball. So we will be doing this work in the next video about an example here. So if you see this MOOC is not normal. By now, if you look with the hips, you think about why does the, how does the bouncing ball to the to-do, to the walk? And I'll show you. So if you look at what the hips are doing, the moving up and down. Now, if I've already got bowl, which is constrained to a, so I'll show you the example of what I mean. Now switch to Boolean. So now you can see how the ball, bouncing ball, why it makes so much sense. Because a bowl is controlling everything that is the center of gravity. Another way to show you, and if you've got good curves, that will make you watch an animation really smooth. So that's the real importance of the bouncing ball or can't stress that enough? Because when you're animating a character and the hips on working properly, it will affect everything in your character. If they're not working properly, then you hold animation will be affected. So if you look at, if we look on number two now, so you've got that. So if I go back, so if I play this, we have an, Hey, let's do this. The path of action. If you look at the path of action is going like this. Ten is coming down and it's going up slowly. And it's going up. And it's coming down. Yeah. So it's following this nice arc, which is really important as well. So it's following the arc, right? So if you look now going nice and smooth. And that's very important. It's very important that you follow. There are coniferous was diary you hold. I mentioned the Meuse-Argonne, a given example. Suppose like this. Let's check the curves are first we go to animation here. Could you visualize create edible motion? Now, you will be using this a lot. There you can see everything moves in arcs, which is organic. If we play this, you go Nice up and down. Right? Now what tends to happen? Some people don't pay attention to the arcs and they end up doing stuff like, I'll mess the mess this up. This is a very powerful tool. You can really edit the animation you want. So you can get really cook it OK. This is also if you, if you see it now says that if your hips are not planned out properly on how you want each pole, if there's not, if they're not planned out, like nice curves and following nice paths. Then if you look at this character now, if I just hide the arms and legs, everything will be affected. You see how the upper body is affected. So this is an example. It is show you guys because I wish somebody told me this when I started it, a WR gaming example at this. And I really hope that this helps you because this is so fundamental, really is so important. So you see this. Now if I, if I just undo this and bring it back to our nice rocks that we had. So let's see. Let's go back a bit more. Go to linear. This should be smoother now. Yeah, so because smooth one here, this is our walk, right? And look how smooth everything is at the top. Now. See, you're not affecting nothing. That's how you will get busy work. And then what we'll do is we'll start moving these around to get the rest is just an example to show you how important it is to really concentrate on those hips. To really think about the dungeon Bowl. Because that is what's gonna get you. The smooth animations. Get these nice arcs going in there. And the same for the fee is, I'll talk more about this in the OK, OK video, but to enable trail, and you can see these nice arcs. And that's all you're doing, is trying to find nice arcs on your arms, legs, and hips. Once they are working properly, we can more or less animate anything you want, any way you want. It all comes down to the planning. And I'll talk about more about that moment when I do the in-game animation course, I'm going to do a full course on that showing you only animations needed in a typical industrial setup. Games industry set up. And I'll go through that. But this is just some, probably one the most important videos I'll show you in terms of how the bouncing ball refers to the hips. If you can see the hips as the bouncing ball, then it will save you so much headache and it will make your work so much better. The rest comes down to create mitosis, how you want to character deposed or what have you. But long as you got the ball, the concept of the ball in the mind and the arcs, you create organic fluid animation. Yeah. So next video we will actually do, we will actually do this book. Yeah, this, this will care. I'll show you how just that this book. And I just wanted to explain to you the importance of the bouncing ball. And I will go into more depth. But with the lecture. So watch the lecture detailed look at their hips. And that will go into more detail, 12k rebel and how you can relate it to other parts of the body. Okay, so I'll see you in the next video. So guys, just before I do the freely example of the condition testing 2D quickly and we'll just show you what's going to happen. So basically we got a character which is like this. So let's say for example, there's a character, one character hair, and we want them to move forward. So let's do the same again. But this time, his back is more like smaller that way, right? So we've got those two reversals happening to record that line and that line so we can see the change. Now. This mechanism. And if we were transitioning this, this is a balsa, the hips. So if we just delivered no in-between, it would just be straight. So the whole point of this exercise that you're going to see in 3D is how many times can discard to get from this pose to pose. Now, there's millions of variations right? Now. Normally within transitions of keyframes really go straight like this. You kind of go down in a nice arc or upward depend on what the characters in the calculator presenting something upward with it coming down and just subtly brushing his arm or something. So what you can do is you've got options here. So if we go back to red here. So we're going to, you can either have a transition where the character is slightly higher. So if we put a transition, the middle there, and now we know that the kite is going to in this arc. Right? And the in-between could be, I don't know. Maybe maybe the back is is leading. Maybe the hips is leading forward and the head kind of gives higher. So resist messing up there. It's kind of up here. And we know the head's going to be high because the hips is I. So you'll get a nice little arc here as well. All right, So the hips are leading and in their head is following. Or you could do it downward, right? So if we go to this color here, so we could do it where? Right down here. And then this is another arc going downward. And then maybe characters, hips are back here. But is head, head is leading and obviously this head is going to be lower, right? Because the hips are lower. So if we look at this arc, this arc will be loudness. So the idea is as following a nice arc, right? Going up, upward in the red or downward. Hope that's not too confusing. But you will see in the next video in 3D, you will see more clearly how I'm going for Eastern tradition. Yeah. So check out that video and do the exercises or yourself, you can get the rig dep, can go back to my earlier where it could get rigged from. For this course. You can get all these links from there. Take it out and it's fun to do, you know, do two keyframes and see how many variations you can get from one pose to another. It's good practice. One of my mentors told me this, when he always felt low and confidence he would do this exercise. So spawn, just do this exercise and do your confidence on different ways of getting from one pose to another. Okay guys, I hope you learned something from that little example. The next video, this is a video taken from my YouTube channel. And I got a lot of comments on this because a lot of people kind of related to this example for what we know at, let me put this in this file, video file into this bouncing ball example is to do with breakdowns, but I'm showing how the hips can be used as a bouncing ball. Subtle going down and up, as we explained in the previous drawings. So check out the video and I'll see you later on. So for example, we've got this character here. This is depth. So I'm going to keyframe here. And I've got a key frame here. So these two poses, right? So what I've got going here is I've got the pose of the spine like this. And then here I've got the poses. I've got these two little C-shaped overall ones. So if I just do an overall, it's an overall line going this way. And then the other way, yeah, it's kind of this one is kind of going kind of going like that. All right, and then now what I wanna do is All right, How many times can this character get from that post atoms? Now there are thousands of ways you can do it, right? That's the whole point of the exercise. So you want to be challenging yourself, seeing how many times. And another thing you wanna do is, for example, if you've got the hips here, you know, when, when we're animating your in-betweens, It's nice to get organic curves going in between, either upward or downward or maybe it's a longer action, shortlist going We all over, you know, the, the arcs are going all nicely. So a good thing I used to practice his life. For example, say if I go to animation and I go to visualize editable motion trail, and I show that. So if you look here, Let's put this on. You can see it's linear, isn't it? So it's pretty linear to a linear towards moving. So what I would normally do is wherever I want the breakdown. So maybe I wanted, let's put up five for example sake. Maybe I want this character to come in, break down, down and up. Or you could have it up and down. It doesn't have to be done much over an arc. Because you see a lot of dialogue shots in yellow characters when you do too much of that LOB like. And then he said this, and then you said that is quite repetitive. So having so use it when you have to, but having subtle arcs. We'll just make your character more organic way it moves with realistic movement, of course. So for this example sake, I'll just have it down slightly. So there'll be like, All right, well I've got that nicely. We're arc established. So then I'll just practice from Laura. Can I do so if I just get rid of this motion motion trail, I'll just delete it from the outliner here. How do I wanted to? I wanted to lead from the head. Do I want to lead from the hips first? So for example, just, for example, say k. I'll just, what we can do here is I can write this frames. I want the hips to go forward. So I'll just leave the hips forward. Move the hips forward, and maybe the back Our to follow that later. And then we've got the back. So you might want to just drag the head a bit more. And maybe the arms, the arms, you could have that backup. You may want this one coming forward, but then you might want to break the joint. Three might want to run this one in back. And in here I might want to break this joint and just have that going back. So little things like that. So then when we play it, there's a little break, break down and Gogo. And then obviously later on you will start off second in South. But then you think, all right, it's just one possible way that one character can get from a to B, right? And then you can change it around. You could go to the Hebb's Law. I mentioned before, instead of going down, I might come up and beat up, going up. And then you can just play around for just a little exercise about share with you, which I found when I was starting and I wasn't too comfortable animation. I will do these simple and keep it very simple, these poses. I'll make sure the storytelling posts are really clear and really readable and silhouettes are clear. And then I will just work out how many times can I get this character to dispose to that pose? And there's so many different possibilities, thousands, even like, Hey, you could even have do ridiculous ones. You know, you could even have one which is, I know all the way down. You could even move move it all the way down. I really, you know, turn turn, turn, and really exaggerate. You could even stretch if you wanted to it as a stretch. I don't know if this translates as well, but yeah, you could stretch as well. You can break them between, like you didn't click in-between. You can really stretch the character and you can really break the joints. So here we could, for example, say move this and then make it follow nice, nice arcs as well. So we can move this. So say if we had this like this cartoony, you can create nice shapes like this. So it's following. So you get in like nice arcs, all the arcs that follow like, you know, like this. All the paths that action that follows the crate, the movement organic. And then you could even try this, just playing around with this. And then you can start adding some more breakdowns in between to just drag it more and keep breaking it down. But firstly, when you start just do a key-frame, key-frame, and then a breakdown in between. The breakdown could be further along to favor the pose is going into or before dependent. All depends. But a nice little exercise that they just, you can just try and just practice all the different variations of breakdowns of how a client and get from one pose to another. And if you've got a calculator, Scott squash and stretch use diagnose stretcher. When you go for break down shots. Make the character follow a nice arc, overall arc of the head, the hands, the whole arc of the arms to get to the final pose. And then you can start out in cells, layer and stuff. So this is just one of the exercises like to share with you that are found quite useful when I was growing up in animation. And hopefully you do too. Okay guys, so this is another example we're going to see of the bouncing ball. And I think this is a really good example showing maybe like complex movements and how to check the arc and where the arcs of the hips are going, which is the main thing we're looking at. Now this was shot with dominant design animations cuz I'm just going over and I'm going to analyze this for you. It's been about 10, 12 years since I did a short so it needs a polishing a bit more, but let's check it out. Let's play it. You may have seen it on the showroom. So let's play it here. So basically it's a character weight exercise. And what I wanted to show you is. He plays the animation cause pickup. Okay. Fair enough. It does that. Yeah. So what we're doing is we're looking at the hips now. So what I've done up, put a sphere on the hips, on the hip. So let's check it out. So if I turn it on, it's red. So they are just parented in there. So let's have a look at the hips. Let's have a look at our ball. What's the ball doing? Right? To follow it, follow the arcs. Just to give you an idea. Okay, So now what we do if we go here to the body, okay? So if we, so what we can do is now that we can see the ball there. So we'll do, we'll hide the ball. We can, yeah. Now we'll do it. If you look at the control, the hip control and down motion trailed to reused. So it's a good to see the hips as a board. But really when you're animating, is this point here, is this point here that we're going to be tracking, that you're going to track and everything. So when it comes to the hips, you when it comes to the wrist, is that point right there. So let's get this. And if we go to visualize editable motion trail and then go to show because it's not showing there. Look old, luca, everything you can see there. All of that. All of this is the hips. See all of these points. These are all points here. Going up. One, going back, in, winding back, going back up. See these curves that can be quite, that can be cleaned up a bit. So what we'll do for this, go back down. So here you can see the curves up in the top and decide then look at a side view. So looking back now a lot of these curves can be cleaned. As you can see here, going up. Then inside of you here. But you can see how the curve, being very conscious of how the hips are coming down here. All the way down here. So if I just get up, my Epic Panel, is that so you look at this one, this query, I could have made this a bit more, coming out a bit more like this. And then nicely let it flow. Because here you can see it's going from here straight to there. So really there. I could have had from this point to this point, I could have had a curb going down. So it's a bit more, we're nice. Transition going around like this, right? And in a bit more smooth and I die. But these are things that you find that after I was still learning animation that then. But overall, you can see what I'm trying to do. You're trying to get nice curves are in the in-betweens. That's the whole point. I know this was a snappy kind of animation, but still, you can feel that if you don't get those quick in-betweens, like we could bring it down. Now you can see, you can see the difference. We bring it down now. Bring a bit more down. Bringing that up here as well. You could bring that down. Maybe bring it forward. You don't want to lose any of that subtlety as well, right? So it's one of those very fine line. And then you could move. This is what you're trying to do when you're animating. You're just trying to get some good curves going in-between. Had little bit of a hole, they're going up and coming down. C, that's following a nice curve as well. So an up and coming back down and then settle. So these are the kind of things when you're animating your time and get those nice curves between each animation, each break down, each keyframe, sorry, each n-dimensional, each key pose. You kind of get nice breakdowns going in colonial times, people will say the breakdown poses are what make the animation. And we'll talk more about breakdown later on it will. But that's just an analysis of a short di did and how I wanted to show you. How the bouncing ball plays a really big part, right? Because you've got the talk about the bouncing ball. And we've got this pole here. And I could say, yeah, track this ball tracking. But really that's not ideal in Maya. What you're really tracking is when you select your tracking. Like I said, this very dot in the middle, that's where Maya is calculate everything from all the motion trails, evidence does what you're tracking race. And the same goes for, for example, say if I do. So let's get rid of this, get rid of that most anterior. Let's do, for example, let's do this. So we've got this full control here. Now this token, the arc is going to be tracked where this is. So let's check that out yet. So I've selected it and let's go to visualize. And we'll motion trail. And it's created. If you look now, there's the leg is off screen. Yeah. But look how others following a nice arc. You couldn't do the up or down. Yeah, maybe that point you could have an upper bed. And then here you can see the arc as just coming over. It comes over like this and it's a nice aren't going down. Elance first takes the weight than the other for constant. So your foreign are not just for hips, you find it for the rest. You follow for the hips and the ankles and the head. The head is the head. You used the nose, right? He's easy. My portfolio located there. I knew the point of the nose as like nice little subtle arcs like this federates your hobby. I just wanted to show you this video that day. The main things you want to be aware of the arcs on the ankles are they will follow a nice arcs. Are the smoothed or not jittery like we talked about 40 literary history and hips. The hips have to be perfect first in a dashboard polished nicely for us. Then because then everything else will be affected by the legs, I guess. I independent as well. But if you didn't arms in Africa and had Dusko, we're going to get affected from the waist up IK leg, the normally ickiness you're kicking the forward kinematics to talk more about that. But this is just an analysis. I want you to be a wide it to be a bit clearer for you guys. So you know what I mean about the hips, the arcs of the hips, and how we have to make sure that that's all working fundamentally in its proper like smooth and the weight shift and everything is all on point in the body mechanic before you move on in stock policy because you want to get the early stuff right first you want to get orders, hips, body arcs, all the smoothness or the central gravity open working correctly. Danica start refining, Dan does for the fun part comes in, we start refining the animation and making it better. Okay, So I hope the analysis helped and I'll see you in the next video. 16. Key Poses And Breakdown Poses: All right, So this video is going to be on breakdown. Poses and keep poses some key poses. T poses all your story can impose Is your strong poses an example I'll give you right here is Okay. So this is, like your key pose yet. What? The kind of thinking was going to break down. Now, this is that this breakdown is the breakdown, which is leading up. Ah, breakdown pose is opposed. That makes the animation. So it's basically opposed. That is OK, how do I get from this key frame? Could this key for him on a breakdown thing does that for you on on in depending on the style of animation. You know, a lot of times you can break joints, you can do quick stretches on, then go back into that post enough. You got motion blur. You could give massive stretches and get away with it. Break joints like his, for example. Here you go. Breaking of joints. Hey. Yeah. So is leading upwards and and you get in, it's leading up. And then you can opposite lines at the way. Some essentials like this, Then it's like this is flipping, so it's gonna go. Yeah, So you get down. As you can see with the hand in the motion blur, you get that whip so dependent. How quick? So some some breakdowns might be two frames, one frame, you know, really extreme saying that one frame, you might have a massive extreme pose. Then it comes, but you know, you don't necessarily see it, but you feel it, you know, And that's what separates the animation as well from other ones. Other animation that you can you can feel that stretch or but you don't necessarily see it with that compression. You know, before the kite is about to jump up, it compresses away down on, then you don't see it, but you can see that massive stretch from that small to big. Same with here to slightly going up. And then it's coming down on then arms and then his arms wrapping. So this wrapping letters So that's the breakdown trap. So is that so? It's basically the frame in between the both golden poses. The key poses. I'll show you some more examples just to be a bit clear. Simple examples. You go ahead here to save you. Go. Uh, it turned that way on then on the end frame is turning that way. So we just got a key friend there and keep offended now when we talked about arcs and stuff , so that's so basically here we can have a even go down. So look a chain and then we can place a line. Not this when the chin going up to the nicely the ark happening? Yeah, again, probably. So you got a nicely walk? Just, you know, my mouse is it won't. But there you can see it comes down and then you could have it go up there, see? So that's so That's the breakdown. So the in between is where you have a break. Now I know what you can do. If you can come here, it's even delay of it. So it's like then it gets there So you could. And according to your character, you could have its own having it down. You could even have it up and over so you could go. It doesn't have to go. Not that you could go over dependent was looking up. You know, I was thinking Who's going? Oh, you know, rolling the eyes so again, you could do do it like that. So that's essentially your breakdown Post Your breakdown pose is the pose that makes your reason. Takes you start transition so you could have all kinds of stuff and an example. I'll give again again example from some of the work of them. Like for, for example, if you look here, if you look okay, these are breakdown cruises and it is falling arc going down, the eyes are stretching. So that's another thing you can do. Stretch the eyes that would put it in. I didn't wear else. There's another one where we could so that dots is a breakdown pose there. This finch, you know, again, you know you don't see you see that stretch here if you play properly. Sorry, that's held on there. If you play it, you could just be just about make out a stretch. It just It was really stick enough that you could get away with it and then hair. If you look down here, this is all breakdown. They're starting their the most promotion Blue helps. A lot was off all of these middle poses. So that's a key frame hit. Um, that's a key friend there. And in between in between is break down big down and impose hippos. So the spacing isn't that mark is it's just just one frame rocket. So that's what it is. You got your key frame and you're keeping but goes Those poses are so important cause they will make your animation a good a good exercise to do is you could take this, for example. Just delete this to you Got cut to here. Okay, Stop key all of the premises head and then go to the end frame on. Remove it like this. Maybe we look I felt the route. Just move. But copy this way. No. How many? How many ways can it get from that post to dump whose there's a 1,000,000 ways you could do ? You could have it. You could have him go down. Maybe you could have him kind of. And, you know, I was head up a bit. You having bend in turn, you could have a go backwards. You could change it backwards. You know, there's so many countless ways you could animate. The point is that so many ways it can get from one post to another Dustin, quick. So you could do You could get the mood oppose, and you could even do, like you could even move it. If you move this hair, it could be that. And in the middle, they go down. So there's, like, this coming down and then up. So so is coming down and up. And then you can stop playing around. Got hit in the middle Here. You could even stop delaying. So you're delay on, then catches up. That's your other breaking. And you could do so Just little exercises. Love that. They were good timing. Make it smaller sect. All of them. Bring it in. You could clear up ahead of it if you just snapped this city traditional, you know, and not what we live with it down before it slipped last two frames of the head and just middle clicking here. So it's moves in. You could do little, little Adam. It is not just to get your confidence up. You know, on. Then you could just make this maybe overshoot this a bit, so it comes back. So little small animations. Not that would just get your conference great. And then you can bring the arms and stuff doing it. Bring elves. I think this miles gonna crush no has crushed. So basically, they form that lesson. What I'm trying I'm trying to show is that you just get get a strong key frame and then go on frame one frame frame, 10 or frame 20 Another key frame. So it's going the other way, whatever you want to do. And the Indian between them could be going underneath income so you could have a normal cell. We could have going now, coming up. It's going up. So that is endless. You know, you could have it squash it, you know, score shit down, bring it down, and bring it up for his countless ways of doing those little exercises. So just build your confidence up. Slowly serving on you will start to feel more confident in doing shots. Yes, all this. So that was a low blow. Introduction to breakdowns on As we do the exercises, I'll show you more more about that where the breakdowns are going yet. Okay, let's see the next video 17. Exercise Bouncing Ball: All right, folks. Welcome back. So in this video, we're gonna talk, talk about, and we're gonna actually practically do the bouncing border. So let's get our bouncing ball ready. So I showed you could download this, right? So But you can if you still want to know. Just go to Rusty. I make it wasn't rusty and make her. Yeah, all free rigs or free rigs it rusty anime, three rigs, ego. So just go Here. I go down here and get all of these rigs will be using We're using. Yeah, we're using all of these. Let's go down and get the bouncing board one for this exercise. Which is this for you? Let's go ahead and download it. Okay, so we've got your ball ready. So where do we get the graph? Editor Radia. So here's your coffee area. I have a do assist Doumani area, but I'm using one because you can see what I'm doing on here than you to make things easier . Fleet. So I just place this up here so I could see what I'm doing down here. So you got the graphic here. Excuse me. So we're gonna do we want to go into side view side view cause it's much easier to work. Homicide. I want to select this yellow control here on. We go down to this timeline and say, Let's go to Thailand's has put this someone more easier to go on one and we press s so we select this press w So you make sure this is on deep recipe and it's rotate w on. We come to frame one on and with that selected process and you see there's a key friend. So what will it do? Well, just shorten this tube. Can your time run yet to be working with something? My emails going off? Let's go to yet 20 Left Pretty What? We're doing a middle click this so middle click drug it to frame 20 and passed. Who's already compressed key friend? Sometimes in my end up here. So you just have to click in the View port here to make this active. Do you know if we go back here, you can Eva key this and just come here and here or you can middle click and drag it in Cuba. Either way doesn't matter comfortable. 11. Just use the white translation I'm bringing up tussle you're doing? Yeah, actually, just make this 21 because then it will be a bit more even. So we shift left, mouse button, Let go everything on in middle in the red area and just move it like that. Yeah. Oops. Made a mistake. You know, when you want to select its you just go here, Miss. Press the shift button, press the left mouse button on, drug it on in, Let gold both bonds, and then you can disco. You're going to the middle area here where there's none of these arrows. You can move it. Yeah, if you want to stretch it, you select this and you can stretch in. Moving on that. Yeah. Either way or that way on, this middle one here will just move everything. What's the middle one is the same A selecting the red area, This middle one here yet? So if we look at our animation now, it's going up and up. That is not much impact on the flu. You can see this Just kind of easing in an easy now. Yeah, when we had that concept, we're talking about the principles of animation about easier and easier. Now, this is what we're looking at. This is what we mean. We mean, like, here. You see how it's easy now and eases off here. Just get this penny so easing, easing into that pose, then it's going constant, and it's kind of easing. Backing is easing out and easing backing. That's what the concept it will ease in and ease Have. Yeah, So you could see our first pose. It's just a circle day easing. Ease off. Now we want the board Taliban impact, Right? So I presume back here. Same way as we pan here. We could do it into by secondly, robust outrun you kill it. Confused about that. Even going to the mine confesses her video got But I'll go free over and over again when I'm with detail The worry So you just easy Is this pressing the whole on right month, Martha Middle one pans it given oyster. But I would eyes anyway, sorry to build with, uh let's see. Uh, so we got this and what we want to do is we want to break these. Yes. If you look at these handles here, you see how they're moving. There's not much control. If you play with around, you can't move it out in nothing here. So we want to break me. So what we do is we select all of these keys wherever keys you wanna break and you come here. This is called breaking the tangents here. So now you've got independent control of these and you'll be using these a lot in the animation, you know? So for concluding the spacing suitable from here to here is the spacing. And we would talk about spacing that most of the drawings are here. Then it's easing out and emotional drawings are here, and it's easier. So we want to have less drawings here and then wanted to shoot up two more drawings and unless drunk, then that's going to give you the bounce, bounce people there. Sorry, the pop pop. And also I'll show you how you can get that impact but breaking dungeons. So what do we break into tangents? And now we want to move them in and out. So what we do is we come here to curves on non wanted. Sorry, waited tangents. So now you've got proper control. You can go in out everything. I really good control here. Now what I would do with this if you look at this animation now, so there's not much impact when it's the floors and is it's going down. But it's, like, very soft. So what you do is you play around with the timing with this basin. So if I moved us up, you can see it's gonna shoot up now, isn't it? There's no easy in that war on this. You can control any any top of what you want, but we just do it like this to see if we have it. So we know that this trajectory is not shooting up, hanging and shooting down. There's not much drawing. So we playing around what we're doing here is we're playing around with spacing. The timing is the same because we haven't moved anything on here, right? You haven't stretched out the time to four. He stayed on 21. This is just a spacing. This is him out. Drawings in between. If you look now, if you play it, you see there's a bit more over impact on the floor. You can feel it a bit more, isn't it? So now where you can do you can try and make it more if you want. You can bring it up a bit more like this, this up if you want, and now we can start seeing the impact there You could see it feels more like a born out doesn't it? Feels like hitting, bouncing, hitting. So that is how you do your personable, your first possible. So that's really that simple. Yeah, and then I will show you how to relate this to the hips moving up in that. But that's what the bouncing ball is so fundamental. If you can get to grips with the bouncing ball. If you can understand the concept of the bouncing ball, the bouncing ball is so important. That's why we get talking for the first thing animation now. It took me five years to understand the animation was about just dancing bulls. That's all it is. So this is the absolute route fundament. If you can understand this bouncing bold in your animation journey, so many head out headaches will be gone. Will be disk, a plea gone, and I will show you how this bouncing ball relates to your animation. How it relates to the wrist, how it relates to their hips and most importantly, and everything but well done. You've just on a balancing born. Yeah, and controlling the handles. You credit of impact going in it out, down. So is brilliant. So you've done. You've done really well. So in the next in the next video, what we'll do, we'll do a bouncing ball that's moving forward. But we'll do like we'll go beyond the bouncing ball. Will do that. Awaited bouncing ball on. We'll do like a light bouncing ball, so that's an excess to show. Wait. So So what? Oliver down your first bouncing ball. I'll see you in the next video. 18. Bouncing Ball Squash And Stretch Exercise: what goes. So this video, we're gonna load up the ball on what we do will go fruit, squash and stretch. So it's going here, will get the born get that load, and it will start. And I explained to you explain to you about the bouncing ball and how you can add squash and stretch to add some weight todo to your character. So Okay, so we've our ball here so again that we're going to the side view if you're control not showing up, you just go here. Knows loves cubs. I don't know why it does that, but yeah, sometimes by default in the other views, it does that. So I'll just move this up. And this put this are, let's say, 20 you could finding Overdo this. Grab the middle control press W he writes. We got key there. Don't go to twenties. Set another key. Let's go to Ken. It's moving up, however, how you want. So if you look now, we've got bouncing ball. Yeah. Okay. So now what we want to do we're going to Gulf area are graphic to here. I just make this half way so we could see both easier than so we got out there. We've got the dancing ball down here. So with this pest, why here? So usually using the white translation slept everything on with this break it when we talked about breaking tangents. So it's broken head and they will just moved this slip this and move it up slowly. Have to worry about would have to worry about No one waited, but we couldn't even on this for now. We wanted greatly impact. So let's have a look. So it's a little bit impact. But you know what? We might actually I like doing the wait until it's too late. You go. So now you've got more control, right? So you could push it out a bit more. Checked it more like dip. And if you want, you can move this forward. He selected press shift on middle bun and it moves forward. See, it won't go up or down a moving up in every Well, it only goes give you press shift and middle button and only go in that direction. Okay, so we look at it now. Okay, so we've got a bit more impact happening there. Right? Okay, so let's just move this out the way. Now we look at a ball about same board. I'll just get the reference of yet to bear with me one. Okay, because let's go back to our principles of animation yet. So you've got this. Just get this into SEL idea from currency idea. Okay, so we're gonna bouncing board. It comes down here. And just if you notice the board just as it lands is a stretch, and when it balances is a squash and then it stretches again and goes in the hand time it goes back to its normal space so you could see a just before it lands and then there, and then they're they're the key points. Then here, you just leave the board how it is. And obviously the other characters, This is an overall. But I show you how costing stretch works would overrule characters like actually gonna show you now. So, for example, in animation, it's good to think in shapes, you know, one of one of ah had a mentor who was from picks on. He said to think thinking shapes. So when you're doing a jump animation, what's the overall body doing? What kind of shape it in up, for example, here you could say All right, What? This is a circle shape Right on. Then This is like a rectangle shape. So if you see a whole body of little shapes that will make your animation stand out Because animation is all about contrast. How to get from disposed to doctors. If you're doing the pose like this here and then that this is not my fault trust. But if the characters chatting. So, for example, if a kind chatting and then all of a sudden this is, then he does, he does his next poses breakdown might be in and help see, there's a big contrast it for another one would be, ah, animation. I did for video game company, where he jumped in the air, turned around and you went in completely in and then once completely out like a star. He had a distance special moves that he collected. So he went and jumped into a coil and a band. So from death circle Poth to the big triangle square pose. So those are the shapes you trying to see you you always trying to animate in shapes on crazy about that contrast, Obviously, that they'll be kind was this soul movement. Then you can You can still create that shower. Sell. Sorry. Shapes that go in so you could have us from a square at can go to a triangle. Right? So if you look over all of your arms out here like this, it's like a triangle. Right? So you so you know, you could move from a square to a triangle. Not that that's a contrast right there. But there will be some moments is Oh, so that's another way of thinking about courses, Stretch. So sorry. Coming back to the board now. So we're just down Babylon around it. But there, you see how it goes. Stretch, Score, stretch. So that's what we're trying to replicate. Okay? So we can get rid of So now what we're doing So we know the bull as it comes up. It's stretching a bit, but so we could key at the first frame and the frame off er it is doing straight ahead here , goes up. And when it gets here, we could just zero this out at the topic. The boys level that you could start to see the volume in in the actual Boyer. And as it comes down this frame before it comes down no stretch and then squash. And what we can do is we could just copy this. So conflicted here. Press control Z Okay. To start his copied the same if you play it now, you can see that there's a squash coming in. This has it lands, and it keeps his volume at the top city goes up and down on what you can do. There is this. Tell a bit of volume, right? So you can come here and you can middle click this because this is a complete circle. Drug it to true kier the same coming down drag number 10 to 18. So it's a frame before the squash. So if you look now, so is slightly more harder. But you can see that there's a squash in there. And if you wanna soft in that you can soft in it would have to do this. Get this, Move this out and you can start softly in the squashes. Yeah, so you feel a bit of it? Yeah. And obviously, if you delete these the one keys, these keys that would just put in. It creates much more volume here. They so Yeah, And then you can come in the middle here and hang avenue hand time if you want. By the selecting this moving here, You know this They're more hand kind of more volume India. But that's that's basically what discussions stretches its You're trying crazy volume on some weight in the car. Characters I work on are at work. You know, we work on like, these Lego Games, and they have these. You have squash and stretch controls. You can have a little chest, squash and stretch. So when someone's breathing is going up and down so a lot of it can be used a stretch like , for example, on on the character that I showed, uh, wonder show that I did You know where this question stretch on? I bring it up here. I've spring out quickly like, for example, this caca his is having the look on. Then there is a stretched it. So this kind to see something go by Then he has a look things that will stop and you can't find it. And then he gets fed up. So then he stretches up. If you look at this is all scratched and you can see his body, hair, scripture and then he falls background. And here breath example Here was stretch. Hey, yeah, So these little stretchers, this is literally a leg stretch. So it's like setting a Belinda on. Then here is wrong as he comes here. It's over shooting and you can see everything stretching in the legs everywhere. So it's similar to that. It's the same same principle, but you're stretching the volume. So this is the voice. This is actual message volume stretching that and you're trying to create a bit of weight as well. It's good for creating. Wait, it's good for breakdowns. There are extremely going by extreme breakdowns that I'm really stretching. And then they come in, you know, on diesel kinds of others. His question stretches like that that we talked about the shapes. So you got shapes, you know, you got a stretching off the limbs. Discussion stretches related to a lot of things catching down, then coming up, you know, squashing the whole body, not literally squashing, but just like bringing it down, compressing it and then extending it is a formal strips. Courson Stretch. Yeah. So I hope you found this video useful. I will move on to next one. 19. Light Bouncing Ball Exercise: Okay. Welcome back, guys. Focus on this video. We're gonna load the ball up. I'm gonna do We're gonna guess, uh, get square. So we go to great putting on a cube. We are to scale up in. Ah, in. Why? Then move it up. Great. Your Kahlan, the board to drop off. So we're gonna be we're gonna do Is this a scale This a version of a light ball and a heavy boehlje so we could see the timings and the differences. So let's just go in here. If you're controls aren't showing up in here. Show nerves. Curves show nervous curves. Sometimes they off by default. I know why mothers will you give this another color to select it. Coach rendering like conceding materials. It's the color here. You should come up here to change this where the current will will do it. Um, I just do it. Ah, let's do it bright your loan. It's little considered. Okay? Or liveness. All right. So we're gonna do we gonna move this up and onto the ledge, so let's go decide you so we can get exactly how we want it. We'll be right on. Yeah. Saying their pets f frame Just what you've selected. If you say it frames everything if you press f eight frames what you've selected so that select this control inputs f It's a quick way of getting came, Ilya. All right, so now what we do what we do, we do light board. Right? So at this ships like this, it is on the floor, so right, cause when I do the animation, I'm gonna plan on turning, or I would do How do I want this boat to go? So I want this bowl to roll off and then it's gonna learn, Go, boom. Oh, but yeah, I said I was gonna go. So that's our Gasol reference here. Sometimes I draw it, but I think it's always good to plan plan first and then get on the computer. So I will start this for selecting putting a key on frame zero, and then I would move it forward. So let's move it forward to the edge here. Yeah, so then we could say, Alright, moving forward. Being from here, it's gonna drop yet, So let's say let's move it down, on out. We want it here. Just follow along with me. Don't worry about it cutting through here. We'll sort that up lands, and then what we're gonna do, we're gonna come forward more Dari about the time and give us what? We'll just do it every four friends so we'll come up, you know, the ball's gonna bounce, so this is kind of a light born, so it's gonna bounce pretty high, you know, on light board has more air. Time to call this layer. You know, it's gonna be up in the air quite a bit and then we're gonna move it forward slightly. It's gonna come down, bounce. It's moving a bit more forward. So it's roughly getting the balance is in there. So move it forward and up a bit less and a bit fooled and it and down And then, uh, food, maybe a bit less. And then down there and in food. So we've got a kind of a bouncing ball, right? So it's happening. Let's see this plate round, round, round, raise Oye, Sadiq. So we know everything's a bit off, you know, it's not not much impact spacing. Timing's a bit off. So what we do is we go into the graph editor. So we'll go here. I'll remember our property, our best mate on. Let's look at the curves. So let's check it out so you could see the acceleration going forward. So we can do is easing so we can make this small constants about doing that. What you do is you just delete everything and you go to linear. See that That will create a constant for mo mentum going forward. So if you look now, it's a bit more even, right? It's a bit quick. So now what we want to do is we will play around with the timing, so maybe you want it to drop a bit. Fender drops. All right, But here maybe it was quite to go food slightly and in here, we wanted to stay on top. So we just called out this top the top here, and then it drops. Okay, Now we look at this. If you look at the bounce full here, I'm only cook about the handles, how we come break the handles. So what we want to do? You want to select all of these because, like all of these could break it. Then you can go to waited tangents. Right? So we've got more control now. Now, if you look at the bounce pretty even isn't going up. So we know that from that distance coming down, the first bounce is gonna be pretty high here. Then it comes down and the 2nd 1 would be slightly a bit more higher. And obviously the 3rd 1 it loses love this momentum. So it goes down. Yeah. So the so. So this is how we start building and the bounces black from here. It comes down when it comes down. What kind of trajectory we want. We could stop playing with the handles. Stop playing here. Just make sure the smooth on when it lands. We know it's gonna impact up, so it's gonna be left straight up here. I'll only have this 100 top of the other because it's easier to select them. So if you live, move this down a bit. Bring that up. Just do a close up for you. But this this is the This is what we're learning. Last lesson about the bouncing board. So, as you can see, all of these are above was working it. So we know they're gonna hit the floor so we can You can go here, go here and press zero practice ground. You know, it's hitting the ground, and then we just do these to create that impact we're talking about when it's the floor and it bounced spacing, it bounces off the spacing. So all these spacings we can control and we know it when it's up in the air. There's a bit more hang time because it's lighter. So what you can do is you can make the hang time a bit more to this present, selecting one press shift and move it. Not that Yeah. So now if we look at it now and play the animation, it is a bit more over impact happening, then I was a bit higher, but, you know, so what we could do is we comparing a timing now? So it will be okay. Why don't we slept all of this? So we go to the first bounce, press shift, drag old on and slipped the end and push it forward. So now we're playing around with the timing. So we're trying to make a bit more longer and slow us. If you look now, they go and the end One Look at the end friends A bit more. Hold in. The India they see is a bit more hold so we can play around with over here so you can bring this in a bit, but we don't want to hold that much, so if we see it pump pump on the u S. C. It's over here. Lance on 14 goes up. It's a bit of hang time. Then it comes down quickly, less drawings comes up again, Bill Bang time. And then you know what? You can make The last one. You could just play around, Move it in because it gets quicker so you could be like chicken up. Yeah, you go out. Feels a bit better if you go before you five. But that is one exercise. So you're starting to feel just like a light ball, isn't it? Not because some kind of tennis balls. So what else? Well, else you can do is you compress. I could rotate on, go to the channel box here, which should be this one. You. So it's your child boxes s. All you need to do is rotate Exxon, only select exhale, then you could be a little right When it gets to hear, I want to rotate the bull. Let's let's just move this down a bit. Sometimes you might have to go through, eat every frame to just line up, Move it down, moved. This town is all. There you go and he was around the edge. Then it drops because if we press the rotate so on one, it's like on frame zero. It's like that on frame four. You could have it rotate so you could see it rotate now and then. As it comes down on lands you can just buy. I rotated. Then it comes up and just erste, rotate as much as you like as it comes down as it comes up. Rotate healthfully as it comes down, rotated again just in one axes you're going in it and go again and go again. Just rotated. So you just you just want to quite a few rotations. That's what's all you're doing and then play fruits. See how it looks. So you go go through. Oh, let me just move this up. Well, I know what you can do is you can get rid of the nerves. Curbs to see it properly. That's cute to get rid of their rotation. Let's play it. You mean you got nice little bouncing ball? They're smooth this out the way. Framed this in like this. See, this is more off. Uh, I would say beach like Bo. Kind of like a football, if you like, You know? So what? You're as you can see here you're getting the impact coming down under rotation on. It's a simple guys. It's a simple is that it really is. You know, you go. If we summarise the lesson, you just You just moved. You literally just moved this board horizontally and roughly up, down, up, down across it. And then we went into the graph editor. How a best mate, Remember who would it is this X, This is a translation. His report is the is the ball going forward? So this is Ed represent this board just going forward that way. Everything you see going forward is that See that? That's where it's quite constant. We have to make a few adjustments here, so if we delete this now, it's gonna go through, see? So sometimes you goto what we can do is when we get here. What if we could just move it up a bit so just go frame. But sometimes you can go right in if you want and really be detailed. So if you go right in, let's say here, see the bullets still up. So here it just wanted so that the bull is just on top. Yeah, there is a low. It's bringing up. Bring this up off the egg and that's perfect. See, now we've got constant fake forward. It was constantly going forward. Now, as always, if you play it now on, let's see that it intersects OK Cie! Wherever intersex who is doing now will you do is keep moving up Next frame slightly up. We never worry about forward just upward to see. That's perfect now So now it looks like is rolling off the edge. So if we go back here and I'll play this this is a prop Pieces close up. All right, I would play now you gon Myers little bounce there in its simplest up. So the ball is constantly moving forward as you can see in here, and I just get the controls up. Control this if you look at the the red is the rotations. Even with this, you can just relocated. But if you believe all of this on this make linear, that's another way you can. You can just get smooth rotations. You won't always be. You won't always be necessary doing that. But it's a good way to just get nice. Constant rotation If you look now just constantly rotating, See, literally. All we did we did, exactly we did in the bouncing ball. See, when you get these kind of Oh, this is a good, good example. So say if you add keys and you get all these squiggles here, this is very common when you break when you break tangents like this. It's very common that when you add, you'll get these squiggles on this commission animation up. But all you do literally is you get it and you just go to flat. Some animators don't like using braked broken 10 just, but I think they're brilliant, offering their work brilliantly on here. Now that we know, another thing we can do is when the ball's up here. Now that we know that this is the borders on the ground when it's here, which it should be there so we can get this value. Copy it. We can put it through. I say, how far up to here? Because the balls tell her. So if we select all of these keys so you use the first key copy that slept all is up to here, paste it and just make sure these are flat and then we go to the next key. See, that's gonna be perfectly flat. Now she is exactly on the edge. And that's just small s it. That's how you make a simple bouncing ball yet. So I hope you enjoy this exercise and you learn a few tips on the graph area on as you 1st 1st exercise off the bouncing ball moving forward. So we did one on the spot. One moving and one moving forward. And what we'll do in the next video, we will do one, which is very heavy. So you see the difference of the weight and you see the difference of the timing and spacing. Okay, so I'll see you in the next video 20. Heavy Bouncing Ball Exercise: All right, my friends. Welcome back to the heavy bowler, Chris. I So we're using the same file that we used for the light board on what we're gonna do in this video, I'm gonna show you how to edit your existing animation so that you can do a heavy born. So this is what we'll do. So what do we know about Heavy? But we know that I have a ball when it bounces. It doesn't bounce high, right? Andi, there isn't much time in the year. There's a much hang time that we got here. So what we're gonna do is play around with the timing and spacing because of that. So the first thing we'll do when you're kind of Eddie and animation is to grab the control , that you can get it, and we know from the drop it's gonna be a sudden drop because it's a heavy ball. So let's select all of these key friends here by ship. Going to the first cue from a press shift. Pressler left mass Cuban on in drag order way yet. And if we go to the middle here, we can click on any red area longer is not clicking. Not wrong with clicking the arrows here. I would move it. Oops. And then we can move both. Sorry. Hold down My my bad. Sorry. Click on the meadow. That's it. These two arrows. And then you can move everything closer to wanna move everything closer here. So we want to move. Then we just clear that. Do you see this front front key here. We want to move it around. Let's move it to nine. Because we want the ball to drop down quick because it's heavy. Yeah. So if we play it back now, see, that's That's a heavy bit move. Ever. But it doesn't. It doesn't look heavy coming down here. Right? So what we'll do is as we concede this this hang time, we're gonna bring that in as well. So what we'll do is we do the same thing shift select all of these middle click. Let's bring it to, say, free frames. So it's up and then we'll bring this one down as well. We'll bring it back in. So we just bringing So what we're doing, we just bring in all of these back and so the free frames apart. So you just shift click, so you just do it. So what you're doing is just pressing shift on, then left master and drag across. That's all you did and then it just passing middle button story on then this these two arrows to move in So we got them free frames apart. So let's have a look now that's really quick. Yeah, very quick types. And it's too high, you know, for heavy born. So now what we do The maggot is grafitti. So we go back in the gulf area and this is just show how powerful miners who can come in here go to translate. And you see this when you move it around. This is very common. So a lot of people say, you know, when you use breaking tangents, this is very common. This happened, but it does, you know, And that's why the animation looks like that. But you know what? This does it easy solution to all you do. You select it and press flat. That's it. If you see the animation now, it's not a snappy right now. What we want to do is we know that it's a heavy ball that comes down. It's not gonna bounce that high, right? So all we do is we just slept in order. High points in the animation, Uh, let's say, comes down. So as you move it down, you can see these are bending. So what the best thing to do is slept the bomb or the bomb, and it's flattened them again. Simple as that and what we can do. We can see how hard we want it here, So let's bring it down. Let's say the first bounces here. The 2nd 1 is lower and obviously offered. One is the lowest yet because it's quite a heavy ball. So let's select all of these keys and press F. It's like these and FC Delic linger closer in. Sometimes when you select all of these, you slept these old and press F. It frames it as you want to be. If you want to get closer to these, slept the next key down, all of them and it goes closer. If what closer than that, Because closer and if you want, like just these, you just keep pressing f frumpy. Get closer and closer. Now that we're here, we can see. Look, this is as high as I wanted to go to. Second grade year. Dana Little Bounce. 10. A little bones. So let's play this. Let's see. I just look. Time is not that much, right? So what we can do is we can get these handles again and do our sharply abrupt pounces on. What we can do is weaken instead of having it more spacing that that because we don't want more hang time, we'll just have it come up. Not this. So it comes up quickly and goes down quickly. So we level. It was shot bursts going up, coming down, going up, coming down here. So let's try this. So if we have a look at this, okay, it goes and let's see how this feels a bit more heavy because not counting as much. That's a nice feel. Feel heavy, heavy boat. And because it's heavy, we can play around like see how it feels. So I just turned this off this have a look so you can just have a look, the animation, see how it feels, and then you can just just accordingly so you can move this up and down so you can go uptown have you want? If you think is not good, go too far because there's a heavy ball after isn't so. If we go like this, we can see. Okay, that's looking a bit better, cause this heavy, it's not gonna go really fallen. If you want it more, bring it just to select this in the gulf area and just bringing it up and down, you know, moving it side to side. Just up in, down. Okay, that's a bit too much. There you go. So you got something like this, and then you could just go back. So if we stop this when we go back there, we can go back each frame feel right? Let's see what's happening as it comes down here again that we lifted it up last time. We just keeping it in level with the edge. You can have that up here, too. Yeah, And here what we can do instead of moving it up. Okay. There's a control. You go there is lost it. There. You can start moving it out slightly. You could make little changes like that because visually, that's how it is. You know, don't worry too much about what's happening in the Gulf area, and as long as visually, you're getting what you want. So if we play this now, Yeah, Now, if you think the star is too slow, who will this? You can just select this. Come here. And you can just make this timeline safer to 50. Come here. Shift that shifts like that. I didn't move it forward as much as you want. And then you see these frames here. So let's see how this is Now, what you could do. You can select all of these this scripture from a and then right click and snap. So, you know, this snapped to the nearest frames, and then you can just select all of these and bring them back on. May not play its CEO is. And if you think is rotating too much, which is it's because of messed with the timing so we can do is we're going to the graph editor again with the rotations. We could do the same thing. We can move it up that we did with the translation, and then we can check it out, see how it looks to be playing now. Yeah, it's still I could rotate a bit more. So just there you go. You just keep on playing with it into the desired effect. You go. So that's what you do. You just add it in the curves again. You can just make this. This is already linear. But over here, the way you read it in the rotation is my selecting it pressing translate a present shift and then moving up and down. It won't go side to side because you're person shift. And that's very good, because you don't want to move it like this in the timeline because I wouldn't mess with the animation up. And when you get a bit more experience and then you can move it around it in the beginning , just move things here in the timeline, it will save you a lot of confusion. This is much better. Is moving all here on in hair. You can just move your animation up and down. Has to get the right rotation. Same thing we did with translate. Remember, we moved this up and down to see off how we control it going forward and down. And now if we play this now, take this off. I still think I still think that drop is a heavy born What's the heavy bull? I think it doesn't have to be that much of a bounce off. Still think we can go back? And this is what it is. An animation just going back and forth, checking stuff out. Does that work Doesn't not work, so you can slowly start bring in this town. Wariso. Yeah, bring this down room being just down more and then you can go even more refined even more. Let's bring these handles down law. You can keep on creaking as much as you like editing. Now if we look back now, ocean, this drop this quick. So what we can do? We can go here just two friends, isn't it? So we can do press shift, select all of these and middle click movie. So if we look now, that feels better. See animations all about feelings will put a feel right. Let's move. This forward looks off Europe that's feels a bit more better to me, but I think it accelerates. Can you see accelerates. I don't like that. I don't think that's good. So if we go now, so from here meaning it could drop. So really, we wanted We want all of this. It should really drop the Yeah, So we want it. We want Oh, get rid of this wrote. Really? Yeah, that's a bit better Results. So you can delete keys is low. But you see, it's going up here. That's thus it should drop right there so we could do weaken, delete this which we have. And then we can delete this as well. I was gonna drop. Now we can select all of this on Move it Back you go. That's That's a bit that sex is So what you saw There was a bit of editing that I did that you end up doing so It's good that you saw that because it wasn't how I wanted it. And you see, now you're getting all these problems, so you just move it forward slightly. There you go. And now it will drop. So that seems more heavier to me. And then at the end, you can literally come here trick. You can do so when the ball's rolling. You can get this lot frame movie to say 40 and if you want to know, it's very slow, isn't it? And what you can do is you can select, let's say less like the last two friends before this frame a middle click. Bring it back to Terry. Let go impress the Cuban. So what it will do copied this frame here. So then it will ease in one of those seasons we were talking about. Now look, when it rolls, it will easing, and it's a little bit of a down there. I don't know what that is. I see. That's what it's going to if we want to. Dr. Graff, editor. As you can see, when it will it roves snap happens for all you do, you have to do flat on. Then if you look at these values all of these valleys here sorry, It's all these values here is all hitting the ground. Yeah, but this one's not so you literally just look at this value here, say zero. And you just slept both of these and press zero and it flattened out completely on what your notices. This is easing into you just morning with justice. So this hasn't been broken because because it's a new key, so you just go here and break and go to waited like we could do the others. So when you create new keys, you have to break them if you want to and go to waited. If you want that control again, the new keys will it always up to reset? But now, if you see now, if you play it, he'll be on the floor. See, the only problem here is that rotation. We just flattened this but that we ease in, which is fine on if you flatten this, that would ease in his Olya. So now it should just ease in it. If you go here, they so followed this tutorial fruit Go free again if you have to. I just follow what I'm doing. Do the The only way I learned is fruit. My teacher I saw what he was doing and I was doing the same thing. But now you can see when it lands and there's a little ease at the end. And you can stretch this as long as you want for. So for example, I can get this end frame can put it all the way to 50 right? And now that we're easing, if you think stops too soon, stopped too soon and then rotates. You can delete that. So let's see how it is when you deletes weaken. Play around with keys. That doesn't seem right, See? So I reckon if we add rotation, it might be bad. And then if we do that as linear like this linear, let's see it now. Yeah, but it needs a day off. Going forward doesn't. So if we make this linear, There you go. Now it. Now let's see. So let's play. They you go us. That's still rolling. But we wanted to ease in. We don't want it to do that so we could do you could go to flat And now let's see. And then we can go here and flatten. This is Well, yeah, that's much better because it's easy Inning and slowing down. That's perfect. Yeah, So we've just shown how we can edit an existing animation from a bouncing ball so our curves will look like this. So what you've got on the curves looking good. You can come in here and you can delete these in between cuts because it's always gonna be flat. You know, it's gonna be for that here? Yeah. And it. Just making sure that this value is the same as this value for those and flatten these. And now if you go, I actually don't do that, because there we go here. So if we look here, that's not right, Because, look, but you just bring it down. Yeah, I see it's gone down. So sometimes you gotta leave it how it is. Move this forward slightly. Yeah, so we keep it like that. So keep those like that no longer just looking good in here, so we'll go back to their kind of press play. So now we have an example of weight. Right, Aunt Slow. Eventual. Stop what I do. I discovered of the grid here, so you can see. There you go. And if you want to see this animation in a movie Ah, the next video. I'll do a little play blast, and I'll show you how to do play, boss. Okay on. Then we'll go through that. All right. So I hope you learn something from this one and how you can edit existing animation and can give it a completely different, sensible way and timing just by playing with the time line on the graph editor. So I hope that's really helpful for you and guys. You know, there's an email address I have on. You can always email me if there's any problems and I will give you some video feedback. It's no opponent, that one. So you know you're not alone. May think this course isn't it doesn't have to be the end, these videos and discourses You can touch best with me any time you want. You know, I've got Facebook group. You can post on there and you can email me yet and I'll get back to you soon as I can For any help you need, just let me know. But this basically is just to show how you read it and I will show you in the next video how to do actually show, you know. So if you want a movie of this, you just go to right click. They've lost but slicks let the square named the square. You choose your fall for months, so I normally do a V i, ah school with none on from window on, scaled up to one quality 100 depending on what you want and then you go save file too. Browse. And Tuesday you want So for example, I put it, Ah, make a video called plate of a focal plane Lost's and had called it a heavy board Heavy under school save Guess press played lost And I'll just do a little plate played lost movie so you can see how it looks in real time. Yeah, so it opens up on who played here? Here you go. And now you can see it in like Moviefone. So that's it, folks. So I see you in the next video yet. Okay. Thank you. 21. Anticipation And Overlap: guys, this is gonna be a spin. Your lecture on anticipation on overnight. Okay, now anticipation over. Enough. What do we know about anticipation? Overlap? Well, from the previous videos we talked about. How contrast? To think before he acts. So that's the anticipation. And the overlap is what loosens the animation that when you stop and then you come forward , right? So where does that happen In the body. So they are free cops places three places where it happens to you Got the heads, had spine arms on lexical. This should be we just posed. All right. I just have to put their spending was a comedy. I need it. So I put down. So the overlapping options action will start off with that. Where does that happen? That happens in spice arms and the legs on the head. So their head spine you get you kind of get that motion Now that on the arms is from the shoulder, right from the shoulder to the upper arm, elbow and wrist. So is like overlapping action like this. Who so it's going? That is what the wave principle and a drag principle which we're talking about, is well Yeah, so you could lead up, lead up with the shoulder and the elbow comes up, then the wrist and then the shoulder comes down in the ambo. Generous yet with shoulders. Leading theme movement where the elbow our promise. Or following that we talked about the pendulum exercise which relates to that as well. You know, the offsetting you know, when you're walking is a figure eights moving up, back and forth the same thing. And also like the spine as the river has there, like little what I would call the to cease apes to seize. Right. So you got that one in that one, which will explain more in this video, but overall. So we're just looking at the legs on lex legs is the up aleck, which which normally because so the up aleck. So you would get like the femur, which is up, up, top left. Then you got the knees. Then you got the ankle coz on. And that's a working together as one there. No separate. So none of these are separate. They're all working together. As you can see, when you do this and when you do a kick, you know, with the leg, the upper leg in forward can a Matics, you know, you could do I Caiazzo. But you could see that the upper leg leads first so much from Leeds first, and then we'll kick and then everything else will follow through the toes, everything. So we're doing this in this video. We can also look out of reference like we did in other videos because the more you look at a reference them or you can start thinking about how you can put that work. Put that into your work. You know, we all we all the reference up as animators in different ways on who also show, I'll show you how to break it down into simpler forms. And I know this has been in a lot of videos, too, but good. It's a good reminding that's good practice. So we'll do that. So we move forward and we'll talk more about the secondary motion on everything and also the the anticipation stuff would be talking about later. We just controlled by the overlapping motion at first. Okay, okay. There's a quick example of the way principle. So the way principle is basically when something moves on it stops and there's a drag. There's a bit of a drag, and it's safe. This bit is the hips is moving stops. So if I'm moving like this is dragging it back, hair stops and then there's a bit over wave. So it goes and then does this settle said. That's what we mean by wave principle. So it's kind of like like a tail off. So you like a tale of ah, dog or dinosaur? It's always moving that or the snake how to snake It was moving, so anything that moves this is little slight black drag and then it settle on. I show you the basics over a wave. So, for example, say if we got ah, tail on, it starts but was right on the wind is coming here. So what was happening is if the wind comes in naturally, it's gonna if I get another pen. Naturally, some uses home. No, actually, that's gonna go forward. So that's gonna end up going forward. But the rest is still catching up, right? And then the next one, it's gonna be even more forward. But that's do dragging back right, so this starts at the top is dragging back as the front is coming forward. So the next one, we're gonna have most of it come up. But then the bottom is dragging because it's still trying to catch up, and then most of it's coming up than the back has started to catch up. And then eventually you'll catch up on this chart is up and then it starts to go in the other way. So that's basically what a drag principle is. So you gain, but so it's like a whipping. If you got a whipping so you might have ah, character, that's, uh, going to whip so rubbish drawing. Sorry. And then as he goes back there, the it's going to dragged backwards seamers here, right as it comes back as it comes forward. As the hand comes forward, it's still catching up, so this isn't going forward, but it's still catching up. Then the hand, the actual wrist action as it's coming more forward, we come back here, so this is the S s shape has become more forward. It's leading, but it's still catching up, is trying to get there on then eventually, as the wrist straightens, it starts leveling out And when you get the snap of the wrist now this, then it's catching up forward and then go food. So that's essentially the way of principle on. I mentioned it a bit earlier in the in the overlapping, which covers overlapping. So a lot of these principles cover each other. So the overlapping wit goes over and then it settles. Yeah, so that's that is a way principle, an example of the way of principle. Now we're getting to computer and we'll do some examples. Yeah, and another thing to remember is when everything moves together, we won't go. It's stiff, isn't it? No, Nicholas, you know, But you want something to just lead and then moves, He said under hips would lead, and then they had come. So just try it out yourself. You move like this. If you stand in trying, move everything is everything stiff? So there's something to keep in mind because that is an example off getting the basic motion down for the hips on. We've just voted the upper oppose fine under head you. Now this is an example of overlap in action. Now, when we look at this animation there, we can see, everything's moving together. They have some of them up and down. So that's good. We've got a nice started movement there. Smooth. So that affects the whole of the rest of animation is gonna be nice and smooth. So that's good. Now to break this up, what do we do? See what? Everything become snow at the same time. But went will work together, but being a loose So what do we do? What do we do? We Do you get this controller here which we've just put key found in the middle, which rotation back and forward on a one way you can do it is by just selecting. Is this example I'm gonna tell you if I move this, every two friends actually have to worry about what I'm doing there. I just show you, for example, when I move this four friends 123 you look at the animation. Now it's a lot more looseness to the head. That's the overlapping AC does thus the example. So it's it's just breaking up or deposes. But even though it's still working together, yeah, it's not robotic, and it's no, and it's more organic when you do when you used to top the methods. You're making your animation more organic on mawr Natural. And it's moving more fluidly if you like. Yeah, so that was a little animal to So So you look at that once that basis, right on the throw, the hips, everything will move smoothly after that, as you can see. So that's just a little example to show you are overlapping action we could do. Admire. Okay, guys, this this text look at some reference thinks is the best way to to break it down. Yeah. All right, let's take this walk, for example. Often comes and walks. We, um, ignore the overlap in action so you don't see as it hasn't been obvious, but let's check this out. So say this. Go walkers put this on, Luke. So we got this guy walking here, so if you look at if you look at his upper leg So let's look at his this one here. If you look at this leg, his upper leg going first on Ben, his knee is following. And then your bone. Kolya, this is a full of over there again. We could do that with we could exaggerate that evaluation. So the offer let going. And then the foot can drag you conducing personality walker the foot with drag and then drop, you know? So it's like passing overlapping, actually, So it's very important because we over overlook the walk a lot. We don't we in order for us to be good animals need to observe what's going on in the movement. What's leading what? What Lim is leaving, what part of the body, And if we can break it down and have a look, we can see you like, for example, for the for the home you can see straightaway. We go to the start with this guy. So if you look, the shoulder is leading first, so the shoulder is leading, and then, as does it as it gets up, is going back. But this is the rest is still forward. So this is coming back now and this is going food. I'm sorry back, just like this goes forward. So the shoulder is going forward and I look, his wrist vest is still going back. If you see as you go forward, that wrist catches up, it goes forward, but the shoulders already going back here. So the shoulders going back and the risk is kind of following. Then slowly, it's the same same procedures. If you look the up around and our promise didn't then the elbow, then the shoulder back up, around dandy over. So it's the same concept, the top, the topic, which is near the driving force to cook off the That's going first, then this is leading. Then the knee is leading, and then the foot. So that's how you break it down. Samos attend your next so that we talked about right There's gonna be dragging and then stopping. Get so I got the pendulum route and all the other pendulums up the ball. Same with the last. Just a quick example. Wanted to keep you. Okay, so this video hey has going. So I want to talk about order principles. We're talking about an animation, and at the moment we're doing overlap in anticipation of what you notice is a little off principles you'll be losing together with one another. None of these principles are separate. You use them all together in your animations, so they all work together. So, for example, if we take the example of uh, let's take, for example, love this, but move this camera down of it and show you, except we feel like this. If I was trying to get auto Noah phone. I got this phone in my hand on one where your showing principles working together is overlap. Right? So you've got participation, which is gonna be see if I did this. I just got this. There's no anticipation, right? There's no overlap or anticipation. It was neither. It's a straight here. Linear street here are good. It? Yeah. Now what should we do this when I go see this guy overlap, that creates the anticipation on ground. That's the concept. So the overlap helps create that anticipation, and then you grab it. So that's the kind of And if I even moved the risk down of it, I could that that can create even more so I could be like, see you, you're using the wrist and then the fingers overlap, and then you get it so you could be like we just won one example of overlap anticipation to principles working together. So you just the other one could be to the risk using the risk. Yet Onda wrist is leading. So you're going over. The arable comes first in the wrist and then you grab it. And in that that kind of creates the overlap, the anticipation and any crap, Right? So let's look at more examples because it's best to look and analyze references, because that's what we will be doing throughout the whole course. So it's good to get used to that. This is good habit. Let's check this out. So let's check this. There's an example here, which is one of my favorite wants. This one might put the sound of the best. Who's quite funny? So if you look here, if you look case was talking, talking and he's trying to get a word in, obviously is hard enough. Is that enough? We feel OK, just move it quickly. So chatting is still challenges. Drew this picture that I watch this dust. Thea anticipation right there said that this is showing the audience so he's building up is build enough. You can't get a word in, but But you're saying this, then he all this wind up here. Lucas posed from here. They're oppose from there, so he's got to see happening here just do that has got to see happening here is, um, using a mouse. So it's messing up my trajectories. They So you got that nice curve there from there? Then he goes like that that this is perfect see is completely in the opposing direction yet , and that's an elation. There you see the contrast in this shake off the whole 40 so we can analyze reference like that. It makes it easier for us to break down animation, so it's just more makes it clear across. So when a person's bending down to grab weight, his see his back is like that. Then when he gets up arches like that because it's currying the weight, so little things like that. So that's that's an example of anticipation and then hits him on the head. If you look for ever hits him again and he hits him, look out the cabbie in between breaks, So his shape he's got that s shaped were poking about in the drag. So even within the body that our body can be the whole body can animate like that, like the drag principle. That's what you're trying to get. You're trying to get it's and also here. I sure you'd example in this. It's not related to the what it's all related. But if you look at his hips, how would you go down? And they come up like a bouncing ball hits and they see is really good the way Oh, and down, yeah, just a little reference of bouncing ball. But they are all of these animators, big thinking like that you're bouncing board order principles together. But that was just an example of anticipation. The different see sees opposing see shapes throughout the whole body. We can create the way Prince without the whole body is. Well, I anticipation, obviously, is to show what the characters thinking. It shows the audience. Okay, They know this cat is gonna do something, so they know that I kind is thinking is also that's very important When it comes to acting for animation. I'm voting mechanics look okay. All right, let's check out some more examples. Let's have a look at this. So this guy to stock is coming out. It said Yes, there there is. The anticipation is running out. It's a quick participation, which it is. He's a walk. There comes in I what? 12344 friends that So? So you know you really? If you just came in and it still is greatly, there would be no reading for that, right? So that's a little things are improving his love example. So here's another example. See that? So it's a quick wind up. So it comes, comes in walks in all of this is anticipation or worlds all of this until, But he isn't us, and you can see there you see the line of action there. So if you study reference to conceal what happening, a lot of actions happening so we'll have a look at some other examples is what is a good example here. So he gets the against it out here. He's going back by back anticipation and then smacked hits. And so that's another good example of anticipations. So if you go to go for some videos and check out some animation references and check out the different reversal sees flipping over Onda and in the back in the whole body is well in line of action, and you can see a different different Europe to study. And they were neatly look in real life you can exceed in people is always when you people what you can see. You know, actually good. Good book are recommend to you to get which is this one? What to do? People watching the guy body language, but doesn't Desmond Morris. Very good book. Take it up, check it out. Just tells you order habits people do and want to look out for when people. When people watching of sign languages where everything is really, really good book will inform it to check it out. But I would I would do I just don't through references, even films You watch and just have a look at how the body moves, What shape their bodies are the anticipation, the thought Everything okay. So, guys So yeah. So what? I was saying animation is sometimes it could be overdone. You know, for example, if I'm doing this all day because I like taking this panel Oh, let me pick this up Or let me put this back to see folding off this. Yeah, I work like or grab this on just too much. Too much a bit anticipation. The best way is to act it out. If you could forgot mirror or something acting out, feeling out. If you feel it's too much in, it probably is too much and 80 fields look right. It probably doesn't look right. So it's all about practicing on de experience as well, you know? So you everything really needs all these principles in animation that we have are based on the realities off the world. You know, anticipation. Is it a bouncing ball? You got a staging a pill overlap wave principle. This is all what we do as people that you know. This is our mechanics. Unless, of course, your robot or what have you? But I would I will keep this acting your scenes out on because you can easily over anticipate things as well. You know, that could happen to you. So you do you want to You know, when something doesn't feel right? When you get up intact, it do the animation. Obviously cartoony style animation. You can get away with more realistic. You could has to be the most subtle, but just acted out. If you feel it's all animations about feeling, it doesn't feel right. That maybe isn't what tested out. Check it out and then you can decide over time. When you experience bills in timing and everything, you you will know whether that's right or that feels wrong. Another example I can give it like, for example, safe. Say, if I'm gonna get up from this chip on, I just go. That that is No, no, I just want oh, say if I do this, that's a lot of anticipation, right? Say, if I do this, I just When does get up? That's that's more realistic, something so that I understand it could be like going up and then shift in weight and then get enough. I know this. If your friend it's are picking something up to see if I got this and I just go from here, Jay, there's no anticipation. Well, Fargo, that is a lot of exaggeration, you know, over and suspicion such a low, more one, you know? Yeah, So there's different types. Sometimes you could do too much, not do any. If you don't do any, you can't read what the scene is. So play around. Keep doing your anticipations acting out, look at reference, and the more you do it, the more you're around it the more it was he was stopped picking up. The more you look in the street lights anticipation. That was nice of other. Put it in mind. You're you're building a library in your mind on your your building. All these clips that were mentioned in previous videos and storing them so you can put them into work make them unique because it's the United Nations. And lifelong journey is on your collecting, Learning all the time you put in your experience into your work to make your work unique on you. Just keep your just an observer of life, your observer off movement. All right. Okay, so I see the Knicks next video guys. 22. Overshoots: Okay, guys, how is it going? So we're gonna use use this video to slip a lecture to show you about overshoots while the shoots how to use them and how it can give you that you animation. Just that little bit more for Let me just show you a quick example right now. So you're just example again that I've used before. If you see this character when it comes down, it comes out lover, and it hits. Dispose. So that's the keepers. Let you look. Did that area that that is the overshoot off the post. That's all you're doing? You're just over shooting. Opposed that you favor when it comes straight in yet. So that's just an example. Like to show you an undue will do a live example. But that's what I mean by negotiate. You know, you're creating these your overshoots with the slipper tangents. So if we go to a file and get a new you filed, let me create a polygon sphere. Okay, Lets go into side of you here, okay? If I come here, come here. And that's good. Let's just put a key frame here. Just like this money from a key frame. It's going to you can que from there that to 20 years. So this late, though zero or maybe sorry is next after this. So we got this going. Why do we just to break these tangents it is make it look like a bouncing ball. So you guys okay, so say for it to hold this safe. A copy? Dispose to 15. You're gonna get this in the gulf, Erica. So it's gonna go up the flap and then down yet artist is smaller printing. Okay, so Sierra stops. So we'll do. Is we'll just get this 25 select this loser out there. So let's have a look at this for the stars. Excuse me. Stops in the middle of the area. And if you look at the graph editor proving this back CrossFit warrior. So that's what's going on. This practice, spaces? No. Even now, what could we could overshoot? What we can do is you can even go in here. It's just tangent. Move it up. Now, this to overshoot. That's what we mean by the overshoot. So we're holding that pose, pushing it just a business. It look now kind of holds up in the air doesn't owe. Do there will weight to it. So that's what we mean by self overshoots it guys flat. You find it a lot when you spend. You explain when he's flying you or to actually get these overshoots. That's a good And back then, you know, if you do know walk often turns when you start off. Is that as ah, student enemy is? It's like everything. Sorry. You supplied everything right. Keeping that mike, they end up splitting everything. Everything looks for Floating said. That's where you have to go in and really find out right? Did. That's what a lot of common things that happened and explained Everything is the feet are very floating to go through through. So first introduced get the feet, check them out on the white translation just flattened them when they're flat, they're not gonna move anywhere. So if you look, I don't demonstrate that in the walk cycles Lord of demonstrations we're gonna be doing for the in game animation, so that's basically what it is that order is, and then, if you want, you can control that by making your higher. But then you see, it affects us. We need to have smooth consciences or so. So that's all that. The overshoots are very simple After a video to show you on overshoots how you can give your animation imposes just that little bit more going just that little bit more often times a season the hips, you know, little overshoots and then coming back little settles and then coming back here, my little cells like this that the New York and then it comes back. All right, okay. 23. Upper Body As The Pendulum: Welcome back, guys. So in this video, I'm gonna show you what we just did and how it relates to the upper body. An animation. So this is a pendulum, which I have just selected here on Flipped 1 80 and the other way around, yet turned it around. Now, why have I done this? Well, if you look, if you imagine this, but I'm route here. This is the hips off the body. Yeah, and thus the vertebrates Defiance plane. Spine story explains the spine. One spine to spine free. You're gonna find in when you get models to animate and, of course, the neck. But then the separate joints there at the moment, we just concentrate on the core center of gravity on the spine. Now, if we play this, you can imagine this back arching back on, then coming forward and how it creates a looseness, right for that cartoony top of automation, wherever you want to do it. As now. How does this relate to the body or what I've done is I've creating example here, bought in the bony on. Just watch this. Just watch how it creates that. See if this makes it clear of food. Do you? If you look now thistles how it relates. If I just turned the curves off, you can see how loose the body is. And that's exactly the principal off the Pedj pendulum. Now you can relate this to the arm as well, so I can show you an example of that. So I hope this makes it clearer. And what you can do is if it's too much, you just go in. So you go into to graph ready to hear. You can select every frank press are for scale press shift and bring it down. So you could just how you can tone it down and then select the other one. Select the old press are go in the middle, so rough in the middle of the curves. If you do it, they're going out that so wherever you do it, scale up to sit in the middle. May enough where this is. There you go. Now. If you play it now, it's a bit more subtle, isn't it? And then that's how you can do the looseness. So if your characters running on it suddenly stops, there'll be a dragon off and follow through wouldn't it? So this is what you've got your dragon back and then it stops. And then it's following through three dragging back stops. Follow through on, then settle. That's all it is. A simple is that black Follow fruit settle, Settle at the end. We'll talk more about this. So to at the end, like when you were doing, I might be a module on video game animation. Ah, whole set. So I'm gonna do a course after I've done the basics course on the Do a course on body mechanics. Andi, a separate course on animating all default sets for in game as off what I am doing right now in the game industry, I will be showing that exactly industry standards. So this is what I want to get this basic through to you guys because these basics are so important they are, so I can't stress it enough. You know, the bouncing ball, which is referred to the hip. You you see me a lot coming back, reminding me of the balancing board hips, the arks. Now, this is the second stage you got the bouncing board. This is the overlap in action and drag in action. So this is very important. Andan you could. Same thing you can If you come here, we can expose the arms just for example. Shit sacred we'll do is we'll get this control and we just select all of these and I go to edit copy, and I'll select this top arm on press key. This and what we'll do. We'll look here, have a look and see. OK, this wire, Let's put it on the wire. Yeah, so it's like that. Come to zero key, just go to delete the end of home just so it doesn't pace there. I would pay this just for example, purposes. But this move this happened. I got I got to money a selfie. That's why I'm dragging the growth out. But we select this and this kid and it all we're doing is will come back here. I'll select this. No tape and it paste. Yeah, and what I do here because I move all of this who framed just I'll just show you quickly. I'll go through this step by step with you, but I just show you quickly, so I just have a look at this. That's also why just for example, steak. Don't drag in here. Start. But I want to Free for obviously, after a few years experience, it's easy. You understand what you're doing about the moment. Don't drag it through the graph that it'll just drag it for yet. But this is just for examples. Purposes. If you see, the arm is also loosening up there. I just turned this off. So that's what you're trying to get in your animations. You're trying to get a You're trying to get that principle. Then you can go all the way down to the fingers if you want, you know? So if I just stop this, play it, say, for example, just to show you So let's go. So it looks like this. Yeah. So if we slept Pierce, go to zero, go back to zero f. I just quickly slept. Risk this. These controls see them. I'm going to the graph, Erica. Well, just just going to show you this forward example purposes, you know, Kiick, then paste it. So if you get done, so if I to select this Okay, this this is gonna go forward. 123456 I'm gonna do this. Seven. 1234567 And we'll do this. Eight, 345678 I'm just offset in these. So as I'm saying, 1234 Just the frames What framed them? So look at us now. Just I'll explain everything in the next video. But if you look at it now, I go to If I go here, See, you can see the wave principle, isn't it? You might be better actually for this. Yeah. See, if you look that that's like the wave and drag principle and you can see that fluid ity coming through the fingers Yeah, and then oversee. You can tone that down to how you would like it, and then you could told to hold animation down how you want it. And that's how you create that fluidity in your animation, you know? So every time a character moves pops here, pops stay at a bit of a settled like this, it could have brought so it could abruptly stop here. The character. And then there's a cell. It was running up. Stops settle, you know, like sorry, it's a bit rubbish example there. But you're basically like you can. Then what you can do it is too much movement. You simply come into the just get to control the simply coming to the controls. But for example, the head might be moving too much or this things up. So what you do is you do what I should before selector, if impressed are I was the same as in here. So when you press are you conduce scale already? This is gray, some of them, for example. With this you can scale. See, that's what our is for in here. So you can scale these keys and bring them down like this. And now it will be more tongue going down. See, it's a bit more subtle and then you can come in here and you can refine as much as you want . You know, not this frame so wrote translate any press w for translate you can get all right. I want it to be I want him to go forward a bit more so you could delay even more. Move the key like this forward and then maybe move this key forward and then play it back, see how it looks. And then you can. Yeah, so you can tone it down. You could start off, push it really hard, like this, and in Tony all down. Have it. Very so, Yeah. So that was just a example. Wanted to show you about why the pendulum is so important and how it relates to the torso and how it relates to the arms as well. Yeah. So I hope I hope you found that useful guys on. Well, we'll go over to the next video because this is just the upper body as a pendulum, which I was showing him. But we'll do. In the next video, we'll do an exercise. We do a jump exercise which involves the legs, which basically involves the legs, but no arms. Yeah. I'll show you how to do a straight straight ahead animation with all these principles in it . Okay. I'm joined in with me. Practice makes present. Perfect. See you in the next video, folks. 24. The Arm As A Pendulum Exercise Lecture: Okay, folks, Now you do. So in just a video, we're gonna talk about the animation off the own learn the previous video, please Exercise. We talked about how it's related to the upper body. So now what we're gonna do, we gonna show you, we'll show you how it relates to the arm. So again, with the pendulum here, this is an example. So if we take so if we think off this area as the shoulder and then we could take this area is the home humorous? It is the radius. In order on this convey the the 3rd 1 can be the head. That's that's the simple form or thinking about the only. Yeah, on what? We're doing it with this breaking the joint list, offsetting the other mission. Now, just like to show you this example to show you that, you know, it's just simple, simple steps on my one. Yeah, it's all related to the same thing. That pendulum with the body we saw in the previous exercise. How that's related. We just flip this around perfectly around the other way to show that the upper body is ah, the spine. So in this one umbilical this example here, and then I just bring in the on and you can see this is the same concept, so it's not complicated, you know, It's very simple stuff, So there isn't I'm showing you. This is because I'm breaking on a breakdown. Meet part of the body could make it simple for you. You understand, because when you when you have the whole body animation, we see everything, it could be quite overwhelming. But if you break up into little segments, it's more easier to animate. So you compose order kayakers or the limbs, and then you can go in one by one, hide the arms, hide the legs, Haider course and see how it's working properly. I don't do a demo to show you don't do it. Them over. Walk through how I get, how I'll go through a hole, the whole animation in the in game animation water, which will be later on. But these fundamentals are so important. That's why I keep repeating them over and over again, because I want you to kind of get them soap into your head, because if you get this fundamentals that you can pretty much animate whatever you want? You know, these are remain bits just like to show you that. And I show you quickly how I did it on his own. If I come in here, I'm going to the graph editor. I respect this small of reasons. Easier, sir. Got a couple of money because free monitor south Here's looking dragon. Drag them across. So that's why you see them coming from Decide. So for example, finally all of these on a simple like we did last time you slept the top shoulder and then we both go back to zero kier so we could key it. Hair first, middle click it bringing 25 let go and press s That will keep the same pose. Now when we come to the middle or we need to do Is this change this? Why, for minus was equal the other way? Now you will see a simple swing. No. All I did a wedding today all selected everything. That would be a Kobe. Select it that the four hello, Control on the wrist. So let's let's let me over Control. Okay, that's going to the middle here on the wrist. So I go to to start here. Now you're selecting both of them. So select there's press shift and you can select second process. The parameters come up yet there y ones were looking out of way because that's what's making it rotate. So what we do is select, please again, selective y here, press control except the other way. And then all we're doing is going to edit paste. It's all moving together now. Easy, but you can do to select the 2nd 1 and you just want to go here. Cycle cycle. So is cycling there. It's cycling and just just need to select them all middle, you know? But that's the shift on in middle button on the mouse. X. Drag it through comes forward. One. So 12 slip that one. The wrist won't do the same thing. Cycle them otherwise would pop. I'll show you I show you when you don't cycle it. Want to free form shift and little bond yet and moving across the ball. If you look now, it's a bit more the lady a bit more loose now what happens if you don't cycle it if you'd like to. Curves posting. Visit constant post infinity constant yet this will reset it back to just key friends. You see, there's no cycles. Now Watch it, pop. If you play now. Oh, I didn't. Can you see little hope? Dega. You could see a little jerk happening there. That's because the first frame on the second team don't match. You see that? There's a little bit of movement. Soon as you had cycle, it matches it just how my works, it calculates. And you can. You can be honest, important in games to know that and also matched detentions, which I put about more. But this was just an example. Well, I could share with you about how President relates. So there's a two main exercises. A bouncing ball on the pension, about simple related to the hips on a pendulum is related to that's brought the on structure from from all the way from the upper boy up from upper arm elbow, wrist. So if you imagine that as the root well, depending them and then this is the elbow and then this is a wrist. So I just wanted to do a little demo over to show you I don't mean people. People come all the way down to the fingers. You know, they even used moved a little bit weird. We don't to get that kind off wave going on, but you can do that, depend on your character. But just a simple video. I want to show you the purpose off the pension exercise. And White relates so much to the OEM on in the previous exercise to the upper body. So now what we do in the next video we'll talk about Will Dio lecture on on his baseness washing stretch or see you in the next video for that yet so little simple video. I just want to show you how this relates to. Okay, So I hope you found his hope helpful. I don't see the next video. 25. The Jump Exercise: Okay, So in this exercise, we're gonna do a simple jump we're gonna take in the what we've learned from bouncing born under pension exercise. So we're gonna bring in bony, and I just hit his arms. So we're going to focus on his hips, his legs and just his upper closer. Okay, So what we're gonna do is with a simple jump. Foes use, you know, starts from here. So we're gonna have an anticipation, actually is to rid anticipation winds up and he's gonna take off in the air and in land, and it is gonna go settle. Okay, so that's the curb we're following. So, the bouncing board for the hips on the feet, Onda, we can't get from there yet. So first, what we want to do, Want to get some reference? So I went on, typed in jumps on. We will use this reference because he's got no arms. So we're doing nice little cartoony jump. Yeah. Okay, so let's start this just moved out the way. So look, number, reference, the first frame. So we're gonna use the perspective, you know, within a your car only angles posing. So the first year of the select order controls on put key on the first. This is a pose I've used. I'm gonna use this kind of post so you can get your posing tradition on his shoulders himself. Opposing this way on the shoulders are this very, so slightly relaxed, close from here first frame. He's gonna be ready in that pose that we're moving to frame files, every four friends or key. So let's look at the poses. So we want to go down. There's no ankle exhibition in this reference. But what we do, we'll do in anticipation when he goes down. So we goes down about this on, will relocate a body is well, so he's winding up. Get back our neck up. So is looking at ways Where is gonna jump? Very important. Has to look where he's jumping. Could bring it down a bit more. Okay, that needs starts to bend to spring. The pullback throughout on this one could just bring these out. And Ford, because they were close flipped up. Okay, so that's going fruit. It's going fruit, the flu. So I'm gonna lift up, and you could just rotate the hips and at the same time, you could just lift his neck up just to get it looking right. Okay, so that's the first. Pose it. As you can see, it's coming down now. We can do this as blocking. You can block it out. What child show you? So all you're doing is in here. There's left in all the curves and you just blocking it. Could you press this constant one here? Constant interpretation Yet So now it would just switch you with school ban that we want to do it. What we can do is is make this anticipation last a bit longer. So what I do is I go back here and I go to explain, and then I look at the in between. Okay, So I know these are select this by shifting left mouse button. Drag it to about 10. All right. Would pose sort of save post nine. Then it goes into 10 so we can middle click. Bring that back to five. Let go. Here, press Kabul U S and E s. So rotation probably translation E rotation on this process. So now you've got a nice bit of a whole layer. So you know, it is an anticipation he's getting better. He's winding up. So now you can go back. So make sure you got keys on all the has. Come here. Makes everything selected. And you got keys on all promises. Just increase. You go back here and just wait. The constant okay constants for you. Because the next pose, he comes down now we want him to come up. So let's do a fun fun. Leo, oppose us. Just having come up on Dwell. Have him just do a little flow up yet. So put the rotation up. Now. I'm always thinking about the bouncing board. One of animating. So I know these poses and you want to look at all the angles as well when you're doing the poses, This head neck moving in, moving back. There you go like that. And then the hips you want toe straighten out as well. What will you would have a meme. It's just having according to a graph, grab a condom over Hope jump. So he comes up here. We'll get this up here as well. Kind of having a hovering Hubbard jump or something. Oh, closet. Jump up Camp Tanya really was skip jump. So comes down. So let's get pose going. It's a bit over anticipation for So thus that's him jumping about what we want to do. We need a in between. So wait a frame here. Actually, Smith is higher because his anticipation is quite a lot. So it does corporate higher. Maybe that comes up congest uncle here, make sure the knees are kind off facing the direction of the feet. I want them out order there. Unless special pose different particles were normally generally we have them like facing defeat. Okay, I'm always looking up where he's gonna go angrily because all you you can come in in between head on, moving over access. Or you can come in here and do it separately. It's completely up to you. This is good practices. Well, first, to do some changes, you can also come in about this with the gizmo and just going these little gaps. You got this? Those Now what we can do is we want to pose in the cream, right? So what? I know because I select everything. Make sure clean everything from before it off. And then I come here and again I go back this blind right. So this is to show me how I work so on we go in between. So let's say in between here all this middle click on press key, and that's all I do. And then I'll go back to my graph editor and I will go back to Constant. So now I've got disposing between that I could play with. So what I'll do, I'll just move this every four friends. So God build space and all I'm doing here is I'm going back to my previous paper, selecting the foot, going back from a previous scene key middle kick that bring it to 14th and girlfriend. So it's still behind you, see? And then you want to bring this back because it's these forests still come off the ground. So we go to Bowl Hill. So he's just at the last minute is taken off. Whereas this for is already taken office, providing the woman toe and his body is gonna be straight because he's pushing forward. All right, do you? So I'm just roughly doing the jump. We look now. Okay. No see, there's a lot of spacing that from there today. So what we'll do is to select the feet. I don't just bring it down and bring it back. And I'm checking. That's it. It there. So you've got this We might want to. We might want to do Is in between here and head. Might want to hold this pose so we'll go back here. We can go. But you could just select that does this area because we can't explain that area and we concede in here. So we look there now. Did you? So what we can do? Let's let everything comes blind down. So what? We could come favor this pose so we can middle click Bring it back to 16 and key. Everything been for Bring back 24. Do you know you've got a little bit of a hole there? Okay, You can do not bring this back to Constant. It's like and everything select a whole constant. So now you're doing pose to pose. So you go nicely, Po. Hold there, then you can do a land. So the land Kenly, we just do Wouldn't move. It was so we have the land around say around Hey! Hey! So was let these this is the way would go to 00 Look out And why? We know that's the flu, so we can zero that out. So now we see we look back at that pose. Okay, so now we can do this. Let me spell. That was actually in front. Could they mess everything up, down, Think of men. And then we can move this pose a bit more out. So we looked back. We bring it in a bit, so we want to make sure the characters and balances off lands I learned. So when it lands one, lean it back a bit, leaning back slightly. So it's kind of looking, but it's leaning back and in the feet. We want to create a bit more at this hill board back, back. So if we look now kind of be like that and then then is gonna learned so then we're gonna have so we'll keep that in. The next frame is the one we will select both of these. Go to the ball here and zero out. You wrote this one out on many lands. So this is a scorching stretcher. So this is where squashes discourse in terms off going down and then rotate could have him looking up a bit. So it comes down. There was just constant, which is key. That bullet, like your kids, Constant. Now, if you look, our animation is comes in your gums, up, lands on, Ben comes back up. So we're thinking about the dancing board. Comes back up, starts to come up as it goes up. Then it comes down that we rotate, rotate the hips as well. Call about that. Okay, We'll get these poses and okay, it's a popular. So let's see what that is. We get the hips. Come here. We forgot to rotate the hips and other hips come forward. So that was the pop. And then select everything key friends do. Yeah. So we've got a nice little That's the old hope camp here. So we can do now. We've got knife bases open. It would jump. So gold opposes in yet. Okay, Now we can start refining. So what we do is will go will select everything, actually select everything except for the feet. And then we will just blind press blind. Someone's blind it all out here and now what we'll do? We'll have a look. You see the timing's a bit off, and you find that will happen a lot. So it's like the feet when you go from block. Oops, Block. Teoh Constant. So where do you go to? Flat. And it would slip this in between poses and just go explain. Supplying this is for you. So now the feet should be moving. So that's he? Okay, so the us So how can we fix this? Okay, so we're going down. What we'll do is we'll get this for as you can see, this for is going up already. That shouldn't be going up. So we do. Middle click we can do is trying to coming rougher. So what? We'll do? Select everything. All right, posts? How we can do is making go up quick. Maybe getting to that post quick that holds it. Get back. And Ben, when he lands Winston proof. We're trying to get the coming right now. Do we want that holding here? I guess we could believe that. Yeah. We could delete that and bring these back. And now it's a bit quick, but it's more. Yeah, I would say that's more like off a little better then the a whole loads do you want? You could play around. I run with congregate, so bring it back. Here you go. Yeah. So doctors say now you can slip This foot will be like, all right, that shouldn't be in the air. Delete that you can bring this forward head. They you can see. So what you want to look now for is okay. What's the hips doing? So what I tend to do is I think of the hips and thinking bouncing ball. So go to visualize create at it. Too rigid as to I can see straightaway. This is what money? This is what it's doing yet you go in and what's happening. Jealousy. So I'm going in here, So let's have it here. So it's a bit more smoothly here. It comes down on the next key frame. We could move it to make it a curve a bit. Most mover that it comes to to what is find. You can extend the legs that, given that energy on an free, is fine. And here we can bring it back, bring it back here, and it comes up and then it comes back down. We could go forward. So you got nice bounce there. Yeah. Now we're gonna do Is the same for though. Feet. Yes. So what we do? We look at the feet and then was like this on go select one of the controls. Go to visualize. Create edible motion Drop. I was just checking out the feet. Sea ice moving. It's nice out there. And what you can do is you can see where is locking there. So you do is go to the hill board. Hope Sorry. Slept it. Go to hell Board Onda. Okay, You know why that's happening? That shouldn't be out there if we go back. So should be staying free. Three prestes Oh, boy. Oh, no. It's their own one. I don't really take this again. I think it's like this control here. Babies foot till it was before up top down room. So it's like base You? Yeah, you bull. All right. What was going on there? Well, that seems to be working. Your boards should work. I don't know why that's happening with the rigs. There must be something really big. Ben, you If you go here to select this, you can do frame by frame. Just stop playing with the curve C. So if you come here, you can slipped up slightly rotated if them isn't working. But be careful when you rotate it, because it will start rotating everywhere. So you just middle click. Bring that trough. We look like five. You could call it in key then that would keep, uh for for so they just find that curve is fine. That leg is fine as well. That is coming down straight, which is fine, and you can do the same with that leg. So if you just delete that motion handbook by going to explorer each other with the other thing you can do is you can go show motion trails and you can get rid of a lot of that. So we just go to show motion trails so we keep it on. If only we get completely. Just go to Explorer on the other way. You can get to Explorer is by Windows. Outline the story line. So this one we will select. So we go to look visualized. Motion trumps when it goes up. So we can do here is with stretches. Even there, we could start playing with the curve spending of it that is coming there. That's fine as it comes here, this is the breakdown pose and then lands sin. What you could do is you could also select all of this on may be go forward to and delay Yes, so that a feet don't get together at the same time. So maybe you can bring it back one as well for visibly over delay here. And then you might find that you need to go back. Just play around with the curb again just to get that kind of bend in the move it back a bit as well. Get that nicely or been going on there. Yeah. So you get this nice clothes now, if you want, whilst you can do is if you go to defeat, just get rid this trail. It's there. But we wanted to instantly We just bring this key back so that the foot this foot is going instant off one frame and saying with this so at the moment, a couple of friends, So to bring that back, they're So now it will give a over you go. Anything you might want to do is if you select. Yeah, he hits down Hey, it comes up and might want to soft in the end, but his move this forward as well. I'm just showing your workflow I use when I'm anime said. There you can get off a soft and then it goes to the top. So if you look at the top, here is a bit over back and forth there, isn't it? You can feel it that so we can do it. We can get these talk controls here. Let's have a look. If we go here, let's delete ease. So is forward. So sometimes you have to go in between in. Deletes imposes. That is fine. What is it? So let's move middle. Click this and bring it back to 13 about my work about Barents Sea is a bit more Do they did it. So now what you do is now we've got that going on. We've worked out on the Bounce Import. Remember, the hips are the bouncing board and we use the visualized, too. We can see now we've got the hips working. So when the hips are working nights, the upper body is working. This and what we'll do now is on the feet. I find it too with emotion. Trap knows they're working about now is the previous of summers were used which was the which was to do with the overlapping action. Right? So what I tend to do is I've got these poses in on. If I come back here on the land that when it lands, it comes up just the first thing to come up, then the middles. So we leave the lowest find how it is when we go to the second spine and we were OK, so he starts down. So we want a bit with the lay down this. Hey, what we can do is we can kind off slept this, move it to friends forward and then kind of have it coming. Now there's a bit over Glater on the same with the top ones. What we can do is we We can go weaken, Delete this and we can kind of Kolff Oh, okay. Aan den it catches up. Consider going. So if you look now is a layover drag happening there on the carpet. That's what you say you go. So you broke everything that you're going back again on your kind of looking at it one at a time, Okay, The upper torso driving So this bit and then it's gonna come up. So you may even go down a bit and then even hit might even come up and then you starting to get that drag effect we're talking about. So when it lands, if you look when it lands, the impact we will be like, OK, it goes back a bit, then naturally is gonna come forward. And as it comes up there is gonna is gonna kinda go back and then back, and then it's gonna settle. So what I mean by that is it goes down and he sees, too. So it's back here. We're gonna create that. But to remove it in will delete this number 28. What? That number this play and be like are back forward. We'll delete that. Have a look like this. See, now we're getting it. See? So is that. Go and then back and then settle so we can move this of it forward as well. Down, down, and then Ford. Right. So he's got a bit of that whipping action going. Can you see that? You see that like we have in the last one. And now what we can do? We can go back to the other layer now. So we'll go back. You can go to neck. Same think we come to the star, we contract the neck back, delay it. So if we delay it, then we can go bring it down to get rid of the previous frame. And you can see the whipping happening, but something to relate This what we do, we move these back. That's good. Still happening quickly. So you just go back and forth. Who will do is with bleep this We will keep that. So we undulate. Go ask Great. A little bit over drag. I think this is too late. So we moved this. There you go. That feels a bit better. Let's see this. You can see the head. It's starting crude. It drags and then catches up there. So the torso comes down first and then the head. Then you can just play hit and maybe goes up still pulls back slightly. You can read this so as it comes up, don't on delay. We didn't straight ahead here. You can delete that she could start deleting frames as you do it as you come down and then we'll have, like, a back on. Then it's a settled that we can move this frame forward a bit to soften it. You see that you've got that nice little for those who now happening. And that's how you apply that principle. And then you can go ahead and policy even more. Yeah, And then you just put your just going around. If look a curves as well see how the curves are doing so then you can go like slept This We didn't really use this control. We used this one, But then you can go to the graph editor. Look your curves and be like OK, what's happening? So we look at our ah rotation here. If you look at this rotation, we can kind of if you want, you can delete this. Make this curve a bit. Most mover there. Yes, and then you could just refined tonight We all right, Let's have a look at the head. The location seemed fine here. You know, this is don't worry too much about what's going on here. This looking good in the screen. That's What matters? Another trick on teacher is if you look actually going to graph in it back here, this animation. So this is at the end. If you set all these keys and you look at the end, frame the anything, there's no no keys there, right? So what I do, I put keys on everything there and then because I know that's the end frame. So what I'll do is I move all of that to say the same. Moving to 50. It was a bit more of a cushion there you can see again, and what you can do is when it lands. So say, if we get rid of this on, let's get rid of that and Invesco do Middle click and 46 bring about day seven. There you see you get a bit off or pushing off the end. So you do that while slept in everything. Go to the end frame, make sure everything's kid on it. Gleaton previous friend. And then, if you look up any pose like last three or four poses or you're trying to do when you find in the last three or four posters, your unbelief this again see there's a bit of a whole day that hold. So what you can do that, you know, that's gonna be a impose on. This is what you can do is you can select opposed that your favorite to ease into their any post. So I normally go One frame is too close to gen Post. I normally go like to free friends out because Denver is a bit of time movement for it to get back into us A moving hold middle click Bring it back to 38. Let go Press the s key press w for translate So, you know, rotation I translate me and Beverly and process are both kid. Mostly soft Wednesday on again. What you can do is it was all going in together. You could just Okay this on. Um may be slightly delayed if you want on, Gus, how you can soft in your animation up near the end, and then you can go back one by one, so you can go to the hips and say, All right, Now you see, otherwise do you get in the all right. But you can actually believe because you get in that cushion here anyway. then he can break the country. These are called overshoots, so this is where your key, and then it overshoots with oppose overshoots. So if you look now and for him, it's sustained. Still, the hips moving a little bit up would get notified. Do this. You'll see. It goes up a bit more, so that's in your control, how you want to do it. And then if you go back to translate forward on, you can slept the keys there and you could see this overshoot. Here is all you see so you can believe this and then you'll see because four debate then comes back so you can have that for a while. You could make a E keys in, so what you can do is you can come here on just bring it on middle click Press shift on a mask on, and that will ease into it. See, now you can see it ease into it, which is a bit abrupt. But if you make it go up a bit and controlled overshoot, look up, vicar. So it's just trying era, and here you could see these. Where you can do here is you can break and go to, uh, was it called? We could tangents. So you got more control over these countries. You can give me metal keys if you want. You can even delete this key and controlling with their handles. You can go back and forth and get rid of keys. If you look that look now, see, it stops. Pretty stop, please. Softly failure. There is no real movement and then you might want to. You could even move. Move it down. See how that looks. He comes up now. If you think it's too much, What you can do is you can grab everything. I just bring the end frame back of it so it stops a bit more quicker. So let's bring it back before you five 45 have a look at this. So it's a bit more soft. And that's how you do a simple gulf with the principles of dancing board on the pendulum for the Tulsa. So you see, it's nice and loose iso. Then you applied to everything you do. So then up, down. Yes, So I know this territory has gone on for big guys, but I just wanted to show you how my work processes on how my workflow is and this is what I use. I go broke out, everything go back summary on the lesson of block our older poses and I supplying them as I'm going explained to city in betweens. Then I find the closest pose I want. Then I ke that pose, explain it put into constant mood and splendid again, I'm gets a bit confusing at first story. But what I'm kind of state is when I first start, we're talking about this constant post, so oppose it here, do all the poses. And then I go in between the poses and then you know how I would select their and Nuesslein because I want to check the in between poses. But I do. And I'll do a separate video for that to show you that work. Because, um, it's a bit I know you. You can if you go through the whole video again, you'll see what I mean. That to start, I'm just blocking everything out. And then I find in the in betweens on. Then after that, once a source moved out. I'm just looking at the hips first. Explain it all and I look at the hips by using the visual tool and it and it motion to, and I'm doing the same thing for the feet. So I know the feet and legs are working. Popular monster hips are working. Sorry. The feet and hips are working properly because I know what's the hips are working fine. The rest of the animation, the upper body won't be affected because it's going according to the hips. So yeah. Okay. Folks are seeing in the next video yet, okay. 26. Introduction To Walks: Okay, that's a quick introduction to the walk and what we need to know about the walk. The walk contains everything. In animation. You've got weight shift, balance, controlled falling. So walks are very good to practice. When we do walks, it may seem complicated, but the main thing is you wanna do is just five poses, right? So let's do it from the side. So first you got contact and then taking the weight, and then the passing position, and then the high position going forward, and then another contact. And then the same thing with the other leg. So there's a cycle. So you've got you've got your contact. Take the weight. Passing position about to fall, contact techno ape, positive position about to fall in and catch contact. Your focal. Know. In games, you normally just have your front contact here. Then you do your middle contact, the media and content. And then you've got the in-between, which is your posture and position. Hi. So a walk is a controlled for you. What I mean by that is when you've got, when you've got this contact. So you're doing this pose here and try this out yourself. You got your contact to take the weight. The weight is on this leg. Now, this parsing position is just still balanced. But when you come to the high position here, forward, you're falling. And then you catch that high position is the fall. That's when you catch yourself and get balanced. Again. The main thing is, and I will show this in the drawings after I've done the stemmers demonstration. But what you're doing with your hips is you're coming down like this. So you're taken away. Naturally. The hips are gonna go this way. The parson position. And on the high position, your waist, your, your balance is this way. So you're going to have that curve, which I'll show in the drawings, right? So the main thing you got to take from this is you got your contact, take the weight weight shift, contact taken away, re-shift. Contact, re-shift. So it's like contact weight shift. You still don't wait contact than the way shift. So in this way. And then contact re-shift, that's all it is. And then it'll be more clear when I draw this out in the next example. But that's all you're doing. It's contact. Take the weight. Will start again. Contact step. Take the weight. Contact step, take the rate. So your hips are just taking the weight. And that could be exaggerated or subtle. You can have a walk which is very subtle. So you can see, you can have a walk which is like. So there's all these different variations. And also you could have a walkway. Your contact could be like this. And you'll see the sea and New Spain could be like this. And you're just going like this, right? Or you could have so many once you get once you get this mechanic down the bottom hips, making sure that the hips are moving right? Right. Because the hips are going to be moving out this bouncing ball, yeah, there's an arc, as we talked about in the examples of the bell Kimball has an arc in the hips. So once you've got that working, you can have him that this walking like this, right? You could have like a whole clevis, all types of variations you could do in a walk. You can have a walkway. You're like this as your contact contact contact. Those you got that contact. Your in-betweens could be anything you want. It could be down like this, or you could have like contact. Contact, contact. So a lot of variations that you can have. You could even have one way. You're going sideways, sideways on the calculator. And once you get those solid foundations in those breakdowns and keyframes, you can start playing around with the timing. So you could even make it like you can even make it fast, slow, fast, slow. That's when you can squeeze and play around with the timing and the timeline. In Maya. We use this as an example. This is my hips. I wonder when the leg is leaning, it's going this way right. And forward. And then when it's coming, it's going like this. Yeah, that's the change. We're seeing that change. So the leading leg, if you look at my hips, they're going like this. So the leg leaning forward is going like this. And then like this. Right? And it's lifting up here, the hips, I'll lift my hips, lifting up. And then coming down. Naturally. When your legs going up, you can feel your hip going up. So that's all you're getting all you're trying to do. You're trying to get that free positions this way, this way, and this way. Very simple. But on the same similar. The shoulders are going the opposite way, right? So when you step, step to show those opposing your foot, and then step, then you get that twist in the torso. So you're getting that twist. The twist, you're trying to get this, so C coming through. So that's another key thing. So you're getting these little, so she's C-shaped, going like this in the spine. Like, Hey, there could be exaggerated and very subtle. But that's creating the mechanics of the spine. So they are the main things you need to take. Hips are very important because her hips are off. Because I've seen some walks where the hips are this way. And that doesn't make sense because this is coming forward. The mechanics doesn't extend naturally. Before, Is this your hips out like this, right? And then the leading foot is rotating forward. The leading foot is rotating the hips food. This is awkward, right? So get up and feel yourself walking. And you can get a better feel of the mechanics too. But to break it down, it's just 55 poses which will, which are withdrawing them showing you. So you've got this pose, down, parsing, fall and then contact poses, That's it. And on to the poses which will be the falling. Falling. Obviously because you're falling, this, this side will take more of the weight. So there'll be an actual C like this and then a natural sea that way, which I'll talk more about this, go into drawing now. And I'll talk more about that. It'd be more clearer when I draw it. So this is just a little basic overview of walks and different types of walks you can do. Basically you want to get the main poses and then you can start playing around with the timing to how you want it to suit your character. All right, guys, let's dive straight into the drawings and it'll be more clearer once I explained that. Okay guys, if we don't give Photoshop here and let's say this is the fluoride. So it's going to be a rough drawing and we're just gonna do, let's do a center line. So let's do five center lines, 12345, okay? Now, simplify the walk from what we looked at in the reference. First pose. You got a character, excuse me. Character hips are here, right? So let's just do another line in the middle here. Let's make this the hips here, the round ball in the center. Okay? And it's kinda like this. And overall, there's the body. And then this is back leg. And then this is the front leg. Whoops, excuse me. The front leg coming down here, under foot coming up. Okay. And then this is the back arm. So we'll color this dark. And this is the front. Okay? And you can see it's neutral. Neutral. Okay? So now if we look at this center line, when the foot lands, the weight is going to naturally go this way, right? So if I just do another layer here, the weight is naturally going to go this way. Okay, so we've got that. Okay, this one we can do. We know the weight is going to come whenever the weight is coming this way, right? We know that, that that is the natural C-shaped that's going to happen on the foot lands. And here it's going to be like this and it's gonna be up here. The head is going to be slightly off. Undo that. All right, so the head is going to be here and it's gonna be slightly off right there. We can do a rough arms and roughly. But that's where the weight is. The weight is going that way. The neck is going like that, and the hips are going like that. Okay, and then we go to the next pose, which is going to be the same as this one. Because it's contact. So everything's going to be neutral. Then was what's happening is it's going to be this way opposing because it's the opposing side. So if we look at this body and this is going to be up in the air because this one is the opposing side. This one is going to be down. And you can put the arm in here if you want. Just indicate that this is the back arm as this was the back arm here. So we're opposing now, right? So you can see the shoulders as we're talking about are posing. And then look here. Passing position, where the weight of the leg is, where the leg is coming up naturally, the hips will come up. Okay. And then we'll get red again. Now we're going the opposite way. You write this way. So the weight is going to be on the leg, this leg because this is coming down. So naturally. The way is going to shift that way. And show is the head, the head center line of the head, it will be off center. Then we have just put the arm in there, for example. And then as you can see here, lands on the floor, is up in the air, the right. But the weight is what we're looking at. If we look now because it's in the air here, naturally the lip is India. There. Naturally comes up. Dust, dust, the change you're looking for and you've got the nice sea. The seas are what you're looking for to see. It's basically straight, as you can see here. Then there's a C than a straight. Then there's a C, then it'll be straight again as we're going to do the last one. We'll look at the last one. The last one will be the same as the first one. So I'll just quickly go over this, this Posen color, that black color, this black because this is the back leg. This is the back leg. Right? This is the back leg, opposite opposing leg. And for the red one, this is the back. This is the back. And you've got this is the back. And this is the back. Okay? So that's just in a nutshell. These five poses, us all you're looking for. And the main thing you're looking for in this walk is, is basically the chain. So if you look, if we look at the top here, I'm just gonna make this a bit higher resort because this is going to be the same as this. That's the difference. That's what you're seeing. You'll see first is straight. So like coming back to this straight, curved, straight, curved, straight. That's what you're saying? Straight and dispose a strain on the body. And then you've got curb curve corresponding to this bit and this bit. And this bit, right? So that's the main, when you see these changes, straight, curved street see straight that crystal contrast and the weight shift, which if the instance of which are back to the center, center, center. So you're going from one to the other. Soccer controlled fall. And that's basically the poses. That's the simple poses. In a walk. You've got the contact in position. Contact again, passing position and contact. And then there are other poses as well that you can have. For example, just create this. You've got like in a walk, you have obviously the SEO contact pose. Right? Then you've got, you're just coming off. So there's a contact and then taking the weight and then you have that foot. Okay. So then this forward lead comes forward. And in that back leg. And this is high, highest position. This back leg is the falling position. And then it goes back to contact. There is that way. But these are basically representing those five pillars as well. Contact with shipped land, contact, which is basically the same things as 12345. It's the same pose and a side position. That's all it is. If you break down to walk like this, It's very simple. And it doesn't have to be too complicated as long as you're getting the weight shifts on each side. Sorry about that. The weight shifts on each side. And you're concentrating on this straight, straight, curved, straight, curved, straight line. And these don't have to be extreme like all the way, all the way. There can be subtle, they can be very slight movements to decide that have to be too much. If you're exaggerating for cartoon style, that's different. But you can keep it very subtle as long as the mechanics are correct, then the walk will feel right. Don't worry too much about going too much that way. Sometimes it's good to push in the x-axis in Maya, for example, left and right, left and right. But you'd have to push too much depending on the style of animation you do. Alright guys, I hope that clears the walk-up in a simplified way after the reference who've taken. So we can just sum it up in a simple way. So I'll see you in the next lesson. See you later guys. 27. The Importance of Arcs And Paths Of Action: Okay, so this lecture will be about the importance of parts of action. Find Ox is really important story. These things are really important, Arc. Suppose I think we've covered it before in the other lectures. But this is what will create your animation to give it not look more fluid and smooth. Blackwood wrote about There are talks going up this and that. So, for example, they have a look. Walk has. Your walk is one of the hardest things to enemy because as everything in it that's weight poses, timing has got everything in it right now. If you look out, for example, the walk when it when it's walking when you're walking and young is going on this, yeah, there's a figure it happening in there from the ark. It so it's not like a big figure. It go like this, this one, that is that kind of thing. But it is a figure it like this that is course down. I can show you the next next example of Drew it for me, but that is basically was happening again. Subtle movements going forward back and your foot is also going back, and I kind of like No. All right, right. I'm good. But just coming in is a curve. Not that in your hips are going like like the ox. The officers are accessible as example. We showed in the other video when I messed up the ox. You can see how the hips it started, the whole walk. So if everything's were working perfectly, it'll make your animation that more organic on bmore realistic and fluid, which is what we want is in the result. Of course, in this you're doing a different type of movement, like a robot or what have you. But let's talk to the camera. And I have to show you some joints. That example, because visually is I think, visually it will. It will be more clearer. All right, Customers quickly. Sure. You So on a walk, So natural arc for at home, right would be I just do. Let's just say this is the army, I think. Is it so the natural natural arc? Oh, the all is like this. Now where do you track the arc from? Is the wrist the wrist area? Yeah, the risk areas where you do it so on a walk. So this will be your work. So So on a walk, your arms are naturally going like this on a walk here. It's going back for back for fear. But what I mean by a figure eight Sorry disco right now in that back and forth there is like, oh, sent it could be completely fin like this The figure eight Because normally things that move like this organically, you wanted to move back on a different path, Not on the same one again again. Because then it makes it breaks up the animation. Right. So this this think this basically risk wrist is moving on the ark like this. You're picking a point here and it's moving like this and you have a look. Kinds of rocks everywhere. You have arcs that are going that we just talked about before. You know, we can't. You kind of you could have an arc that goes out this in the hips on. Then it settles like this. Have a little cell. Yes, it is different types of rocks. So that's what I meant by figure eights on how you can score. Sit down. You could You could do it like in the top views are you have a figure it in the top view and Meyer going like this is what is a side view. So you're looking at all different angles, Front views or front New would probably be probably what you could have. It depends, have animated it. But that's overall what I mean by figure rates. So the figures could be big. They could be like this. What? They could be like this, you know, just looping the on a nice path, looping. So what we'll do is when we do the walk exercises, everything like this will be explained in their practice. You can see it, but it's what I to draw it out and to show you like I just think visually you can make more sense of it or I got it hasn't example me. When we think about ox automated, it's always good to always think about them because they are everywhere. If we think about so we're walking. When we were working on this, so I did again faced a bit. Try sideways. If I'm walking up this, you see my arms. So this this is when we're talking about the figure eight. So your arms are always doing this on your hips are doing it is all of your hips are your hips have the ox off going like this up and down. So you're going. So you've always got that Our company and the top u in the top. You you notice when you're walking, always you walk, so you gotta contact step, weight shift. Okay, Contact. Step, which is so in a top view, it's going. You go like that. So slightly going. So these are all arcs that happen around us even now when I'm doing this. See, that's an awful lot from standing here at that point. That's a block from here to here. Yeah. So you got all these different arcs that happening everywhere, figuring, I mean a figure. It could be like, You don't have to just be, like, not this. It could just be like that. Yeah, she's going up, and it comes down very thin figuring. So if you look at their hips, hips always moving. So you want we're going about this, or even if we're hey away with the mark of turn around, you know, top you The hips are going like that. Yeah, I show you drinks on that later, so it's a bit more clear, but if if you notice you're moving around, it's always in off. So that's what's gonna make your animation. So you're going down and up not making isolation for more fluid and organic indignados and the animation won't look as polished as it could have been. You look back at the show and they could published a bit more. So second idol in the game I go You could be like this waiting. Yeah, which we'll talk about more in the in game animation with really walk throughs off shareable. But this could be a combat idol. Yeah, well, no more idol could be Not this. He's got his weight on this leg. He just slowly the hips are slowly returning in CG If everything still it doesn't look right. So you always got some kind of holding pose and movement so the hips could be so the hips could be doing this really big in the ideal. But what you're doing is scary and get down to really small here really small. So just slowly circulating moving, then you might just do this, you know? Well, look in a number. Och, looking puts down my shift. His weight. You know, we're talking about a game animation when we get to that. But this this I tried to show you in this video, Uh, oxide everywhere. Yeah, so moving around everything's ox. So just go be always be aware of that. Like, you know, when you're animating. If I'm doing oppose here with the position from here, Okay. Suppose about this and what? I wanted to go down the jump. I wanna cook up. So where do you go to Dallas? Onboard the ark. Going down. I didn't coming up and then bounce. You know, you're you're already thinking about the trajectory where your character is going so you could block out all your animations, you know? And then you stop going back and you think about how the hips moving in a nice walk on the arms following in a nice arc, you know, is a form of through happening. So all these things you think of that as you're posing, just blocking out and you're getting a lot of those a part of actually working right on. When it comes to polishing. That will help you so much because you have everything already going in. Nice following. Nicely, ox. You don't have to worry about that because you thought you planned it Way ahead. Also. Why do arcs happen? Ox normally happen because when you step and you'll have a way shit, the wait more or less makes you something you can't help its gravity. What is making you move that way? So it's creating the arcs. So this is ordered from natural world. What's happening? So that's what we're saying. We observe the world, you see, you see, over these arcs happening, the hips is creating the weight which is making because this is a central gravity's, it's responsible for driving everything. So when you move like this, everything's gonna follow. So so this weight here step causes this arm to go up, so you're gonna create arc, you know? And then if you come here, you're gonna keep creating ox. So it all drives from the center of gravity, which is a cause off the weight shift, which creates the walk this way. Then you contact Step Quincy off this way called dark step. This way, she end up getting there's little weight ships which result in those organic off a box occurring. A good example would be walks when it comes to Ox because there's a lot of ox in walks. Yeah, so when you're walking out this you got so many ox happening. So, for example, you got the not with my hips. The hips. Yeah. Come on. Site to site like that. And then you've got the foot. See you in the foot comes up is already are today. And then it learns. So you've already got that talk. Look at the hill off this foot. Oops. It's going up over. Step up over step. So does A With these little ox happening, Nobody's then you. Obviously, we talked about the figure eight and obviously there had his work. So when you walk, the head is following on talk path of action that's going not now. And that is more or less falling with the hips. I do because the hips are going up now. So once the hips are fine in the head will be found policy. So if we look at the foot to the foot, comes off here and then it's going up and it's for the Indus Trajectory. Look at this Black line is following this, but it's being trapped by their uncle, but it's a this actual. So that is what Bush. All some people trapped the ankle here. That's all you're doing? You're literally just creating an ark ark sworn in the ark. So that's one example. And then always you got risks. Is what with the wrist you have. So you might have, like we used in the other tutorials. Yeah. So you got the hand there on you know, this how we want to go back down here so we could be like, Yeah, so it follows an arc like this so it doesn't So that's one key frame. That's another key. Yeah, we wanted to go down, so it's called instead of going, You want to go linear, I want to go. So what you do is you put breakdown. So you start here and you'd be like from there. Oh, sir. There to there. Yeah, that's how you create. Quit your baker, and then you can put other other key friends in there, and then you might stop breaking the writ small. So you wanted to go right on blaming you keep delaying it. But even here, you might even have it a bit. Wolf. You could have this one a bit more than that. So you you're using these points to track your ox one arms it arms in particular. Same thing. Like when you're doing when you're not going like this. So you're making a gesture and you know, that's a sick from the wrist. You're using the rest of the tracking point for the circle for creating a nice box. I'm saying with this with back in the with the head used a nose. So you tracked that point. Something will use the chin. You could pick a point that's fixed. Something will use loneliest knows. People use their nose. Well, something fixed nose is very good because then you can distract it. We could put a locator on it. I'm just wrap it around your figure eights and stuff like that. Okay, so something up. Use these ankles wrists on the hips. That's will you break it down? Very simple ankle wrists. NOS. You don't get the Ozarks working properly, especially the hips, because if that is messed up, everything else will be messed up. If you go, your hips going on this. So I decide. Everything's falling that right? So just get those hips going nicely and everything else will follow. Yeah, and then you can have nice socks. Obviously, we kind still has different, but just paid real attention to that. You know, the arcs. When you're planning your animation, we'll talk more about playing and blocking and one of the lectures. You can go back to that and check it out. How we do planning and how we think about the ox and everything. But any time just took out the ox. Yeah. All right, so we're talking about arcs. We go back to our lecture on principles animation. It goes back to the same thing. So you feel okay? How does Linea Oxo and how we were talking about having ox in the rest? You know how to measure the oxen. The risk here, a nice example Here, you can see is pointing from the wrist on their hands. So the wrist is for, like, the arms, you know? So you're using that to track the ox, and then you've got the foot, which is the point on the ankle with your tracking. And then, of course, you've got all these. Our powers of actions, which we talked about here, is up on the overall arc off. The character, as you can see, is following a certain path, which which is related to the hips. Food talk about the hips are following a certain path coming down on the overall arc off the motion is very important to Samos. This as you can see, he is winding down, squashing, and then as it comes up, it's coming up. Have we talked about the tracking of the nose? Is you can see here at the bomb you are going issue tracking the nose to make it go on objects as well. So what in the world, this dog imprint this example pretty much sums up ox and how to look at them. They have to be over complicated, you know, certain points breast and hips, ankles, you know, keep it simple and you'll be fine. You know, you have crazy ox up. We've got one here with first character, Will ya? CSI's got You could do all kinds of figure eights that are going is squashing and everything. Basically most things moving figure eights, you know, But it could be a big thin and then coming back, you know, that is, you might have a little figure at the top, and a big at the bottom is all moving. Like that kind of us. Right? Price, if you look at this and let's look at this example she see here, this is all laid out for you. See, that hips is for in a puff is actually created a part himself. So that's a perfect example. Off someone animating Gonna fall is going like little side to side. So you call a little example there and even there if you see, like when you and he jumps up. If you look here, that's the board. And if you look and you see how the bull comes up I was following this path and then come back down. You follow the same path. Blackout will be slightly different. Book. That's the idea. Even there you see a nice part of actual. So he knows how he's taken off. You can see that pulse of action is already in the planning. So when you do cause of action, it's in the planning. When you're planning your work. So at the start of your work, you're planning each and every pose. So, an example of that as well. I'll show you just study this reference. It halos. It's four falling apart. Blacks. And so the dog came from here. Andi, it ended up that they're here. So foreign trajectories as well as well, as well as tracking yards, tracking the whole off the poses where it's going, where is leading to. So if you look at other examples to go, Yeah, perfect example. Here. You see this? You see how his hips are going up? That's a double. So his hips are basically going and then up and then down. And then so is following a trajectory like this. If you look now, Tucker is going up, not down upsets foreign. Apophis is going Oh, uh, so is everything for his nice arc. So you see everyone. She starts studying, even they double jump they up on and you can even look it If you look at look at the ball. The ball is the boiler's hair is Florida arc. It is coming back up here. Foreign talk. If you look right now, she's for in a nice arc. So all examples are right there. Every think hair. A nice RK is in the body. See how the body is going back. So ox everywhere, Everywhere you look So you know, if you look at our lovely a lovely globe is look at his wrist as we start going round enough from the wrist, that's the park is fully And check this out. Check in a perfect example. Here, check yourself, see? So they literally just going out that before our simple animations. Very simple on that. You know, we just it looks complicated, but when we break it down, it's just simply just in little circles. Risks are only like that, you know? I mean, if you're walking, it's a little figure eight, but depend on what the poses for personal of the walkers. Hey, Ted is so here. We will talk again. You look a and today his head turned in a box. If we go back, they see suckle suckle, but oxide everywhere. So that's just a few examples. So study some of your favorite cartoons. Check him out. Onda, start looking, stopping pause and check out ox and see where the oxide just a nice to study that, and you can put it in your work as well. So moral of the story is practice practice sending offs. Keep doing their exercises. There was an exercise is showing. You keep on doing the little exercises from one. Keep those break down to another 2000 bold. You know, go back to the bouncing ball. Keep practicing us Chief on Pakistan a new or get there. I'm with you 100% of the way. Let me know any questions. You can email me Facebook group and old Outset that you know I'm standing all up. So, you know, just really keep keep pushing, you know, doesn't you? Don't get disheartened. Just keep on practicing this simple, very simple stuff. It has mastered a simple stuff and you'll be there. Trust me. 28. Planning And Blocking: planning, planning, planning. Planning is what we talk about. Planning and blocking, right? So what do you mean by planning? Work? If you look at every professional animate and they will say to you if you talk to him. Sorry. A lot of them. A lot of the ones who plan their work. They will emphasize that so much. Look, these big studios at Pixar DreamWorks on Blue Sky, they're all planned, the shots, Then they show the director. Now then, if you heard of a book called The Illusion of Life by Ollie Johnston on DA Find If we had Okay, so here's the book. The illusion of life. But what you don't see now this is the nine, old man. It's like the Bible of animation. Yeah, you can get it now with some It's quite expensive, but you can have a look like you, but you might want to find it there. Now they he only Justin on. Frank Thomas. They said, spend half your time planning and half your time remaining. So when you when you panic, you have a clear shop. Everything call what you want to do. What? The characters doing wires doing it was his thinking. And you contract everything you can plan and say, All right, I want my kite track this particular arc, this path, you know, the way their hips are moving every finger. So planning. I can't emphasize that enough planning is so, so important. You need to whenever we get what happens. A lot off graduates fall victim to and I was the same is we get so excited. We just want to get on the computer and do the animation. That's good. You know, your ego, your keen and rightly so. If you take a step back and really plan you up with so much fun in planning and and it's such a plan, my work, I realize the workout plan and reference ends up much better. As I mentioned before in one of the electric videos, You know, they my work looks, But I look and I think, yeah, actually looks better because I took the time out to really study the reference to really plan out my shots on the ones that had to rush because, you know, some comes in gaming industry or working, you know they want certain animations done in half an hour an hour and you can see the difference. You can get it done. You get the principles done, you know, the bouncing border or waiting all working properly. But if you just planned it a bit more, you could have made a bit more off a unique animation A bit more, uh, bit more thought, thought off animation and thought out properly. So planning is something that emphasize so much on. I would say when you get a shelf love animated doing a shot, they don't even look at the computer like, No, I don't even look at the computer. And I was just gonna plan my stuff first and get everything working right on notice when you plan your work on paper by donating, which I'll show you in the next clip you will. Okay, when you get into the computer, you know it's your new animation is more clear, and you get it done quicker because you already done the planning. Whereas if you just go straight on and you're thinking your bit modernity Della, what to do And the animation is like it doesn't have a go sometime. There's nowhere to go but was overcome when you keep planning and you get into the habit. When you create these good habits, you would start to build that library of planning in your head and then you Candies. But because you've got that library built, you're not just doing it from nothing you got. You've got that stored imagination. You know, you got everything in there. So when you build over time because I've been doing this for about 15 years now, So it is. Obviously, there's a lot of stuff in the library, you know? So you will get that to, you know, once you start going on this journey, you were build your own clips, put the menu head, look at life, live life. You know, put those experiences of memory into your work and make it unique. So it's really important that you start off really doing thumbnails, have a little sketch book with you and just don't know everything out. You know, everything you see any interesting doesn't have to be. It's not great. You know, I did just a drink when I when I used to live abroad and worker broaden, my teacher said, You know, you have to do great and it is just not great drawings, but it's captured a gesture. And then that's what you using your poses for your work and stuff, You know that pose you for That's interesting. So you've got all this library of building up, So planning planning is big. Massive. Must always spent half the time planning half your time on the computer unless diving. And I'll give an example off off planning shot will do the job example of a jump. And I show you what path and how I think about planning. Yeah, so let's get to the paper. All right, folks. So let's check this out. So first thing I want to establish is okay, What path is my character going? Take in this scene. So I'm gonna look at this from a side view Something all right? If I'm gonna do a jump, let's look at their hips. Okay. Now I want the anticipation. So I want to come down first and then John, but I wanted obviously to follow a jump arc. And then when it lands is gonna settle. So that's what I want. The hip studio and then the help bouncing board. Right? So then I'm like. Okay, so now I've got that. I know this path of action. So this is how I wanted to go. So now I've got that I could start some names. So what I do is start with, say, for example, defeat. So you got the feet here and you got the character on its arms are out. So this is the anticipation yet and that's the That's the hip. In the next post, he's gonna leap. So I could do like, Okay, this is the foot, and sleeping is going forward, and it's going up on a following this trajectory so I can also see. And then later, when I can put a breakdown in here to create a nice curve point, other polls. And if I'm just proposing at the key poses first, so the next post is gonna be all right. He comes in here so it could be like this, right? So it's up in the air. So we've got that trajectory going the path, and then when it lands, it could be like, OK, the character is gonna learned like here, arms up in the year. Maybe one of the foot's delayed on the flu is there. And then when it lands, lands here, bent feet, arms, India and then foreign debt trajectory. Member, I'm coming up here, all right. It's going to kind of come up on then it's gonna settle back to winning video games. We would say it's set was to the I do oppose right. So then it's gonna sell. So now if we look at the trajectory, it comes down, up and then settle. So we already created that path. Were just planning out the path which was going to go. So it's gonna go is following this flow. Yah, about that Sorry. And then, obviously, then you look at the hips, then you start looking Okay, Let's see what the hips are doing. That's good. It's following a nice arc. That's what we want. So that's what it is when it when you're planning. You know, when you're planning stuff and planning could be you could be doodling. You could be like, Alright, let me check out how disposed looks. So we do a pose like this might do oppose, not this. That's supposed look right. Yeah, we could do little opposes about that. There could be a side posed that you want to do so you could do a pop pose like this. It's like a side pose, right? So you're planning out different different types over poses. So, like you could have a pose here, You know where he's standing her. So you just getting ideas, but also your pan in your animation of planning Which way? So you could do a simple one? Simple one could be. Were you doing gum dialogue shot yet to say, if you got a shot here of a character and it's like chatting and say this just like them the ball, right. And then you might be all right when, uh, it's going to look that way in the scene. So in between, you could be that all right, wing between we want it to go in this puff. What do you want it to go in that both who do we want to go over? Would we want to go under? And then that same complaints and shots you go. I want to go under. So you create that arc, you know, from the nose, you can see that the tracking off that and then obviously, if that's up there, that's down there. There's an arc. There is Oh, so that follows that same so different ways up planning. So planning overall planning has just little thumbnails, and you're trying to clear out your ideas. What kind of poses and charged trajectories they're going to go in. You get in little ideas opposes, you know, film, filming yourself. It's another way to planet. You film it first, and you look at the reference and then you find opposes there that you want to put in. Then that's how I would normally do it. I would normally look at the reference that pan out, which poses. You want them? Put those in so I hope that's clear. It's just a little example of how to go about your planning works. So that's an example of planning. Very important to get the fundamental of the planning, right? You know, instead of quickly going into computer, it can. It can be quite exciting to get into the computer, and you really want to animate. But plant spent heart half your time planning half your time doing doing the animation, and I promise you your work will look much, much better. So what we'll do now. In the next few videos, the next exercise will be there blocking. I'll show you how I'm doing the blocking in Myer and it's gonna be a mini walks back. So I could from the hips to the to the feet, Yeah, we're just gonna use the top off. Then we'll introduce the whole body later, so we're gonna do blocking. Then we're gonna supply net, and then we're gonna polish it. So make sure you join along. I keep doing again and again as well, because the practice makes perfect and more you do it admire, more confident. You're gonna get the more confident around, Meyer, you will be. You have to worry about the technical things because you know you've got that in your mind . Second nature, so on most of all, have fun doing it. Really have fun. Okay, so let's dive into it. 29. Blocking Walk Cycle Hips And Legs: All right, welcome back. And in this tutorial, we will be doing a walk cycle. So let's start with the walk cycle. It's what we do first is we're gonna load the actual character, which we really done it. So we're gonna use bony. Okay, we're gonna set this card drop. Now, if you notice that bony he has layers here. Yeah, so if I just quickly this area, he's got all these layers now we want to do these deals have already been put in here because, you know, normally when you animate, you can separate certain areas. You can just concentrate on one area. So what we want to do is going to get rid the arms on the upper body because we're just gonna be working on the hips and the lower body. But as you can see, the hip control is not there. So what we can do is we select this hip control here, press w translation comes up. So you want to select this circle one? Just go here where it says bony legs and right click and say, add to selected object. Okay. And now if you get rid of the body dot that's control is there? So this one? Yeah. So we want to use now that we got it will set up. We go here, the side of you. Let's go to side of you here. Yeah, so we press factor All press respectable. It's all the control for f f f is framing all included frame impressed. Five to get shaded mood. Or you can go. Hey, wire frame shaded, different types. You can use it, but the short cuts at the top of repressed full. That's why praying five. That's solid. So we just maximize inside view. So we want to do. First of all I do is go to Google and typing walk cycles, go to images and you see a whole lot of work cycle. So whenever we start a rain always were always planning not going straight into the animation software. Yeah, and we'll look at their someone. See? All right, so we got basic points here for contact. Then you go down, passing position up and then down again yet. So you got this. Nice wave. Okay, so we were used this as our reference nous will k