Assembling an Animated Moho Production

1. What is this Class About?: Hi there. My name is Chad trough Gerben. And you are watching how to assemble a Moho production. Moho is quite a piece of software. You can do a lot with it. You can set up rigs, you can draw, you can build 3D sets. The list goes on and on and on. And I've covered quite a few of these topics on the platform that you're currently watching this on. However, I've never covered the whole process of putting it altogether. What do you do with these rigs? How do you animate to rigs together? What do you do when you want to switch over to a new scene? Do you create a new file? How do you go about that? If we're working with 3D sets, do we want to compress them? How do we want to work with them? This is all a part of the process of working in MOHO. And it's what I plan to cover in this course. We'll be taking pre-made rigs that we designed in previous courses, as well as sets. And we'll bring them altogether to create a cohesive narrative package. We have a storyboard and script we can look at to reference the narrative throughout this process. And as I said, we have all the files that we need in this course. It's assumed that you have some knowledge of MOHO, how rigs work, how to assemble sets, how to work with the timeline, how keyframes work. Basically the essentials of Moho are required to continue with this course. But if you do have that knowledge and you understand how some of those things work, I think this will be a very useful course for you. Because again, we'll go through the process beginning to end, assembling a production. Roughly one minute sequence of animation that cuts back and forth that goes to different locations and provide some action to keep the audience on their seats. But more specifically in this course, the topics we'll cover include examining the course files, which might not sound too exciting, but it is essential. I'll break down how I am sharing my files with you. We'll talk about the screenplay in the storyboard and what we expect to do with our animation. We'll take a look at the audio files and how we plan to use those. In addition, we can look at our rigs, talk about the 3D sets and props, and take a look at the effects folder and how it all works together to help you learn this process. After that, we'll begin by animating out. The production. Will start with the opening shot with the alien ship going towards the screen. We will set up our rigs for s2. We will do some lip sinking as well as some body language animation to make the scene exciting. And then we can spruce it up further by creating an electricity effect for the gun. We can add some smoke and dust and sparks to build atmosphere. We'll create a teleportation effect, as well as add a glow to that teleportation effect using reference layers. And then we'll finish up s2 by implementing camera movements and looking at any errors we need to correct. Seen three will take us inside of chads friends van, which is happens to be an alien friend. And inside of the van, we will do some more lip sinking. We will also create a teleport dial to reverse the effect that we animated out with a teleportation in the previous scene. Once the body language is in, we can animate some battle carnage by importing particles for explosions and lasers, as well as animate out our camera movements. Then it's onto animating out the ship chase sequence. We will set up the first sequence so that we can move it around within 3D space. We'll animate lasers and explosions. And then we can go and animate that final shot of the two ships careening towards the Sun. Then we move into our polishing phase. We'll go through each scene to make sure that everything is looking good before export. Then we will export the scenes out and then re-import them into Moho so we can piece things together, trim up some sections, add audio, and then export out a video file for the world to see. If you're looking to produce an entire production in MOHO this course, we'll show you how to do that. But in addition, we also show how to edit a production using video editing software, which is my preferred method. So we will take the scenes individually, import them into Premiere. We will assemble them and add them, add music and sound effects. We'll look at some additional effects and then we will export the file out for the world to see. We have a lot to cover and I hope you're excited. I hope you're ready because we're about to get started. 2. Download Exercise Files + Instructions: This course contains several files ranging from different formats that open up in different software. And I just wanted to take this opportunity to go through how you should set it up before you begin the process of jumping in and opening up all these files. Now because of how large these files ended up being, the zip file that I originally created was over eight gigs in size. I decided to break it down so that each folder you see in my exercise files is a zip, with the exception of scenes, which actually each of these folders within scenes is it's own Zip. So when you go through and you start downloading everything, eventually it's probably gonna look like this. You'll have all these zip files contained within, let's say your downloads folder. And I recommend you go through and extract these so that you can create a folder that looks like this. So extract your audio, your characters, everything into this exercise files folder that you'll make yourself. Then create a scenes folder. And there you can put the remaining zip files into that folder. And you don't have to put your scenes into a folder, but I just find it to be useful. Again, coming back here, your scenes are labeled as seen 12345, just like that. And so you can pretty easily put those into the scenes folder, as well as the PNG sequence scenes that would also go into your Scenes folder. So again, once you extract all that out, you should have these individual folders, create a scenes folder and then dump all of the scene files into there along with your PNG sequences and hopefully you should have no issues. Now, I was running into a couple of anomalies when I was trying to open up some of my scenes. Every once in awhile I've tried to go to open a scene and it would say that it couldn't find an image. And if that happens, you should be able to pretty easily relocate those images. As an example, the master file relies on the image scenes from this folder. If you open up the master file and it's like, hey, we can't find seeing O1 dot PNG. If you go in here, you'll see that we have all of these images ready to go. And so you just have to click on that first image to relocate the location of it. Again, I'm hoping that won't happen, especially if you set this up so that all the files look like mine in terms of ordering. But things do happen. Moho is imperfect. I tried to do gather media when possible, but sometimes it wasn't cooperating. And again, I tried to fix it, but if it's not fixed, just know you might have to do that for the master file for your scenes. You might also come across it when you're doing a teleportation effect. And if that is the case, you will find those images inside of the characters folder, inside of the chat beam out layers you can see right here we have the images for him disappearing along with the Moho file. Again, I think I'm being overly cautious with this by explaining all that, but I just wanted to be sure that you understand how the files are being distributed this time, it is a little bit different compared to my other courses. And given how many images I am using, It's important that these files link up properly. So that way you're not missing out on the experience. 3. Looking at the Screenplay and Storyboard: Here we are again looking at the exercise files. Let's break down the screenplay and storyboard so that way you understand what we're going for here in terms of action and direction? If we double-click on the screenplay in storyboard folder within the exercise files, you'll see that we have a PDF as well as a storyboard folder. Let's just double-click on the PDF first. This should bring up a script for you to read. Now if we go through here, we can just read the script. And essentially, I'm not gonna go through this verbatim, but you can read it if you wish. We're going to start with an alien ship. We're going to find that our protagonist, who is going to be me, Chad, is going to be tied up and chained up in aliens going to come in and interrogate him. He's not going to like the answers Chad gives him, and he's going to shoot him here. Then the alien continues to threaten him and actually powers up the gun for a more powerful shot to what we are going to assume is going to be killed. The protagonist, right when he's about to shoot this really powerful blast, chads friend teleports him off the alien ship. We then cut to the interior of this alien ship, his friends alien ship, which actually happens to P a van. And he comes in, that is Chad heliport sin. He exchanges some dialogue with his friend. They talk about a secret vial. And again, we don't really know what this vial entails. I'll leave that up to you if you wish to continue the story after you complete the course. But they need to do something with this vial. But the alien ship that Chad just escape from starts shooting at them. We cut, we see a chase through space with the evil alien ship firing at the van. We cut back to the interior with our characters panicking and trying to come up with a plan. And the alien chats friend decides, the best thing to do is take the van into the nearest star or sun. We're going to have an exterior shot of it careening towards the sun will cut. And we have Frank saying here goes nothing and then that's the end of the script. So again, a pretty short script. The idea here is just to give you a taste of how animating out a production could go. And also the idea here is if you wish, after you get to this point, you could keep going with it. So if you have an idea of how you want to finish that story, by all means go for it. That should help you with the animation process, that should help you with storey building and all sorts of things. So if you feel compelled by all means, continue the story. So with that, I'm just going to close this and look at the storyboard really quick. Now the storyboard essentially just compliments what we just read. And when you go into the storyboard folder, you have some options here. I export it out all the panels individually just in case if you need close-ups of those. But I broke down the storyboard into two pages. Again, this is really rough. My storyboards are also rough. And so if we double-click on any of these, you'll get an idea of what I mean here. These are just JPEGs, so you shouldn't have no problem opening this up. And we can take a look here. So if we come in and just zoom in on this, you'll see that we start with an exterior shot of the alien ship flying towards the screen. We have Chad tied up in an alien torture chamber of sorts. There's a window with stars. The alien comes in. He exchanges dialogue with Chad. He doesn't like the answers, so he fires his gun. Then while they are talking after that point, we see a van come into view in the window, but no one notices it. The alien isn't happy, so he charges up his gun. We see lights to indicate the charge up. And just as he's about to fire, Chad starts to tell poor out, as you can see, it's indicated by him disappearing. Then we go to page two and he teleports onto the alien bridge, or in this case it's going to be a van. They exchange some dialogue. Chad pulls out a vial to indicate, hey, they have some precious cargo here and maybe that's why they're being chased. And then there's an explosion behind them. We see that the alien ship is chasing the van. The alien and chat exchange some more dialogue. And through a panic, the alien comes up with an idea to take them towards the sun. Again, this storyboard is very basic. My storyboards are also against sloppy basic. I just kinda go through and sketch it out really quick and get an idea. And hopefully this should help you with the pacing as well. You never have to reference this if you don't want to either. It's just here in case you want it. So with that, the screenplay and storyboard has been outlined. We'll pause here and up next, take a look at the dialogue we have to work with. 4. Listening and Interpreting Character Dialogue: For this video, we're back inside of our exercise files and we're going to take a quick peek at the audio folder. Let's just double-click on this to go inside. You have music, sound effects and voices. Now just to break it down a little bit more, if you go to music, you'll find that we have just one file in there and it's an MP3 file. If we go to sound effects, we're going to have a handful of sound effects here. Now, the thing about this is we could add way more sound effects to this to build even more atmosphere. However, I just chose a few select sound effects to put in. So that way you can get an idea of how that process goes when we get to that point. But the thing I wanted to really focus on here is the voices. Let's just double-click to go inside. Here, you're going to find that we have several WAV files in PKA, F files. First, the PKA files you can actually ignore. Those are files that audition creates for us. And the other file you'll find is the actual Audition file, which is the project file for this. When I went in and set the pacing for the audio, and I double-click on that audition file just to show you. I went in and created a multi-track and each track is a character. I recorded my lines and then I went in and spaced everything out and paste it, how I thought it should be accomplished. What I did here was accommodate for different action pieces through the dialogue. There's some spacing here for, for instance, when we have an exterior shot or when we need to show some sort of action like when the character teleports out. So those are some things to keep in mind. I went in and paste this inside of audition, and then we export it out each track individually. In addition to exporting out the entire track in its entirety. The reason for that is so that we can first take each individual characters lines and bring them in and lip sync in isolation. So that way we don't have to listen to all the other characters talk within one file by breaking it down, it just isolates that makes it easier. Second, I have a mixdown of the entire track that you just saw in audition. We'll be using this file near the end once all the lip sinking is done and we no longer need the individual voice files in isolation. We just need the entire thing. So that way we can plan the pasting and make sure we're on track. And so that's what the space mixed down is. Now, later on in the course, I realized that I made an error on the original mixdown. So then I went in and split right down the middle, the mixdown. So the first part goes to seem too. And then the next part is the final part of the cartoon. Again, I did that because I miscalculated some pacing. And it just made more sense at that point to split the main file and then set the pacing in Premier or MOHO, which again, I'll be explaining when we get to that point. Just know that when it comes to your audio files, you have everything you need. Hear your voices, your sound effects and music. And we went in and set the pacing with the voices in audition. But then we export it out the files individually. So that way we can use the pacing, but keep things isolated as we lip sync and then put it all together with a mixed down. With that, I'll pause here and up next, let's take a look at some character rigs. 5. Examining the Rigs: This course comes with premade rigs. And again, as I discussed, I have other courses where we go over how to rig vector and bitmap based characters inside of Moho. The idea with this course is you do have some knowledge of that rigging process. We're not going to be rigging an entire character from scratch. We might do some modifications, but we'll definitely be animating rigs that are complete. So again, it's recommended that you have some knowledge of rigging before you dive into this course. Now, let's go to our Characters folder inside of our exercise files. And you'll find all of these different folders. Now, alien guard version one is just a Moho file with attached images for that rig. We can double-click to open it up to look at that rig. And the same goes for Chad, virgin one, Chad version two with vial and then Frank version one. These are all Moho files. Now chad beam out layers is actually a PNG sequence that we created. You can see here, we can go through each phase of it. And it's basically a teleportation effect. And we go through, and we actually show you how to make that effect in this course. But the images are here, because once I completed that, I export it out so we can go to the next part of the course. You'll also find in here that we have the actual dial control for this. So you can double-click on that Moho file and take a look at what we did. And of course we'll be going over this in detail in the course itself. That is the PNG sequence. And then you have the Chad with female controls, which is a more complete version of that. Again, we'll be discussing this and then you have your actual rigs over here. Let me just come in here. I'll go to Chad version one and double-click on the Moho file to open it up. When you come in here, it should just open up these files with no issue. Hopefully, you don't have to go searching for any images. Again, I tried my best to make sure everything is where it needs to be, but this is just a typical rig. Again, I explained how to build this exact rig in a course in addition to a bitmap version of this rig. But you can see here it works rather well. Everything is pretty much mapped out and ready to go for this particular rig. We have blink controls, we have head turns, we have eyebrows, and we have a mouth with both happy and serious phonemes that you can switch to if you wish. We have hand controls, so everything here is pretty much good to go. These rigs are pretty much set up for what we need them to do in this course. Again, there's a couple of exceptions. We will get to a point where we need to go in and build another hand pose for the Chad rig. But again, that's all just part of the process and hopefully you find that to be useful knowledge. How could you go in and alter a rig when you're halfway through the process. Those are some things we'll be touching on with the character rigs in this course. Again, we will be using two variations of this. So we have a vector rig for Chad, but the alien guard and the Frank rigs are actually image-based rigs. And again, I did that mostly for preference, but also because I wanted to show that you can combine these things. We show how to create both image-based and vector-based rigs in different courses. And so I thought it'd be a good idea to also use image rigs for this. You can go in there and play with these, modify them if you feel you need to. But just know you have all of your character rigs right here ready to go. So with that, we'll pause here and up next, take a look at our 3D sets and props. 6. Looking at the 3D Sets and Props: Let's take a look at the sets and our props. You'll find in the exercise files that we have a sets folder. Double-click on that. You're going to find we have five different folders made up of pre-made sets. Now the sets aren't really complete. They're just more of a starting point for us to build the sets off of. Some are more complete than others. So for instance, if I click on the first folder here and we double-click on this first Moho file to bring it in. You'll see that this is nothing but just a space background with a filter on it. Again, not maybe the most complete thing, but it does save a little bit of time. We're going in and setting up these scenes. Again, I've gone through seem construction before in other courses. And so we're going to be focusing more on the assembly and not so much the creation of sets. If I come back here to my sets, we can go to, for instance, the interior of the alien ship and just double-click on this one. Now, bringing it in, you can see that we have this set looking like this. And again, it's a full 3D set. You can come in and pan this around and do what you want to do with it. Basically, these are setup so that we can just jump in and start working and make modifications as needed. I will be working with 3D sets throughout this course. It's just something I prefer to do as I've worked with MOHO more throughout the years. It's just a style preference. If you're making your own characters and scenes and props and all that. And you want to go with a 2D style, by all means there's nothing wrong with that. I just wanted to point out that you can do 2D if you wish, but I am using 3D sets. Then in addition to the sets, we also have props and scenes. So the props, if we go into the Props folder, is pretty lightweight. We have a close-up of our alien rifle, which we actually don't need to use. And it's included this in case if you want it, then we have the gun for the alien, which we'll be using at a certain point to help animate out a power-up effect. And then we have a vector-based vial. Then if you go to your ships, you'll see that we have to 3D objects that are Moho files. And these are just, for instance, the ships that we can use to import into the action pieces, for instance, the alien and Chad. The alien being frank, that is the friendly alien, has this van as their ship. And you can see it's just a 3D model. And you can come in here and import it into any of the space scenes and then we can go from there. Then if we come back to the exercise files, the last thing I just want to point out is the Scenes folder, which I did touch on this stuff already a little bit, but the scenes folder is where we actually create the animated scenes. The sets folder is again where I just set up the basic 3D set so that we can build something. Scenes are where I actually save each part of the progress. That way you can go in and reference, for instance, part four of the interior van process. If you want to focus on just a specific part of the process, this is where you can go in and open up the files I've been working on. So that way you can get up to speed with everything that you need to. With that, I think that pretty much covers the sets and the 3D objects as well as props. 7. Explanation of Effects Folder: The effects folder contains different effects that we'll be using throughout the production, such as particle effects. We just double-click on this really quick. You'll find that I've included a bunch of effects already and will be creating some by hand if you're interested in that as well. But these are just PNG sequences that you can bring in. Again, PNG sequences can be brought into Moho. They can be brought into lots of different animation and video editing software. But it's essentially just a way to bring in each frame and compile it so that it creates a little animation. And we'll be doing this a lot when we get to adding explosions and the laser effects, you can go in here and see that we have a laser that's animated out and we have sparks as well. And these are all from the tune files library. So there is more where this came from, but this is just a sampling of what you can get from that library. I will be referencing again these quite a bit. And I won't be using all of them, but feel free to use the ones that I don't use. It's completely up to you. Again, this should be pretty lightweight and pretty self-explanatory. And some of these also include the source files like this one includes the original after-effects file that was used to create it and all of that. And so if you are looking to add more flair, you can create more effects. But we just have some here for you to play around with. In the event that you want to add more flair to your production. 8. Animating the Opening Shot: To begin, we are inside of MOHO and we're going to open up one of the sets included in the exercise files. So I'll use Control O. You can use Command O if you're on Mac to bring up the import prompt. And we want to go to our exercise files. Under my sets folder. We have a one exterior evil ship reveal. If I double-click on this, you'll find that we have the Moho file inside of this folder. We'll just double-click. And now we are looking at this new file. There's not much to this, it's just a space background and we have a filter. And the scene folder is already established. If we double-click on it, you'll see that depth sort is set to sort by layers of depth and true distance. Let's bring in that evil alien ship, add some animation, some camera movements, and we can call this scene Good. Let's bring in the ship by using Control Alt Y or Command Alt Y if you're on Mac. And we want to go back to that exercise files folder. This time I'm going to jump over to the ships folder and locate evil alien ship version two, and then double-click on the Moho file inside of that folder. Now you'll get an insert object prompt. And there are two files you could bring in. We wanted to bring in the 3D ship. I just let the 2D ship in that file in case if you wanted to look at it and alter it and build it up a different way. But we're just going to grab the 3D ship for this course and then click OK. The 3D ship is now within the scene. But if we look at the layers, you can see that it's outside of the scene folder. Let's make sure that we bring 3D ship inside of the scene folder. Just like that. The other thing we can do is grab the transform layer tool and push the ship out. Now we can choose just how far we want to push it out. And I'm using the Z property right here along with my mouse wheel. If you wanted to, you could put in numbers manually like negative seven. Whatever you want to alter this. We can see we can push it back as far as about negative ten before it goes away. And that's because then the background layer is actually the one that's in front based on the distance that we've set up. So let's put this at about negative four. I'm going to grab the rotate x y layer tool or rotate layer XY tool. Still on frame 0. I'm going to come in here and reposition this so that it looks like it's in front. Now, you'll notice when I'm rotating, I'm getting this red color that's just appearing. If I hide the filter, then rotate, you can see I don't have that issue. If you're having issues like that, it could be the filter or it could be different layers. But we can hide that for now just so we can work and get a clean view of what's happening. So we have the ship setup right there. I can grab the transform layer tool and maybe just bring it over a little bit like so. Rotate XY tool and maybe just rotate it a little bit like that. Now, we want to animate this out and we don't need it to be that long. We just want to set up the context for what's to come next. We'll have this ship kind of floating across the screen. Not really going fast. Perhaps it's more idling or disarm patrol. And then we're going to cut to the interior with our hero in chains in this ship. And so we just need to establish this ship not only for the next scene, but for the chase that's going to come later. So that way we understand that this is the shift that are here came from and now he's being pursued by that same ship. And so I'm just going to make this a 3 second scene. We're just going to have the ship moving across the scene during those three seconds. Since I'm going to set it for three seconds and I know this, I can come down to the timeline and on the out frame here, reduce it to 72 and hit Enter. This will allow me to also preview the scene over and over and over easily within those three seconds. Now, let's do some animation. We need to jump to frame one to start the animation process. I use the right arrow key to do that. I recommend you do the same using the arrow keys to navigate the timeline can really be a time-saver. Now, we wanted to come back and grab the transform layer tool. We're just going to come in here now and click once to establish a keyframe for the transform property. Then we'll go to frame 72. Here. We can come up now and start altering the z and the x properties if we want. We can also drag this across like so if we wish. And then use a combination of this so that we can use the Z property to bring it in more like so. Right now we have something that looks like this. Just the ship sailing along like so. I think I want a little bit more of an angle for this. So going back to the Rotate X, Y tool, maybe we'll do something like that. Then unframed somebody to kind of angle it down a little bit more. You're going to have this sort of thing. But not only that, let's go to frame 36, transform layer tool and maybe just raise this up a little bit. Just add a little bit more emotion to it. So it's kind of like going like that. That might be a little bit too dramatic now that I'm looking at it. We're just going to grab the rotate x y tool again and just kinda bring the nose of this up a little bit more. Let's kinda like that. It's not looking too bad. Kind of gives you some different views of the action. For this particular 3D object. I might actually lower it a little bit unframed one again as well, just like that. There we go. It's a little bit more subtle. I would say. It actually, I might want to do the reverse. I might want to actually show the bottom more on that up position. So it's kinda like that. You kind of have this going on. Now. One thing I don't like what the movement is, the fact that it starts off slower speeds up a little bit and then slows down. This is called smooth interpolation. It's what Moho does by default. And sometimes it's just fine. But for something like this, I feel like we are just jumping into the middle of this ships movement. I feel linear would be more appropriate for that movement. Just to demonstrate, let me show you the movement of this again, this is with smooth turned on. You can kinda see it has like a definitely at the end a slowdown effect. And we don't really want that. It's not coming to a stop at the end of this, we are assuming it's just going to keep floating. Linear is going to work best. To turn this on. I'm just going to highlight all of the keyframes except for frame zeros keyframe, although it doesn't matter, I guess if you would highlight frame zeros keyframe, but we're just gonna go from one to 72, just like fat. Right-click on any of those key frames and then choose linear from the list right below, smooth. Just click on linear. Now if we were to preview this, you can see it kind of looks like that. Again, I think this transition here is a little bit too abrupt, so I'm just gonna go back to frame 36 and adjust the X Y rotation a little bit more. And if you adjust it, we can just make sure it's still set to linear, just like that. Maybe it's more about reducing this as well. There we go. I think that looks a little bit better. With that, we have some nice little movement here. I also wanted to animate out the engine lights that are behind the ship. We can just do some simple things to help with the movement of all this. Under 3D ship. We can go down and locate the flares. We have yellow flare to and yellow flare. And we'll start with the second one, since that's the one on top. And I will grab the transform layer tool. This time, I wanted to come on the outside of this bound until we can see the Rotation icon underneath the cursor. It looks like a half circle with an arrow. Just click once and that will establish a key then for the rotation, then we're going to go all the way to 72. And I'm just going to rotate clockwise. And we'll go about like so. You'll see here my angle is set to negative 234. You can see it starts at around negative 45. So if we play this out, It's kind of hard to get a good idea of what it's doing, but it will just kind of give us a little bit more motion to work with. I might also convert that over to linear as well. Just like that. It's kinda like this now, I think that looks better. Let's do the same for the yellow flare on the other side. I'll click on it and on frame one we'll click on rotation. And this time I'm gonna go counterclockwise. So just rotate it down like so. Then we can apply a linear interpolation to that. So you kinda have this going on now. Now I'm going to add some camera movement to this. The camera movement can be done a couple of different ways. First, we could go in and move the scene itself, since we have all the 3D assets contained within this scene, you could actually just grab that scene folder and use the Z properties to zoom in and out. In a way this gives you two different cameras to work with because you could use that. And then in conjunction with the camera, move things around and get it exactly where you want it. But to keep things simple for this first shot, especially I'm just going to do a camera movement. Let's go to frame one and click on the track camera tool, and then click once to establish a keyframe. I'm going to be pushing the camera into 3D space versus zooming in. You can zoom in. If we use the zoom tool, you can see I can do this nice simple Zoom. Everything Zooms are enlarges according to us at the same level. So there's no real parallax or discrepancies with that. But if we were to just push into 3D space, let me just get rid of that zoom effect. Go back to track camera, and then with the Z property, we start to zoom in. If you look closely, you'll see that it looks like the spaceship is separate from the background in terms of how it's zooming. We are seeing the ship zoom in faster than the background because the background is further away from us. And so I prefer this effect because it really allows you to take advantage of the 3D space. So let's start at about 2.9. For the Z property on this, we're just going to go to frame 72. And using my mouse, I'll click and drag and just move this over a little bit. Just to kind of get this into focus. Now, I might just do a little bit more camera movement, perhaps now at frame one, I can just zoom this out a little bit more. It doesn't have to be a whole lot. Then just maybe move it over like that. Then we cut it kind of looks like this. Looking pretty good. I'm going to go back to this 3D ship one more time. Actually come in and get rid of that middle keyframe for the transform or translation layered property. So on frame 36, I did that little up dip. I just don't really like the way that looks. I'm just going to do something like this, I think. Now because of that change, I'm going to alter the camera a little bit more because I want the camera to be following him just a little bit more. On frame 36, I can grab the camera and just perhaps move it over just a little bit like that. Actually might do a little bit more here. Let me just remove that key frame I just added in. Just to play around with this. Maybe on 72 we can zoom in just a little bit more. Just kind of bring it in like that. Let's coming in like this. I think that looks better. One last thing I'm going to do relates to the engine lights in the back. Let's go down here again to those flares and I'll start with the second one, the top one, just double-click. And let's adjust the opacity. So it kinda looks like it's pulsating in and out. And we can easily do this by adjusting the opacity within the layer settings. But to animate it out, make sure you enable animated layer effects. And on frame one, I'm just going to enter 99 for opacity and then hit Apply right down here. Just hit apply. And you'll see now that we are applying that opacity effect as an animated value within the timeline. So from here, I'm just going to do a few things. So let's just go to frame, let's say 18 opacity. I can kick that down to 40. Hit Apply. And we're not gonna be able to see it animates out. But if you page back and forth on your timeline with your arrow keys, you can kind of imagine how that's gonna look. So just kind of fades out a little bit. Then we can choose when to fade it back in. So let's say at frame 38, bring it to 79 to hit apply. Go back here to 63. We can go to 20 to hit Apply. Just go over now. Actually we can just put that last one on 70 to itself. Now we have this pulsating engine effect. Again, if you scrub the timeline with the arrows, you can see how that's gonna play out. You could always animate or export a test animation to just to see how it's gonna play out. But I think this is going to work for us. You could also do this and still frames by using Control R or Command R. You can see here I can render out a steel frame of What we are looking at here, and you can see that it's currently a little bit less bright on that side, which is fine. Before we wrap up, let's just do the other flare then for the engine, let's click on that. Make sure that we enable animated layer effects. Go to frame one for the opacity. I'm going to do the opposite. Since we had a near 100% opacity at the start of the last flare. This one's going to start a little bit lower, just for some variety. So we can apply to that. Go to frame 18. Increase this to say 89. Oops, didn't look. It looks like the animated layer fixed and take so click on that. Apply. Try that again. Apply. There we go. Not quite sure what happened there, but it wasn't taking the animated layer effect, but we got it now. So we're starting here. Let's go to 21, let's say go to 89, apply. We can go back to, let's say 34, year 48, and then we can do one more here. Let's put it like this, 78. And we can click Okay. Again, scrubbing back through. You can kinda see how that's going to look. Again, just kind of gives a little bit of variety to the animation. We could go in and add linear. But in this case, I think not having linear is fine because the effect is a little bit different. And I think overall it should work for our purposes. There we go. We now have our first shot setup to add some context for what's to come. We could add even more context if you wanted, you could animate some texts coming in saying evil alien ship or whatever it is that you plan to address within the scene. I like to be a little bit more open-ended. I would say with my narration, at least over the years, I've become more like that before. I used to be more explicit with things, but now just showing the ship and then going into the ship and then showing the ship pursuing our heroes should be enough, I believe, to establish context and for the audience to connect all the pieces. The last thing I'm going to do is create a scene file for this. We have the set setup for us and I want to keep that set as a reference. I don't want to save over the set itself. It wouldn't be a huge deal if we did, but I just like to keep certain things separate. And so we're going to make a separate scene file for this. I'll go to File gather media. We're just going to go to our Exercise Files. And I'll create a new folder and name it scenes. Double-click on that. And we can actually just keep this the same name if we want to. But I'm actually going to name it something different just to differentiate it from the other file that we were just working on. How about scene? One? Ship reveal, save. In case if you're unaware, gathering meta will just allow you to grab all the images that are in this file. So for instance, the background, the textures on the 3D objects, the flares, and it will put it all into one folder so that way you don't have to worry about relocating images later on. Let's say if you open this up two years later because you want to reference something or you want to grab something and your image paths are broken. That won't happen if you gather media, if you keep it all within that folder that we just created. With that said, we're going to pause here and up next we can jump over and start animating the second scene. 9. Importing Rigs and Setting Up Scene 2: For this video, we are in MOHO and we're going to open up our second set so we can set up the second scene. To begin, let's use Control O or Command O, depending on your operating system, to open up the open prompt. And we want to go to the Exercise Files, locate the sets folder. And here we have the interior evil alien ship version two. It's the second one on our list. We can double-click to go inside and double-click on the Moho file. To get started. Here we're going to see the set in action. And it's basically just a 3D interior of that ship we animated in the previous video. If we come over here, you can see that everything is contained within this set. If I double-click on the set folder and go into depth sort, you can see that we have everything setup for that. So if we want, we can put objects on the set and then use the Z properties to put the proper layer ordering into effect. So if we come in with the rotate layer XY tool on the set and move this around. You can kind of get an idea of how things are looking. Now there's a couple of problems. First of all, if I rotate too far this way, you can see that the space background is popping out from the wall. The glare isn't quite where it needs to be either. These are just a couple of oversights that occurred when I was putting this together. And it's not a big deal. And it kind of gives us an idea of how a production like this could go. Sometimes things just quite aren't done the way they should be. So you're gonna have to go in and make those corrections on the fly for the space background. And again, we're on frame 0 for this. I'm just going to kick that back a little bit more. So hopefully it has less of a reason to pop in. I'll put it back to about negative four and just move it into position. The flare could also stand to move back closer to the wall. Be popping out just a little bit at around negative 1.25. And then we can center it like that. Now if we go back to the set, come in with the rotation tool, you can see that things are less glitchy. If we go too far this way, the flare looks like it might get lost a little bit. But I never plan to have an angle like this. When you're setting up your sets like this, you can also determine the limitations and exactly what you plan to do here. So that way you understand, for instance, in my case, oh, I better not rotate the camera too far this way or else some effects might break. But again, we don't plan to do that, so we should be good to go. So going through here, you can see that I have some animation accidentally placed on the timeline here. And if you ever have anything like that, you can see this. Some things are moving around and you don't want that. We can just go up here to animation, clear animation from document. That should now reset everything. So we're good to go and we can begin. Step one is to import the Chad rig. I'll use Control Alt Y or Command Alt Y to bring up the import prompt. In my exercise files, I'm going to locate characters. We have Chad version one, just double-click on mat and then double-click on the Moho file. To begin the importing process. We only need the Chad rig. There are some other files here, but let's just grab the Chad rig and click Okay. Now we want to make sure that the Chad rig is within the set. So we'll just click and drag and bring him within the set. And he's now right down here. One thing to keep in mind, when you bring in 2D assets and mixed them with 3D assets in MOHO, you can still do true depth in terms of how everything is spaced out, but you won't be able to do any sort of in-between like depths with your 2D rigs against your 3D objects. And to demonstrate this, I'm going to click on that Chad rig. Use the transform layer tool. And if we start to push it back, let me just bring them over here. Push them back, push them back. You can see that his legs disappear as we move towards the floor. And if we go back to where we were before at negative 0.5, it's in front, then it's a back, in front and back, There's no in-between. When you're working with these 2D objects, you want to get as close as you can. So in this case, negative 0.5 is probably our best bet. If I want him to be positioned in the middle of that object, I could just move them up. And you can see now he is being cut off a little bit. So maybe going to negative 0.75 is the better option or negative 0.25 and meant to say, excuse me, negative 0.25. We have them now set there and you could do an in-between. So maybe negative three is the better choice. As you can see, it looks like it's working for the most part. So let's just go with negative three. I feel he's too big though for this, so we can come in and just reduce it. That the size is a little bit smaller like that. Then we can establish his starting position since he's going to be chained up. Let's go to frame one and we can get him so that he is looking like he's hung up. I'm just going to bring the arms up like this. Bring him down like so bring the torso up. Maybe about like that. Then we'll bring the legs up as well since he suppose to be hanging. That's the I and we don't want that will undo. So at this point we're going to start moving in the chains. And we'll grab this chain first and just kind of move it over, get it into position. Then we have this chain right here. I can move that one over and get it into position. You could also do this on frame 0, but we should be okay, altering it on frame one. I see really no issue with that. Now the other thing I might do here is just grab this chain and move it up a little bit more and then adjust his arm accordingly. Sure. We grabbed the right bone there and bring it up and scrub that chain again. It's going to bring it down a little bit more. Maybe about like that. We'll also move that chain behind him a little bit. I'm just going to use the Z properties here. Kick this back, move the chain up a little bit more towards his head and then grab this arm. We're going to kind of fake it. His hand will go up like this. We could separate the hand and the arm and put the chain in between. But I think this should be fine. I might just raise that chain up a little bit more just so we don't see the cut-off from it like that. And there we are. He's looking pretty miserable right now. But we can maybe do a little bit more here. So let's go back to the chat rig. Going to come in here. Adjust the angle of the feet just to kind of match what's going on with that rotation. Bring up the jacket a little bit. We can also adjust the hair strands here and you might have to use the transform bone tool for this. Just come in and move that down. Just like that. Move that one down as well. There we are. Then we can do some of the head turns here. So maybe not quite all the way to the left, but maybe just a little bit like that. And then we can have the head down kind of like this. That's looking too bad. One more thing I'm noticing is his hands are pointed. So I'm just going to come down here to my hands switches. I can just grab this and you can see I can switch it to fist. We're just gonna do the same for this one. There we are. We have that setup. I would say he is looking pretty good. Now let's bring in the alien guard. I'm going to go back to frame one once again. And then we'll use Control Alt Y or Command Alt Y to bring up the import prompt. Go back to the characters and grab the alien guard, and then double-click on alien guard. Then we'll get the import prompt here. Let's just go ahead and import him in. And we want the alien guard. Let's make sure he is in within our set and he is coming back here to the Chad rig. Looking at the Z property, we're at negative 0.3. So we'll do the same thing for our friend, the alien here. We'll just come in and enter a negative 0.3. Again, that can be altered here you can see it's kind of going through the floor in some cases. Actually, he's going through a little bit more so we should put them a little bit closer. So negative 0.2, it looks like we'll plug be a better bet for him. Actually, maybe. We should go a little bit further here. Try that one more time here. Let's turn to make sure we have the distance setup properly. We want them to go behind this pillar, but also have the ability to be on the ground. So I think that should be fine just as is. And then I'm just going to shrink them up a little bit. But not too much because I want him to be bigger than our hero here. So maybe about like that should be good. Then we can just come in here, positioned him so he looks like he's in-between the pillar. Flip them, and go to frame one here. We can go into his actions. So we'll just go to Window and actions, which we have actions brought up right here. We're on the alien guard. Now on frame one with the alien guards selected, I can go into his actions and I'm just going to locate stand. And we can just copy that action in. So we're just going to insert a copy. Again just to kind of give them something right now. There you go. You can see he's in his standing position. And of course we'll be doing more, will have them walk in and do his thing and all sorts of fun stuff. And he still looks like he's popping in past that pillar. So we might just do a little bit more adjusting for him here. There we go. That's looking I think better. Yes. Let's go actually one more. We'll go point to on his distance and that should actually allow him to easily come in and bypass that. There we go. We'll put them right there. This is how our scene is currently looking. Now going to do a save on this. So that way we have the scenes saved so we can continue to work on it. In the next video, I'm going to go up to File gather media. And then we'll go to the Exercise Files. And under scenes. I'm going to name this one scene underscore, O2, underscore, torture chamber. Then hit Save. This will gather media, make sure everything is together. That way. As you reference, hopefully, you won't have any issues with any of this. Once we got that, we should hopefully be good to go. Then finally, just to make sure everything is looking fine, I'm going to come in here and re-enable some of the effects here. So the filter and the following dust and then use Control R or Command R to render out this frame. Yeah, that's looking pretty good. So with that, we now have this scene setup and established. I can pause here and up next, we'll keep working on this interrogation scene. 10. Setting Up Audio References and Timing: For this video, we are opening up the scene file we saved in the previous video, which is seen O2 torture chamber. Feel free to open up this file. I plan to continue using this file and saving it as we build up the different parts of this course. So that way you can reference any part that you wish. But right now we're just working off of torture chamber with no numbers behind it. So to begin, we're going to bring in the audio files that we need so that way we can set up lip sinking. So let's go ahead and on frame 0, use Control Alt Y or Command Alt Y. Two, bring up the import prompt. And we wanted to go to the Exercise Files and locate the audio folder. In your audio folder, you'll have voices. Just double-click on that and you'll find the mixed downs right here. So we only need the chat mixed down and the garden mix down for this, we're just going to click on both of those and then choose Open. You can see now we have the two pieces of audio on the layers panel. I would recommend that you group your audio together. So I'm going to select both of these WAV files, right-click and then choose group with selection. And we can just name this one voices and hit enter. And this is just useful because you can easily hide them so you don't have to hear it. Or if you need to move them both at the same time, you can use the sequencer and just move the group versus the individual files. But we should be good to go here, so we'll see how all this works out. As we begin. I just hit play here. You'll see that we have audio already playing. And we don't really want that to be the case. We want there there'd be a moment where the guard enters the room and we established that. And then he stops, looks at the character, then says his line. And we could set that up within the audio file. But sometimes these things are harder to determine until you get into Moho and you're setting things up. And so that's why I did it this way. The guard audio starts right away, but you'll see the chat audio doesn't. The guard audio in the chat audio will still line up. If we come over here, we're gonna be playing it. You would hear you the wrong guy. You'd hear the audio from the character that is tied up as well as the alien responding to him. So all that is linked up, we just need to determine when it starts essentially. So let's give this a few seconds here to breathe. And we can move this audio over a little bit and then set up the pacing that way. With voices selected, we'll click on the sequencer. And I'm going to think about starting the voices possibly within two or three seconds. I'm just going to grab that folder and bring it over to the 72 second mark, to the 72 frame mark three seconds in and release. Now you can see the voices have been pushed to that point, giving us room for the character, the alien to come in and do his thing. So let's do that right now. Since we have the actions setup, we can kind of get this pacing established. Let's go back here to frame one. And I want to locate the alien. If you're having issues and I have a lower screen resolution here, you can always search for your layers. In this case, I'm just going to type in alien or start to, and you can see I can bring up the Alien just like that. I want him to come in walking. I'm just going to remove any of my key frames. I have just to start here. And then we can come over to the panel here and locate the walk cycle, which is right down here. So we're going to click on that and then choose to insert a copy. Now if we come in, you can see he is walking just like that. Now we just need to interpret this. And we also need to determine when he's going to come in. We don't probably want him to come in right away. I would like to establish Chad hanging for a few seconds or at least a second. Before we have the alien coming in. With that, we have the set on a loop. So he's just gonna keep walking and walking, walking until we tell them not to. Which means we can just sort of push and behind the scenes here until we need him. Something like that. He's going to just kind of hang out there. And then let's just fill this out. There's this. Then he can come walking in. I would say maybe at around frame 36 is when we have them come walking in. So at frame 36, I'm going to click to establish a transformation keyframe holding Shift. So I can just go left to right. And I'm just going to bring them over a little bit like so so that he's basically right at the edge here. I don't want anything else coming through up until that point. So we'll start here. And let's just go to frame is 72. And clicking holding Shift and move him over. Just like this and we'll put them right about there just to see what that looks like. It comes in. Doesn't look too bad. Actually. The speed of it is actually pretty okay. Maybe when he gets to right about here, when he puts out that step like that. Maybe that's when we should come in and establish the next pose, which could be like In appose or a down pose or something like that. Will come in here. And we're just going to click on raise one. Will insert a copy. He's going like this. And he's gonna raise up essentially to make this a little bit more seamless. I'm going to come right here on frame 68, and then take the manipulate bone tool and simply use Control F to establish keyframes to bring this cycle to a close like that. Then he should sort of naturally go into that next thing as he does. We can also maybe just have them lower a little bit. Just kinda see how this looks. Kind of like. And then he can maybe go to a standing position and then start to talk like that. Let's just take a look and see how it looks so far. Comes walking in. Yeah, that looks pretty good. He just kinda comes to a natural halt. It might be a little bit too much of a leap right there. But that's okay because we can come in and just adjust that on frame 70. Maybe just lower that reaction. Little bit like that. It can bring the gum up, going up a little bit more. There we go. So it kinda comes in. That looks a little bit better. Then after that we can start the dialogue. So we now have sort of the beginning pace done. We just need to concentrate now mostly on the dialogue that will include the lip sinking, which is what we'll do after this. And then it'll include body motions to go along to help complement the lip sinking. And then finally, we'll do some camera movements just to help make things a little bit more dynamic. As the scene continues. With that, I'm going to come up here and save this. So File Save As. And you can see this is the file that we just worked on, but I'm going to save this under a new file so we can just keep building it up and up and up. It'll be under the same folder. It will reference the same images. So this shouldn't cause any problems with any paths. So we're just going to name this one torture chamber part two. I'm just gonna keep going up in that order. Part three, part 4.5. As we continue to build this up this particular scene, that way, hopefully things are more clear as you Romans through my files and try to work with different things to make sure you're on the same page. There we go. That has been saved. We'll pause here and up next, keep building the scene. 11. Lip Syncing the Alien Guard: For this video, we're working off of seeing O2 torture chamber part to feel free to open up this file if you wish to pick up exactly where I am. In this video. We're now going to simply focus on lip sinking. We have our audio in place. We have two separate audio tracks in the event you want to mute one or the other when lip sinking if you find that to be easier. And we also don't want to focus on anything but just the mouth movements. So that means we're not going to focus on body movements for the talking camera movements, all that will come later. Right now, it's all about lip sinking. And we're gonna be using the switch selector for this process. So to begin, we want to determine who's gonna be talking first here, and I believe it's going to be the alien. So the first piece of dialogue appears here. I will ask only once for where is the theorem? We're just going to focus only on his voices first and then go back to the other voices. So welcome in here to the voices group. Simply hide the Chad mixed down. Now we're just going to focus on the alien and his dialogue. Let's go back here to frame 78. Let's go into the rig. Locate the mouth here, which is inside the head. And you have the mouth right there. Go up to Window, and then switch selection to bring up the switch selector so we can begin the process of lip sinking. And I'm just gonna start by putting down a keyframe for closed. So that way we know where to begin. As you scrub with your arrows, you're going to hear the audio. This is a great way to do your lip sinking because it allows you to basically break it down and get the sounds that you need. So let's just go ahead and we'll start right about here. You saying I, we can come in here and just look at the different options and AI is gonna be the best for that. He's going to say, I will. So he's saying, Will we want to get in that oo sound? Maybe a little bit of an open sound here. And then an l or th sound. And actually I meant here to be an e sound. So there we go. Then he goes to a T-H sound, as I will ask. Then at around 91 he starts to go into an S sound. I will ask. We kind of have a k sound, so I'm just going to use E for that. Then we have the oo sound and then an O sound. Now he's going to only so we might want to put a th sound in there for the tongue. Then we have the end of that Lee sounds. So I will ask him only one. We haven't uhuh, sound coming up here. Then he's gonna say more. So we're gonna start with clothes for the sound. Then we can do the o sound after that. Then perhaps II, then closed. I will ask them only once more. It's looking pretty good. Let's keep going. Where although that might be a QW better, might be better for QW. So they will just do for where we'll start with QW. We're going to do AI and then taper off to the e sound. Right about here. I'm gonna take a little bit of a beat and just kind of closes teeth. Then when he breathes in a little bit, then S sounds. So there we go. Now he's saying Thus we wanted th. Then an IPO should work here. Then. There we go. Now we can come back and just take another peek. I will ask them only once for where the theorem looks good. Now we're going to just keep going here. And we want to just get all of his dialogue done. Let's come back here to the garden mixdown and just make sure we know where to go next. So right here we have this gap and that's gonna be a line from Chad. And we want to go in here and let's just extend the timeline out to 1000 frames. I'm not quite sure how long it's going to be yet, but just for now, we'll do that for our purposes. Now at 386, that was saying we're going to do some more. Let's begin. Let's go find that mouth once again. We can start with closed, even though putting that closed down is not a big deal. We're not interpolating, we're just switching. But still I like to do that just to kind of established the beginning here. Now he's gonna say that so th, ETC. The low sounds a little bit. We want o to be more or there like that. Then we want to put th back in there like that. So it's kinda like there we go. And actually we don't want that. We're just gonna go with no. Then we're going to come back here and then put the ETC sound in ETC. There we go. With the low setting. Next, the theorem. The theorem now starting with th, I'm going to actually do a little progression here. So we'll do e, Then m, then we'll go back here to th AI. Then o. Then after that we're gonna go to ETC, to have him clinches teeth because he's mad. He wants that serum. That's something you can do to, to kinda help with the emotion of it. Then we have this one. Last chance. Last chance. We're gonna start with an L or th sound here. Close it. Let's take a look. Looks good. Then we have this one right here, I think where he says What the and then we're good. What thought? Then we can have them clinches teeth at the end of that one. There we go. Awesome. Now we have setup the lip sinking for the alien. Let's split this up into two videos so it doesn't get too long. We'll pause here and up next, continue working on the lip sinking for the Chad character. 12. Lip Syncing Chad: For this video, we're working off of seen O2 torture chamber Part Three. Feel free to open up this file. We're now going to go back and go through the lip sinking process again, except this time we'll focus on chads dialogue. First, I can come up here to my audio folder or the voices folder will hide guard mix down and bring in Chad mix down. So now we can focus just on his voice. Will come back here to the beginning of this so that way we can get all of the audio that we need. And the audio begins, it looks like at around 204. Let's come down here and make sure what we have the Chad mouth selected so that we can begin the process of lip sinking. Now there's one thing with the Chad mouth, and I think I mentioned this before, but it's inside the head. And then you have the mouth. And then you're gonna have to switch layers inside the mouth, frown and smile. I really see no reason for him to be smiling right now. So I'm going to just keep it on frown. And we're going to lip sync with that particular switch. So let's come over here. Listen to the audio really quick. And I'm gonna tell you one more time, you abducted the wrong guy. Here we go. Starting at around let's go two or three. Wilco to frown. And we're just going to make sure we insert a key frame for closed. And I'm just going to start again listening and adding in the phonemes. We have Gunnar upcoming in here, so we'll just start with this E. And then we'll do a th for the n sound. Then we'd go to the t sound. So let's go to ETC. Th wouldn't be QW. Then will go to o. Th closed. Then we have ST stand right there. And then close after time. If we want to look so far and I can zoom in here a little bit. I'm going to tell you one more time. There we go. Keep going here. We can right-click on that, but we're just going to do this so that close it because he's saying up, we'll do that be sound. The duct. We're going to start he's going to start saying close it right there. You abducted the wrong guy. I'm actually going to on frame 278, do ETC. Just to make it a little bit more extreme here. The wrong guy, that's better. So we'll start here with closed again. Ai. This is gonna be m, right? They're not QW. Oops. And you can see I accidentally move the mouth. That happens sometimes just make sure you undo until you get back to you need to be. And then let's go to close. There we go. Hopefully all that what I just didn't make sense. But basically again, I'm just going through listening to the phonemes and trying to make sure I get the proper shapes down, I just make an animation tutorials. Then after that I'm going to close the mouth. So just goes tutorials. This is where he gets shot. Pretty easy. We just got to listen to the sounds. Kinda, kinda, kinda do some stuff at our discretion here. This is what he is getting electrocuted. We might want to add a little bit more variety in this one since he is getting zapped here. How that works, again, they'll make more sense and we can sell it more once we actually get his body movement in when he was being electrocuted and shuck around. I don't know what to tell you do. Next. We're gonna make sure I go back here and put closed down first. There we go. Try it. I don't know what to tell you, dude. There we go, Looking good. We have some more here. I have some vitamin indeed. Start with closed V part doesn't start until right about there. Some vitamin. Then maybe at around 506, we can just add an e sound. There we go. Some vitamin I pocket here. It's going to start here, new AI and then go to E to make it animate just a little bit. There we go. I always knew it would end it this way. Adapted from my off. We have this one, and I believe this is the last one we need for this scene. I always put closed down. The reason why I'm doing that is because there is interpolation turned on for this. I forgot it was there, but yes. If we had the open mouth starting here, you'd see his mouth trail like this, which is why we wanted to establish that closed position before. It wouldn't be that it was closed. I always knew it would end it this way. Start with closed again. Fv. Let's take a look at that did from my office while recording tutorials. Another little piece here and tortured by aliens. Actually, I'm gonna come back here really quick and just add a closed position here. Then right here again. There we go. Tortured by aliens. Like grandpa. Then just like grandpa is the last piece of that dialogue, make sure we have it closed the start. There we go. Just like grandpa. We now have all of the dialogue for this scene. I think this part right here is for the next scene. We're not going to be paying much attention to that until we get to that next part. But we now have the lip sinking planned out and ready to go for both characters. Here. Let me put it on this audio really quick so we can hear him. I will ask them only once. And let me tell you one more time. You abducted the wrong guy. I just make animation tutorials, do that. So as you can see, we have that back-and-forth established. Now, of course, it's not very exciting right now. But that's because we need to go in and add different animations and motions to help sell the scene. So we're going to pause here and up next, move over and start animating some actions. 13. Animating Alien Guard's Body Language: For this video, we are working off of seen O2 torture chamber Part Four. Feel free to open up this file. We're now going to take the dialogue a step further and add in some actions. If you observe in real life when people converse or talk, they don't just stand still and have their mouths move up and down. There's actually different movements that occur. Some people like myself talk with their hands, lots of gestures going on there. Others have a nervous demeanor. They might be scratching their head or they might be doing certain things to help sell that nervousness. There's so many things we could do to help build personality. Just based on these actions. We're going to try to do that in these next two videos. We'll start with the alien. We will listen to his dialogue and just plan out all of the motions that way. And then we'll move over to the Chad character. If we come over here to the timeline, you'll recall that we already added some actions in for the alien. We just added in his entrance that way we can time things out. And so that gives us a good starting point here. We can see him come to a stop. And then we have the waveform here for his dialogue. So we know we got to start there and of course his mouth moves because we already did that. One thing I'll do before we go too much further, it just come up here to the voices on your layers panel. And let's just hide the Chad mix down for right now. We're not going to focus on his actions, so it'll be easier to determine where the voices come in if we just have that one guard waveform available to us. Now, let's come over here to the alien guard bone layer. In that way we can see our key frames once again and we can get setup. So we have the Guard come to a stop at 76. Then from there he just does his talking. So what I would recommend when you are going through this, we of course have the actions that we set up, at least a few of them within the actions panel. So if we want, we can come in here and you can see we have some different poses ready to go. You can use those or you can use those as references and build other poses. You could also go in and create additional actions if you want to have reusable poses that are different than what we have here. So as you continue, you might find yourself going back and building up more actions depending on how you want to do this. Or you might just go in and modify existing actions and just use those as temporary actions as we continue to build up this particular dialogue scene. So let's play this out and listen to his dialogue and get an idea of his demeanor. I will ask you only once more, where is the serum? Okay. So he's like, I will only ask you once more. And I feel like at that point, he's angry. Obviously, we're coming into this scene sort of mid portion. We didn't see the beginning, we didn't see exactly how all this went down. However, we can kinda tell based on this that his patients has run out. So we can come in and start to kind of play around with that. I will act when he starts to talk. Perhaps we should add a lower pose to get him into position to do a different pose. For standing, desal kinda show he's agitated and maybe he's kinda shifting around a little bit. We could go in and just lower him with the bones or we can come down here to our actions. And let's just grab one of these actions right now. So lower, I'll start with just lower one. And we'll come in and insert a copy. He's going to go down like that now. Now he's gonna say, I will, I'm gonna have them raise up then from the lower. So at frame 83, I can come in here and add in the res one action. Then we'll have them come down into his new position. Now, let's go over here and add in another lower. That's a little bit too drastic, that lower. So with that in mind, I can just come in here and just make a modification. And it's still want him that low, that drastic, so something like that. Okay, so once we're there, let's go over here and take a look at our stand poses again. If we come in and just add in, let's say stand one on 93, that's going to look like that. Let me come over here and add in stand to instead and see if that does anything a little bit different. And I think what I'll do here is I'll use that as a basis. But we're just going to come in here and raise them a little bit, like so. And maybe I'll point the gun forward a little bit because he's threatening him. I'm only going to ask you one more time. So he's going to be a little bit more aggressive, I would say, with his actions. And so we're just going to kind of go like this to make it look like he's aiming his gun a bit. There we go. One more thing we could do here. When he aims the gun on 93. Maybe I'll just shift him over a little bit like this and just raise his head up a little bit. Then after we get through that action, so at around 97, we can come back to a more, not so much relaxed pose, but just something a little bit different. Again, to add a little bit more of the movement, the opposite movement that we are creating with this action. Because remember, when you set up an action and animation, you always want that opposite reaction before you do the action, just to help emphasize what's going on and it can help create a more seamless looking animation. I will ask you only once more. There we go. So I would say that's not too bad right there. And his dialogue continues to only once more. Where is the serum? And maybe when he says where is a serum, we can get them had be a little bit more serious than like he's kinda aiming the gun. Now, where is the serum? Maybe he'll lower and raise a little bit and then maybe he will even be more aggressive with the gun. Maybe he's going to point it at chads head. Let's play around with it and see what we can do here. So let's just back up a little bit. Only once. Only once more is going to be just him standing there. And then we'll go into the next action on 138. I'm just going to use Control F to lay down keyframes so that way we lock the current pose in. Let's go to 142. We'll do another lower here. That's not too bad. Then we'll do a raise. This raise. I'm going to change some things a little bit here. Just kind of go like this. And maybe put out the arm a little bit like this. I might change this hand pose to maybe I'll have it open up or something like that. But we'll get to that. We're adding in the main motions right now and then we will focus on the head turns and the eye movements and all that here soon. But I just want to get all of this done first. Where maybe we're after he says where ever on 154, we can change the pose again. Again, becoming a little bit more agitated with our hero here. So I'm just going to try to do something here with the hand poses. So perhaps something like that. Actually maybe I'll have them pointed up a little bit more. So it's a little bit more. It looks like it's actually going to hit our hero versus just sort of being a little bit lowered. So maybe about like that should be fine. Then we can adjust this again. I know there's really no handle for the gun, but it looks like he's holding the gun like they're supposed to be a handle there in case if you're wondering, so I'm just doing that and it seems to be working rather well. Let's come back here and try this again. Is 146. I'm going to actually change that back arm pose. Maybe even kind of like that. There we go. And again, we might go in and adjust that hand. So like when it moves up, it opens up to kind of look like he is repositioning in a moment there where he just opened his hand and grabs the handle again of the gun. So we can go in and add that here after we get through the main motions. Where is the serum? I would say that's okay for that part. So we're just going to go on here and we have chads dialog and then we're gonna go back now to the second line for the alien. That was the low setting. Now, this is after he shoots. So what we're going to do here is actually go back to the layers really quick. Let me just remove some clutter here. And I want to now re-enable the Chad mixed down really quick animation tutorials. Right here at around, I believe it's 350. We have that didn't affect our sound that chads making that I uttered out for this tutorial in my basement. Well, my neighbor is probably thought I was insane. And so what we're gonna do here then, when he makes that noise, he's being shot by electricity. We need to have the alien shoot to make it look like he shot the guns recoiling, whatever, so that we can add in the electricity effect. And so that's the effect that we'll be adding in for Chad being electrocuted will actually make more sense. And we just have a little bit of a window here for that. It's like between 338348, essentially where we have this slot for him to fire the gun. So let's go to just a little bit before. So 336 is what we'll start. Let's go back here to the alien guard and we're just going to make sure that we have him selected and then use Control F or Command F to lay down that key frame. Now, we'll go to about 339. We're just wanted to come in a little bit. Just like that. It doesn't have to be much. Then at 342, we're going to have them kind of like go back like this because the gun is kicking them back now as he's firing it. Kind of like that will have the gun kind of recoil back a little bit like so. Have his head come back a little bit as well. So it's kinda like bare room. And then we'll have them kind of snap back here to default or 2336. I'm actually going to come in here and just copy those keyframes from 336. Before I do that, sorry, I forgot to mention. Let's go to 342 and use Command F or Control F just to lock down all the key frames and then copy 336. Let's go to about 245. Place it like that. Then I'm going to go to 348 and do one more paste just like this. Now come back to 345. And I'm going to just move them forward a little bit like he's kinda RCA Shang are springing back and forth from the force of the gun because he went back and now we can go forward a little bit and then he's gonna go back to default. So we can come in here. Just adjust that a little bit. Again, it doesn't have to be much. Just a little bit. It should be plenty. Now we can come back and take a look. We kind of shoots like this. And again, it doesn't look too impactful right now because we don't have the sound effects or the actual visual effect and for the gun. But we're going to get to that. Now. The other thing too is the timing that might be slightly off here. So if we come in and take a look at this, it seems like he shoots. And then there's kind of a delay before he starts getting electrocuted. And that's not a big deal. We can just come in here. We're just going to grab all these keyframes, click and drag and just move it up like two or three frames. So that way the audio and everything will make more sense. It maybe a little bit more. Let's go to the start of this being at 341 and the end of it being at 353. That seems to make more sense in terms of timing. Because he shoots the electric bolt or whatever is going to come out. It's going to engulf Chad. And actually, looking at this again, maybe we should just go two more up there. I think that timing is going to work better. That was okay. So now we're just going to keep going with this. We're still an alien guard. Let's jump to 396 and add in the keyframes with Control F or Command F. That way we just have it locked down. We don't have to worry about any limbs floating between these different sections. So let's keep going. That was okay. So he says that was a low setting. We're just gonna do something kind of standard here. We'll just come in and add a lower. Maybe I'll do something a little bit different here because you've been pointing his gun a lot. So let's go and raise him up from the lower. Then let's go to stand and then copy that in. So with that Stan pose on 407, I'm actually just going to move the gun down a little bit like so I can bend it up because I don't want the gun barrel to go past the feet. About like that should be fine. Then we're just going to have him kind of go like this. He's pointing. That was the load. Let's go about like this. Maybe lower him a little bit. It's going to raise up like that. That was then go to 410. And then we're just going to have them straightened up a little bit like so. Again, just a little bit of a movement. I think every little movement like that helps, especially when you're going from one action to the opposite action. It just kind of helps with things. And it requires a light touch. Sometimes you can go too far with it, but in this case, I think we're okay. That was the low setting. Now, looking pretty good. I think we can then put them back to a more default position. So at 447, we'll just use Control F or Command F. Go a few frames over. Let's just go to lower to add that in. Might be a little bit too much. So again, just add a little bit of variety. Start with the main action as your basis and then you can come in and tweak and modify as you see fit. Then we'll go to raise. And then we're just gonna go back to a staggered position. Like that. I don't know what that might be a little bit too much. We're just going to go to 453 and change that raise pose just a little bit. So it's not as big of a change. Maybe even about like that. Just make sure that the gun is pointed up a little bit. I don't know what the there we go. That's looking a little bit better. To tell you, dude. He's gonna say the serum now. Here we just got to maybe do something where he's once again more threatening, pointing the gun, the serum. Now when he points the gun, and I think that'll be a good transition for this. Let's go to about 488. Then we'll just do a quick lower here. When he's saying serum. I'm gonna have them raise. That's going to be as high point when you will have them raise up. So we'll go to raise to it maybe on that raise pose, we're going to have them be more raised than usual because he's getting mad. We wanted to just kind of express that a little bit. The serum. So at 509 we can go in and let's add another lower the serum. We're gonna have them pause here so he lowers. Then we're going to just use Control or Command F. When he says now at 523, we can add in another raise pose. Then we'll go into that pointed gun pose here. But let's do just another slight lower before we do that. By slight, I mean, not this extreme. Kind of more just like this. Oops. Raise it up a little bit. Kind of get this going like that. There we go. At 534, we will add in that stand pose where he's pointing the gun, I believe stand too. Is that pose? It's close. We just need to go in and modify just like this. Again, you could add these poses into your actions panel verbatim. So if you want the exact pose, you can definitely do that or you can just use the actions panel like I am for references and then you can modify as you go completely up to you. We'll just kind of go like that. There we go. I have some vitamin D in my pocket here or would that work? Here? We're going to show the gun powering up. Then last chance, I says that I always knew it would end this way. And then Chad has his little dialogue here, tutorials and tortured by aliens, just like grandpa. Now, there's nothing gonna be going on with the alien there. That's as chads, a little dialogue or humor before we have him beam out with the ship. And then with that, what theta is where we're going to have React because he wasn't able to shoot because Chad disappears before we can get to that point. So let's just come back here really quick. Take a look. I have some vitamin D in my pocket here. Would that work? Now we're going to cut to the close-up of the gun powering up. And I'm thinking this might be a separate shot. We're going to save the power up here for another video because it is more of a specialty shot and the gun currently isn't set up to show the power up effect. And so we're just going to leave this right here and we'll come back to it. And we'll finish up the other motions for the character. And then from there you'll see us tide altogether as we continue here. Last chance. I don't think he really needs to move much right there. I always knew it would end this way. Adapted from my office while recording tutorials and tortured by aliens. Just like grandpa. Then he's going to beam out. What thought. We're just going to come in here on 349 where we will insert some keyframes. Then he's going to lower. We can move that lower over just a little bit like that. What thoughts? And then at 961, when he says, we can come in and add that, raise what thought and then go to a standing position. But like that, what thought? And when he's raising, I might actually come in and just put the head up a little bit like that. What thought? There we go. Now that should take care of the character actions for the alien, for this scene, with the exception of the power up shot, which we will do separate. Again, I'm doing that on purpose because sometimes when you are working on an animation and you have all your rigs in your objects setup and you think you're ready to go. Sometimes you're not. Sometimes you might be like, Oh shoot, I forgot to separate out those layers for the lights on the gun, so that way I could animate out the light up effect of the gunpowder ring up. So we're going to take care of that. As you continue. That way, you understand how you can pivot like that, make changes, and continue to animate. But this video itself is getting rather long. And since we have the characters or the aliens animations in place, I'll pause here and up next we'll focus on chads animations. 14. Animating Chad's Actions: For this video, we're working off of seeing O2 torture chamber part five. Feel free to open up this file. We're now going to jump over and start animating out the Chad character. To begin, let's come over here and make sure we're on the chat bone there. And we can get started. Now I might add some slight movement to him, sort of swaying back and forth due to just hanging from chains. But right now I'm going to focus on the primary actions just like I did with the alien in the previous video. And then later on we can go in and add all the head turns, the blinks, and even the swaying back and forth motion. So with that, let's jump in. Just to make this a little bit easier, I will hide the guard dialogue. Just come over here to around 204 so that we can start working with the Chad dialog. I'm going to tell you one more time, you abducted the wrong guy. I just make animation tutorials. Here. We don't have to do a whole lot. So let's just come back to that point. Again, he's hanging so there's not a whole lot of movement he can do. So let's just make sure we are on that Chad bone layer. And at around 202 we can just use Control F or Command F to insert keyframes. Here we're just going to at 205. Maybe just lower himself a little bit like his head. They can raise it up a little bit. I'm going to tell you one more time you abducted the wrong guy. And then let's go to 295. Make it a keyframe. You can raise his head a little bit. Just like that. I just make animation tutorials. I could actually probably extend that duration out where we have these keyframes. I'm just going to select them all. Hold down the Alt key and drag to 13 just to extend the duration of those actions, I just make animation tutorials. So here's where we're gonna have a major change. I just make animation tutorials where he's gonna be electrocuted. Let's go to 350, insert keyframes. And now he's gonna get hit at 382. We're going to just alter the body a little bit here. And again, his arms are going to be removed from the chains, but that's okay. I can make those adjustments. As we continue here. They'll probably go with the effects as well that will be adding here later in the swing. But we're just going to go like this. Do not come in like that. Camera is gonna do some things with the legs and such here. We can do things with the arms as well, just to kind of show that we will be having some motion here with him being electrocuted. Then it's going to keep going here. Perhaps like this, something like that. We're gonna keep this going until about 370 to go a little bit more. Sometimes it can be tricky to grab the right bone because I do have a few control bones and such going on here, but we're getting it suggests the feet again. There we go. Do a couple more here. And we can also repeat at this point. So if I come in here and just copy from, let's say that third row of frames in and paste. Then we can just use that as a reference here. We don't have to make it exactly the same, but it's different enough from the previous pose. And then we can just use it as a reference here. At 372 will then come in and adding the original keyframes at first, at 367, I'm just going to use Control F or Command F to make sure I lock down all those keyframes. And then we can copy those original keyframes at 372 and just bring it back to the fault like so. Now he should be back to where he needs to be. Looks like it. There we go. There we go. Now again, it doesn't look too impressive right now because we still need to add in the different things such as the eyes and the actual effect. That's like the electricity effect that's coming in from the gun to electrify him. And of course we have them with the chains and all that. So there's still things we need to do. But again, we're just getting them basic motions down so that we can continue to work on this and polish. Let's keep going. I don't know what to tell you, dude. I have some vitamin D in my pocket here. Would that work? I always knew it would end this way, Adapted from my office. So a lot of these from what I can tell when I'm imagining are going to really come in with the head turns and the eyes since he is hanging. And we can do some movements here just to kinda help with it. I'm gonna tell you, for instance, when he looks up, I could actually just come in with the arms and just sort of move them around a little bit to make it look like, you know, there's something going on here. In addition with the swaying we'll be adding in. Of course, I'll have the chains follow him as we do this. But for now, I'm gonna tell you what. We're just going to do that now. You'll notice after this, I'll tell you one more time his arm is floating and that's because we already have keyframes locked in, in these next sets. So we want to copy the keyframes. I just sat down right here, so at least to just control C or Command C. And then come over here to this group of other key frames and then Control V or Command V to paste. And you can see that it'll keep the positioning here. Let's just come back here. And I'm gonna tell you one more time. You abducted the wrong at around 250. I'm going to just insert some more key frames like this. And I'm just going to do again some different motions here. And actually at 258, I'm just going to copy those keyframes that I just made on 252 and paste. So he has a little bit of a moment there where he's just a little bit lower. Abducted. And then when he says abducted a, we will lower them a little bit at 261. That's a bit too much maybe right there. Just come in and go like that. Then at 265 will have them raise a little bit. Abducted the wrong There we go. Wrong guy. This one's pretty similar to that one. So to 65 is very similar to the next set which is at 295. And so I'm just going to come in and copy to 90 fives over two to 65. It looks like that you abducted the wrong guy. I just make animation tutorials. Okay? So we have a little bit of movement here that we need to need to adjust just because of the keyframes, the way they're kind of floating here. And that's okay. You can see that this arm is lowering as this continues. So I'm just going to do some adjustment here. At 300. I'll move the arms a little bit here in the body just slightly. Again, just to add some movement here. Kind of like this. Oops, didn't mean to do that. Come back here, I believe I just make animation tutorial. Tutorials. That floating motion here where he goes from here to there isn't terrible, but I try to avoid that. I'm just not a big fan of that whole lake. Slow movement to the next movement, essentially. And so I'm going to go in here and just add a couple more changes. I just make animation. When he says tutorials, I round 322. Going to raise them a little bit. Just the arms slightly. Animation tutorials. I run a 142, I'm actually going to copy the next set of key frames right here. So Control C. And then on 342, just Control V to paste. I just made the animation tutorials. Out. There we go. So again, you just have some motion when he's talking. Again, he can't move much. He's chained up being tortured. Of course. We do have some motion in there though, just to make it a little bit more interesting. And of course we will be adding more as we do the head turns in eye movements. I don't know what to tell you, dude. And I think here when he says I don't know what to tell you, I don't think he really needs to move much somewhere, just going to leave that. I have some vitamin D in my pocket here, or would that work here? I'll do a little bit movement. I have some. He's talking about his vitamin D in his pocket. I'll just kinda maybe have them try to gesture a little bit like, Hey, it's in my pocket. This will come more in play when we add in the head turns in the eye movement because you can be like, Hey, look at my pocket. It can be using as pupils to Lake emotion down. Along with the head turned to kinda like, Hey, yep. But right now we can do a little bit of body motion just to help it a little bit. At 359, I'm just going to kind of move them up a little bit like this. Vitamin. Then at 570, I'll just kinda lower this a little bit. Come in like that. Vitamin D in my pocket here. Would that work? I think that should be fine. 576. I'm actually just going to pace back that original kind of like Default Pose. He goes like vitamin D in my pocket here. Would that work there? I think that should be fine. I always knew it would end this way. Adapted from my office while recording tutorials and tortured by aliens. Just like grandpa. I believe this is his last bit of dialogue in this scene. I always knew it would be at 270. I'm going to insert again my lockdown keyframes with Control F. Let's go to 273. Just lower him a little bit. Should I arms closer to the chain? There we go. This way. I think that's all we really need there. I always actually, let's move those up to 276 and come back in between here. And we're just going to add an upward motion. Sort of like that. Will actually put the head a little bit forward so that way it's not covering the chain. I always knew it would end this way. Then at 768 will insert some more key frames. We'll do a kind of a longer movements. So at 774, I'm just going to kind of have them lower a little bit like that. Adopted from my office while recording tutorials and torque. Then we'll do 384. Just a small little dip. He says tortured by aliens. We're going to just move it up. That put the head again forward so it's not covering that chain. So just kind of like that tortured by aliens. And then at 846, I'm just going to pace back again that default pose that we've created for him. So it's kinda like hand tortured by aliens. Just like grandpa. There we go. The other dialogue will be complemented then by the head turns and the eye movements that we'll be placing in. In addition to the swaying he'll be doing with the chains, will be adding all of that in. When it comes to polishing up this scene, which I think I'm going to save for its own chapter because I'm realizing that this is quite a process right now, especially if you're new to all this. There's still a little bit that we need to do with this scene, and I want to split it up as much as possible so that way you don't get overwhelmed. With that. Said, we can leave this here. We can play it out one more time if we wish just to kind of see how it's all shaping up. So let's just go back here to frame 0 and make sure that we have all of the dialogue pieces enabled here. So the guard dialogue is also on. So we can kind of judge this. I will ask you only once more, where is the serum? And I'm gonna tell you one more time, you abducted the wrong guy. I just make animation tutorials. That was the low setting. I don't know what to tell you, dude, the serum. Now, I have some vitamin D in my pocket here, or would that work? Best chance? I always knew it would end this way. Adapted from my office while recording tutorials and tortured by aliens. Just like grandpa. What thought? There we go. Now, all the major motions are in place. Again, it doesn't look quite right, especially with his eyes closed and just other things that need to be enhanced and worked on. But we have a good start here to continue building up these character actions and emotions. So we'll pause here and up next we'll move on to enhancing these different actions with our switch layers, dials and camera movements. 15. Enhancing Alien Guard With Blinks and Head Turns: For this video, we're working off of seeing O2 torture chamber part six. Feel free to open up this exercise file if you need the reference. We're now going to go back to frame 0 here and go through this scene again. Except now we're going to focus more on some of the finer details for the alien. To start, we're going to need his eye open. Let's go to frame one and come down here to the Alien. Let me just close up the Chad layer here so that way it's easier to navigate. And we'll click on the alien guard. Now, there's some things that we're going to do here regarding the bones. If we come over here, you can see that we have the blink bone right here. In addition to the up and down and left and right bones that will allow us to turn the head in addition to the pupil which we can use to move around. And these are going to be the dials that we work with in this particular video. Now you might recall, I've been using control F a lot to lockdown keyframes and that locks down keyframes for every single bone on the rig, which is useful in some cases, but in our case, when it comes to working with the pupil and the head turns in the blank. We don't want existing keyframes laid down. Here is a good example as why you don't want that. So if we come over here and we re-enable this so that his eye is open. And if we just kinda go along here, you'll notice that if you look closely, the blink dial is slowly going back to closed. By the time he enters this shot, it's going to trigger to the closed pose or close to it. You can see that the bone moved now in this case, the blink isn't quite activating. It's very close to activating, but it's not activating. That's okay though, because we still don't want those keyframes to interfere and to make this easier to work with, I'm just going to come back here to frame 0 again, just so we can be at the start. I'm going to click once on that blink bone and then use Control to select the pupil had up and down and then had left and right. You can also use command if you're on Mac to individually select these bones as well. Once you've done that, you're going to go through the red channels. So each of these red channels indicate the parameters for your selected bones because they're red, red down here. So that way you can connect that if you're a little bit confused. So I'm just going to come in here and let's shrink the timeline really quick. And I can do that by using this button right here. It's a little bit crowded. Let me just bring it over. It's because of my screen resolution. Let's just come in here and use that peak triangle icon just to bring in the timeline. So we can basically see everything at once with those red bones still selected. I'm going to come in and select the red channels right here. Then hit the Delete key. Now if I zoom back in, I'm gonna go back here to frame one. And we just want to come into frame one and makes sure on frame one that that red channel is also deselected. Now if we go through, we can just make sure that we remove them all. And it looks like we did. I don't see any keyframes on any of these red channels. So with that, we can now move forward without having any interference with these particular keyframes. So going back here to frame 0, you can see it's coming in and the pupil is open. Going back to frame one, I wanted to just make absolutely sure that it's open. So I'm just going to make sure I move it all the way here to the right. So that way it's always open. You can see it's definitely open and we don't have that issue. We'll go in and add some links later on. But right now, let's just play this out and see how it works. We'll also be using this dial to add some blinks to help with some of the different actions which will be implementing right now. When he comes to a stop like this, I'm actually going to implement a blink. So we'll click once on 70 on that dial just to insert a key frame for the blink. So that way it's not floating when we don't want it. And then when it comes down like this, Let's have them blink. Then when he comes up, we can have him opened his eye. So it's kinda like that. Again, it's very subtle, but I think it's going to help with the motions here. Whenever you create a change with your character, whether he is going from one action to the other, head, turn, dipping, whatever it is, it's best to have the blink occur then because the blink kind of sets up the change. It It's kind of like a anticipation thing. So he's wanted to blink and then he's going to do his action. Now that's not really how it is in real life, but when it comes to animation, it really can help tie things together. Now if he's doing a lot of movements at once, you don't want it to be constantly blinking. You're going to have to use some discretion there. But as we continue to work with this, hopefully you can feel that out and get an idea of how it can work. Let's try here. We can add in a blink. Will have it stop at around 88. I will ask you only once more. I would say there because you can have opens his eye and then closes it. It doesn't look quite right. I'm going to go in and just remove that open key. I will ask you, haven't blink little bit longer versus the tube links. I think that's going to work better only once more. Here we'll do another blink at 138, are starting at 138, so we'll come in and click on Blank. Can have as high as close at 142. Then maybe as he puts his hands on the guns, we bring it back to open. Where is the sphere? I'm going to keep going here. When he shoots, we should definitely have a blink. Will insert a keyframe at 243. Here he's shooting. And it will open it back up like that. There we go. Now when he goes to a new position, just insert a keyframe there. You can have a close right here. Well, it's kind of bring it up like that. That was the low setting. I don't know what's then going into 447. Is that another blink? And bring it back. I don't know what to tell you, dude, the serum. Once again, for 88, let's add in that key. And then at 491 we can have blinked. Now let's say, let's go to 501 and just insert another keyframe just to keep it locked in place. Then maybe at around 509, you can open it, the serum. Now, I have networks, some vitamin D in my pocket here. Would that work? One last chance. I it's the buildup. I always knew it would end up. Actually when he says Last chance, maybe we'll listen, sir, to key frame at 678. When he goes last. And then at 29 seconds or 696, we can help open it up again. Last chance, I always knew it would end this way. Adopted from my office while recording tutorials and tortured by aliens, just like grandpa. And then we're gonna have one more here, or at least one more. So we'll come down like this. Halfway between those two keyframes at 953, I can go in and add that blink. Then at 961 we'll just open it up again. What thought? There we go. Now we have the blinks in place. Let's go back here and we can add in some head turns as well as any hand movements. In fact, let's look at the hand movements really quick here. It comes in. I think when he is bringing his gun up. So at about 88 frames, Let's find the backhand and we're going to alter it. Now, I don't believe I have a dial for the backhand for the alien. I do for the Chad rig. And that's okay because we can just come in here, go into your layers, and go into the alien guard. And we want to locate backhand. And again, this is just one of many ways you can do this. You can, of course, set up a dial like I do with the Chad rig, but I did this again on purpose to show you different ways of tackling different problems in different situations when you're animating, we're going to right-click on backhand and then choose Open. So he has this open hand. Let's say at around 95 he's going to grip. So then we can go back to fist. There we go. Okay, so now let's go to 139 and we're going to add an open palm again. Then we'll add a point. Actually, the point doesn't really work there. I changed my mind. We're going to go in and just delete that, so we'll just keep that open. Then we're going to add a fist at 154. I'm going to tell you one more time, you abducted the wrong guy. I just made the animation tutorials. Should be fine. That was, that's where we want to point. Let's go to 404. I'm just going to open it up really quick. Then we'll go two frames and then add 406 will add in the point. What's the low setting? Then, after he says that at 448, we can go back to an open palm. Then add 405 will go back to fist. I don't know what to tell you, dude, the serum now, I have some vitamin D in my pocket here, or would that work? Best chance? I always knew it would end this way. Adopted from my office while recording tutorials and tortured by aliens. Just like grandpa. We can do it here at 952. We're just going to right-click on that backhand and do the open palm. And then right here we can go back to fist. There we go. Now we have the hands in place. Let's go back again. Focus on the pupils and the head turns. Just go back to frame 0 comes in. And this time I'm going to go back and select the alien guard bone layer so that way I can see all my keyframes and it'll be a little bit easier to navigate here. I will ask you only once more where the serum, this time I'm going to just focus on the pupil and see if there's any pupil movements that I need to put in. That was the lowest setting. I don't know what to tell you, dude, the serum. Now, I have some vitamin D in my pocket here, or would that work? Best chance? I always knew it would end up if I don't think we need any pupil movements, but I'm just gonna keep looking. What thought yeah, with him. I don't think we're going to need many pupil movements, if any, because he's looking forward, he's very determined, he's not very unsure. But the Chad rig will have those pupil movements in place. So we're just going to then bypass the pupils for the alien and move over and focus on the head turns. So let's just come in here. They begin. I might actually have him facing a little bit more towards the side. And if I come in here with the transform bone tool on frame one, find the head left, right. I can come in here and just sort of it over a little bit more like so. Now the thing is as he's walking in and we don't have to show this until he actually goes on screen. So let's start maybe at 48, I'm just going to insert another keyframe. Then when he steps down, right there, I can kind of move it over. Then when he steps down again, move it over like so he looks like he's walking but he's shifting when he's walking, you know, we shift our weight when we walk the head kinda going back and forth like that can help with that. And we can also come in and do the same for the head up and down. So we can start with it. Maybe just up a little bit. And then it goes down a little bit. Then we can kind of put them up like that. Now, when it comes in, stops at frame 76, I'm going to click on these dials and add some more keyframes. So when he goes down like this, let me actually go down a little bit to the center. And then on the opposite reaction on 83, we're just going to kind of go like that. Then on 88, we can bring it back more to default. Now at this point I'm kind of looking at this and realizing that I might be moving the pupil after I do these head movements. So we'll see how that goes. I will ask you only once more where the serum. Now, the problem here, because we have this looking pretty good, but you'll notice that these dials are slightly moving and that's because I have a key-frame somewhere that I didn't realize I had. I'm just going to Page forward here and see where it's at and it's actually right here. I'm just going to come in here, make sure those are not there. I believe I didn't do that for the pupil or the blink either. So I'm just going to come in here really quick and it looks I have a blank there, so I'm just going to remove that, but that should hopefully resolve some other issues I was seeing here such as the floating I it was floating a little bit, but now the serum, that's me now that they have some vitamin D in my pocket here, would that work? Last chance? I'm just going to go forward or back. I should say. Where is this? When he goes down like this now on 142, I'm just going to once again just emphasize this a little bit. There we go, something like that. Where is the serum? And I'm going to tell you one more time, you abducted the wrong guy. I just make animation tutorials. So many fires. Perhaps before he fires, I'm just going to have them look down a little bit. Maybe over like so. And then when he kinda goes up like that, we can kinda haven't recoil back. Then we'll have them look over again. Like that. Maybe just a little bit like that. There we go. That was the low setting. Again. When he lowers here. Let's first make sure we add key frames for these head dials. So that way it's not floating from this point to this point. So we're just going to click to add those keyframes on 396. Come down and then we can continue here. There we go. Something like that. That was the low setting. I don't know what the tip. Then when he looks down, make sure of course, on for 47, we once again just click on those dials, make sure they're locked in. Then we can do the down motion like this. Like that. That's not too bad. Maybe just have them look down a little bit like that. So his eye gaze is matching the character. I don't know what to tell you, dude. This little motion I think is maybe maybe maybe maybe too much. So we're just going to kind of knock this back a little bit more like that. I don't know what to tell you, dude, the serum. We can have him lower and raise here as well. Again, lock those keyframes in before you begin. So we're just gonna have them lower. Well, let's go all the way like that. Will keep us head like that. And then we'll have it move up. And over. There we go. Something like that. The serum. Now we'll do one more here. So we'll insert keyframes at 517. Can have his head is going to raise up. There we go. Like that. I have some vitamin D in my pocket here. Would that work? Last chance? I don't think I really need to do a head turn. They're always knew it would end up. What thought? We'll do one here. We'll insert keyframes. Make sure we don't move the dial, but you just want to click on it to insert keyframes at 949. We'll have them lower his head, kind of look over like that. And then kind of go over like this. And about like that should be fine. So at this point, the chat character is gone and the alien is confused. What thought? There we go. I think that's looking pretty good for him. Let me just come back take a look if there's anything I could do. I will ask you only once more. You can see right here we have some issues with the head floating. And I must have forgot to add, asked you only once more. I must have forgot to add in that keyframe to kind of lock it in before he goes down. Not a big deal. What you would do in that case is, so here's the keyframe That's putting him down his head. Here's a key frame before that. We're just going to copy that key frame before and paste it on 138. And that'll keep him in place. Asked you only once and we're gonna do the same then for the up and down as well. Just come in and copy and then paste on 138. That's why we always have you locked on the keyframe before you do the motion in that case. I obviously forgot to do that. But again, you can correct it it just something that you have to keep an eye on? I will ask you only once more, where is the serum? Guess I did it there too. Again, it can be something that you can easily forget about. So again, not a big deal. Just come over here, copy that last keyframe. Go over here to 142 and paste. And we might have the same issue here for the left and right. When you're going through and doing this quick, sometimes you can forget to do these lockdowns. You can also check auto freeze keys, which will always freeze every single key for your character. However, in most cases I don't like to freeze every single key all the time. And so that's why I usually leave that off, especially when I'm doing things like this. That was the low setting. I don't know what to tell you, dude, the serum. Now, I have some vitamin D in my pocket here. Would that work? Now, this pose right here, thinking might be looking at a little too high. So at 534, I'm just going to lower it a little bit like that. And perhaps also the spring this over a little bit like so. And select both of those bones and copy that red key over to the next red key, which would be over here. It's quite a ways away. Just paste that in. There we go. Now his head won't float between those two actions. I have some vitamin D in my pocket here. Would that work? Then we're going to see the power up one last chance. I always knew it would end this way. Adopted from my office while recording tutorials and tortured by aliens, just like grandpa. And then what thought? There we go. Now that should be all in place. There's one more thing I want to look at and that has to deal with the blinks. I think we could add a couple more blinks here and there. Again, this is just something you can do at your discretion, but we'll figure it out here. I will ask you only once more, where is the serum? And I'm gonna tell you one more time, right about here when chats talking, maybe at around 240. I'm just going to come in here and click on blink to insert keyframes. And you'll notice when I accidentally did this, I selected the two head dial bones and now there's a keyframe down there. I'm just going to use Control Z or Command Z to undo that because I don't want that. We want to make sure we're doing this on blink. So we'll click to enable blank. And then we'll just on the next frame, flick it down. And then we just go as long as we want you at that blink. So maybe about right there and we just bring it back. You abducted the wrong guy. I just make animate. And then from here, you can just copy those keys whenever you want him to blink. Just like that. Maybe animation tutorials. That was the low setting. I don't know what to tell you, dude, the serum now, I have now when he is, It's going up like this. I'm also going to insert a blink. So I'm just gonna click on that dial. When he goes up like that and it's going to close the eye. Now, we can re-enable it. Now, I have some vitamin D in my pocket here, or would that work? Last chance? This is the Power Apps. We don't really need him to blink. They're there in that silence. Chance. I always knew it would end this way, adopted from it. So at this point I'm just going to add some more blanks just by pasting in what I did before in my office while recording tutorials and tortured by aliens. You could also create a blink action that you could just copy in anytime you want as well. But I just prefer to do it this way. Again, it's a preference thing. Just like grandpa. There we go. Now we have the blinks in place. We have all the character actions in place as well. We have head turns. And basically the character seems to be pretty interactive and he seems to be well in place for this scene to work. Now of course, there are probably more things I could go in and do for him. But for the sake of this tutorial, I feel like we've covered a fair amount of ground with this character. So I'm probably not gonna do much more with him. I mean, I might change my mind as we're working on, might do some tweaks here and there. But I would consider him now, good to go. Which means we can pause here and up next, move over and tackle chads enhanced animations. 16. Enhancing Chad's Animations: For this video, we're working off of seen O2 torture chamber part seven. Feel free to open up this file. We're now going to do what we did with the alien, except put it over to the Chad character. We'll add some head turns and different motions, especially with those chains, and some eye movements to help sell what's going on? We'll go back to the beginning here so I can just click on the frame 0 button, go back there and we can get started. I will ask you only once more. When he comes in. I will. Maybe we should have the Chad character Look at him because he's being talked to. Maybe he's startled, maybe he's in his own little world. He is hanging out and kind of being tortured. So let's go to frame 76 and hit Control F to insert keyframes. When he starts to talk at around, let's say frame 80. Actually, let's go to frame 78. Just a little bit of a shorter duration there. I can come over here and just kinda adjust this really quick. I will then at frame AT to kind of have them look up a little bit like this. I will ask you. There we go. Now we're gonna have different animation here because we have these keyframes. So it's going to slide down like that. We don't want that. So what I'm gonna do is just use Control F to establish keyframes on 82 for everything. We're going to copy those keyframes and paste them over at 202. Paste like that. And you can see now he is where he needs to be. I will ask you only once more. Where is the serum? I'm gonna tell you one more time you abducted the wrong guy. That's pretty okay. So we can go in now and let's just make sure that all of them motions are where we need them. I'm going to tell you one more time, you abducted the wrong guy. I just make animation tutorials. One thing I'm going to do as well. When he gets electrocuted. Let's come over here. I'm going to select the keyframes for when that action happens. Right-click on one of the key frames. And this is on this to make sure that you know where I'm at. This is on 350. So we're going to select all the keys from three hundred fifty, three seventy to right-click and then choose to add a noisy effect. So let's click on that. We can adjust just how much this looks, but let's come in. It's a little bit drastic. You can see like some things are being broken, which might be okay, actually it depends on what you're kind of going for here. Let's just come in and see if we can reduce this a little bit and see if that makes any difference. And I think that might be a little bit better. So if we adjust the scale to 0.3, and let's come into the amplitude and adjust that to like 0.6. That just reduces it a little bit. And then we can be good there. Now you'll see it's gonna keep going. So these actual last frames here for that electrocute action should be set to smooth instead of noisy. So we're just going to select those last key frames and hit smooth. Again, that's on 372 when we do that. So there we go. Now he has sort of that electric thing going on. When he says Our I'm actually going to have them lean back a little bit. Just to blinks quite yet. Kind of go like this. Then I'm gonna put him back to default. I'm just going to grab this one right here, copy it. And then at around 386, we'll just paste this one in. Actually through 75. I'm going to raise his legs up a bit just to have a little bit more variety. There we go. There we go. That's looking pretty good. I'm probably gonna have to copy these and paste them over just to prevent some floating bones. That was the lowest setting. I don't know what to tell you, dude. Now, we have this floating effect going on. Actually, I think I'm gonna copy this one and place it over here. Just like that. There we go. That was the low setting. I don't know what to tell you, dude, the serum, you'll notice this thing is right here. I think that's just a small little glitch. Hopefully that's PR, but we can adjust that if we need to. Vitamin D in my pocket here, would that work? That's looking pretty good. Last chance, I always knew it would end this way. Adapted from my office while recording tutorials and tortured by aliens, just like grandpa. So let's go back now and start adding in the eye movements. In addition to other things. We can start right here. Maybe we'll start with his eyes closed. So on frame one, I want to first command and select the dials I plan to work with here and remove any of the actions that might be associated with it. So head up and down, head left and right, eyebrows, pupils and blink are all going to be redone. We don't want any keys for that. So I'm going to come in here on the red channel here for my keys. So that way I can select the selected keys here and we're going to zoom out. So anything that's on the red line needs to be removed. So we're just going to come in here and remove them. Now I can zoom back in and we can just remove that first one as well. So that way we can kind of start this off at default. Right away. We're just going to close his eyes. Just like that. We can also adjust the eyebrows and that's kind of hard to tell, but the eyebrows are right there. We can kind of come in like this and just lower them down. He's hanging out. I will add. Now when the alien starts talking, we'll have them wake up. On 78. We're just going to insert a keyframe for the blink. And then we're just going to open his eyes really wide. Oops, I'm on the wrong dial. It happens sometimes. Things are a little bit more complicated with this one, but that's okay. The blink is right there. We're just going to try that again. So when he comes in, we'll insert a key on 76. His eyes will open. I will ask. And we also want the pupils to move over to look at the alien. So we can key the pupils on 76. And we can move this overlaid so we can also adjust the eyebrows. We're gonna come in here, click once on the eyebrows on 76. Then when he opens them up, it's kind of like that. Well, raise them a bit. Then at 84. I'm just going to lower the eyes a little bit so we can see the eyelids. I will ask you only once more, where is the serum? And I'm gonna tell you one more. While we're going through this part, we can add some blinks. So let's just go to 120. It's gonna Command and click once on the blink tuned to keyframe. I'm actually going to widen the eyes. Then two more frames will shut them. Click to establish that key. And then we'll raise them up and then bring them back to default, which I can do so by just clicking on 120, copying and pasting it over. There you go. There we go. We're going to do that. And that's, that's gonna be our blink when we need it, or where is the serum? And I'm going to hear, when you start doing the animation, we're going to do what we do with the alien blink before we do an action. So we'll insert a keyframe at 202 and then at 205, he can blink every want that opposite little reaction. We can open the eyes and then have them blank. And maybe just move this over a little bit just to add a bit more animation. At 216. I'll have them come back like this. I'm going to tell you one more time, you abducted the wrong guy. When you start saying, I just make animation tutorials, I'm going to add another blink. Or you don't have to actually go through this process again, just on 295, we can just paste in what we copied and then we can adjust the speed if we want to. I think it's okay. I just make animation tutorials. Then. When he gets electrocuted, let's insert a keyframe at 348. Then perhaps at 350, we can just widen the eyes. And then we're gonna close them. Now at 384 and we'll insert a key frame and he goes, Oh, I let off that last line. We're gonna bug his eyes out. It's kinda like that. And then we'll kind of go down like that. That was the low setting. I don't know. We could also during that part, adjust the eyebrows. So go back to 348, find the eyebrows, click to establish a key, and maybe just bring them up like that. Then when he starts getting electrocuted and we can bring them down. Then we will insert key at 384 for the eyebrows. Then at 386 we can raise up and kind of go back to default position about like that. That was the low setting. I don't know what to tell you, dude. Maybe here we can just insert our key for the blink. I don't know what 450. We can backtrack really quick here and just get the will actually click on blink and holding Shift and click on the eyebrows as well. Now at 450, we're just going to do some more copying and pasting. Let us come back here to the blink. We can command and just copy those frames. Around 432. We can blink. Setting. You can see we have a little bit of floating issue right here between these two because this one is different than this one, not a big deal. We can just copy that one and paste it over there. So that way it's a little bit that was the low setting. There we go. That's more consistent. I don't know what to tell you, dude. Then maybe we add another blank here. Setting. I don't know what to tell you, dude. Serum. I have some vitamin D in my maybe right here at 556. We can add in that blink. Vitamin D in my pocket here. Would that work? Let's make sure the eyes are no dude. They are a little bit slower. Just going to copy this one and paste it over here. There we go. Tell you dude, the serum. Now, I have some vitamin D in my pocket here. Would that work? Best chance? I always knew it. We're just going to go in and add this other blink right here. At 720. Let's make sure that we have those keys copied just like that. Come over here and paste and you don't have to copy and paste these each time. It just seems to be a little bit quicker. I always knew it would end this way. Adapted from my office while recording tutorials. And 384, we'll add another blink. Tortured by aliens. Just like grandpa. What thought? There we go. That's looking okay. Now let's go back here and look at the next thing we can animate in. We started with the eyebrows and then we kind of left them as we finish the blinks. So let's just go back to the eyebrows and see if there's anything we can do there. I will ask you only once more, where is the serum? And I'm gonna tell you here, maybe he gets a little bit more agitated because obviously he's been telling this guy for awhile the same story and he's not buying it. So we'll go here and we'll raise them up and then will lower them. I'm going to tell you one more time. Now we're gonna have this issue with a floating eyebrows because of the other keys. And since I put these keys down already, I'm just going to come over here on 348 and copy that first key and bring it back here to 209 and paste it there. That way we're not having this floating issue. And I'm gonna tell you one more time, you abducted the wrong guy. I just make animation tutorials. And actually looking at that, I'm going to do the reverse instead of copying and pasting it backwards. We're going to just take these eyebrows and lower them like we wanted to. And then copy 208 over. 348, like that. So that way it's consistent. I'm gonna tell you one more time, you abducted the wrong guy I just made. Now when he just says I just make animation tutorials, we can change the eyebrows again. Maybe like that. I just make animation tutorials. And since we have some other keys setup there, we're just going to copy that last one. We just placed down over 248 and paste. I just make animation tutorials at what's the low setting. I don't know what to tell you, dude, the serum. Now, I have some vitamin D in my maybe here. We can lower or raise it rather, so we'll start at 556. Add in that key. We're just going to lower it a little bit and then raise it. Vitamin D in my pocket here, or would that work? Last chance? I always knew it would. Maybe here we can go in on 720, insert that key, then just lower them a little bit. Like that. I always knew it would end this way. Adapted from my office while recording tutorials and tortured by aliens. Just like grandpa. That should be good for the eyebrows. Now let's go back and take a look at our pupils. I will ask you. Let's take a look here. His eye gaze seems to be matching that of the alien. I will ask you only once more, where is the serum? I'm gonna kill you one more time. You abducted the wrong guy. I just make animation tutorials. That's good. That was the low setting. I don't know what to tell you. Maybe when he says I don't know what to tell you, dude, he kind of looks back like he's thinking about it maybe at 464. We're gonna come in and just instead of key for the pupil. Then after he blinks right about here at 473, we're just gonna kinda go up like this. Now that might be a little bit too much because of the eyelids. Let me just advanced that pupil to 474 or five for 75 right here. And then just lower it a little bit so that the eyelids don't cover the pupils. There we go. What to tell you, dude, the serum. Now when he says now, we'll have the eye, the pupils rather snap back. Insert a key right there. And then we can have them go back like this. I have some vitamin D in my pocket here. Would that work? Last chance? I always knew it would. So here we're gonna have the eyes kind of shift around a little bit. I always so when he goes, I always knew what it would end this way. We're going to start at 720. Then raise the eyes up kinda like we did before. Sort of like this. I always knew it would end this way. Adapted from my office while recording tutorials and tortured by maybe at 384. We can lower it. Maybe something like that. Tortured by alien loops. We want to make sure that we're covering the eyelids there. It's you can see the pupils are below the eyelids, so we don't want that. We're just gonna go we're just going to go to an 846 and raise it up a little bit like that. Tortured by aliens, just like grandpa. Okay, So we'll leave the eye is right there. And now we can come back. Focus on the head turns next. We've already done this for the alien. It's not too difficult. It just mostly feeling out how you want the motion to take shape here. To start. Looking at this, we could lower the head. Just come in here and we're just going to lower it like so. And we can even move it over a little bit like that. There we go. I will. When he comes in, the alien, just going to add some keys on 76. Then maybe just going to go over like this. Then we're just gonna kinda go over here and then down a little bit. I will ask you only the way that body is moving. Which in this case it's really important to ask. What I might do here is just come in and grab that body here. Just like this. We have those two torso bones. And I'm just going to grab the red keys and bring them up. Two, 87. I will ask you once more, where is the serum? And I'm gonna tell you, we'll do some more head movements here. Make sure we key in the head, just like this. Come in here and make sure we got this down. There we go. We can take a look here. I might actually move this up a little bit about their we'll listen to some keyframes. Then we're going to move this one over. Maybe up a little bit more weight. When he says You emphasizing that we can snap his head back, kind of like that. Make sure the eye gaze is correct. It looks like it is like that. I'm going to tell you one more time, you abducted the wrong guy. Then maybe some more here. So at 250, raise it up a little bit. You abducted the wrong guy. Then we can change it again here. Kind of lower it. Certainly like this. I just make animation tutorials. Somebody gets electrocuted. We're gonna do some head movements as well. Come in here, get those situated. We can, we can basically do whatever you want here, just kinda come in, add some different movements. The neck looks like it's detached because of the noisy effect. That's okay because this is a quick effect. I might silhouette him and all that anyway, so I think it'll be okay. Maybe come back to 390 and then we can lower the head. Just kind of move it over like this a lot. What's the low setting? I don't know what to tell you, dude. When he looks over, we can then add in another motion. Let's go to 464. Add in these keys here really quick for that. And have them look up a little bit. And just kinda over there. Then over this way. When he says now we'll have the head snap back. Kind of matching the pupil. We're going to do an opposite reaction will happen, go down a little bit. Then up, then down a little bit. I have some vitamin D in my pocket here. Would that work? Last chance? I always knew it would end this way. When he looks over again, just kind of do a quick movement here. What kind of go like that and raise it up. I always knew it would end this way about it. When we get to 7068, we're going to add some more keys. Then we're just going to move the head over and down a little bit. Adapted from my office while recording tutorials and tortured by aliens. We'll do one here as well. Three, or 834, we will insert those keys. Aliens, just like grandpa. Now we have the head turns down for him. The last thing I wanted to do here is regarding the chains, along with his body movements. We could do some pretty elaborate movements with the chains. We could create bones. So that way they're flexible and as we move the chains go up and down, you could definitely do that. I don't really feel I need that for this shot because he is hanging and I just don't feel we need that extra type of movement. I don't know if I'm gonna be able to take advantage of it. I'm gonna do something a little bit easier when it comes to setting this up. The first thing I'm going to do is go back to frame 0, click on the chat bone layer, and then hold down Control or Command, and click on chain one and chain two. Next, we want to come over here and right-click on any of these options that we've highlighted and then come down to group with selection. Now if I page forward, you can see that it's still looking like it is. It's not looking too bad. We just need to make a couple of adjustments with the layer ordering. Let's do that right now. Look, go back to frame 0. And we wanted to make sure that chain two is above the Chad layer. I can just come back to frame 0, locate chain to make sure I'm in the right area here. Now we need to make sure that chain two is above Chad and we're using a new group here that doesn't adhere to true distance. What that means is we can come into layer 27, which I'll rename here in a moment. Grab chain to into simply bring it above the chat group. And you can see now that it's going to work out rather well. From here, we still have everything setup the way it should be. Going through and looking at all this. We have a little bit of movement here and there with the arms. And we might use the chains just to help animate that out really quick. I noticed, I know I said that they're static, but we can still do some minor things here to help with the movements. So especially with chain to here. I'm just going to come in. We're going to key up the position along with the rotation and the size. So you can just click, click and click to establish those keys again outside of the selection inside. Then if you select one of these handles, you can do that. So now we take a look at this. We have some movement here starting at around 77. I'm going to come in. And let's just place down these keyframes again. So that way we have that buffer. Then we have the chain can move this way. So I'm just going to go like that. And then back like so. Now let's establish some keys. At 202, I probably only need the rotation if someone's going to rotate right now and then just going to go down like that. Then over we have a little bit of arrays right here. So we're just going to take it in, in this case, we want to make sure we have a position keyframe down for sure. So we can just raise it up because we're not rotating so much there you come in. Move it down. There we go. Let's do one at 25. We have a little bit of movement there. I'm just going to add just a little bit like that as well. Then it lowers a little bit again. So let's come in here. This one's going to be a little bit different. So we're just going to come in. Actually, I might on 350 just insert a key frame for rotation as well because we're probably going to need it. Come down like that. Just every frame we're just going to just like that. There we go. All right. That little movement right there at 556, we're just going to I'm going to keyframe, move this over a little bit. Now in this case the chain is behind the head, and so this one's going to look a little bit off. We might have to make an adjustment with the arm right there. We could, or there's two things we could do. We could move the arm so that it's not in front. Or we can animate out the layer order. To animate out the layer order. Let's just go back here to five-sixths and double-click on Layer 27. And we're just going to come in and make sure that we go to death sort and enable animated layer order and then click Okay. So now what's going to happen here? Get to this point where he goes behind the head like that. We're just going to come into chain to bring it below chain one. You can see now it's just going to pop out just like that. Then. Right here at 565, we can put it back to where it was. And we can also move that over. There we go. There we go. 720. Move it a little bit here. Move this up a little bit on that frame. Make sure I remember that rotation frame. We don't need that. There we are. I always knew it would end this way. Adoptive from my office while recording tutorials and tortured by. We have a little bit of a thing right here, so we're just gonna come in, lower it, raise it, and just put it right there and tortured by aliens. Just like grandpa. What thought? We have that? And I will just go back really quick and we're gonna do the other chain. Won't take us too long. Okay, So starting at 77, I'm just going to lay down my position and rotation. And we could also put size, but I don't think I'm going to need size, but we can if we need to. We'll go about here. I'm just going to lower it. This one's a little bit more forgiving. Technically, we should probably see the shackle. That's something we could talk about adding in later if we want. But for now we're just going to focus on the movement. I will ask you only once more, where is the serum? And I'm going to lower that. Let's make sure before we lower that, whenever we set a keyframe down on to O2, we can go down to 205. Click that. And then we'll insert a keyframe at 250. And just kinda move that up. There we go. It wrong. It's insert a key at two and E5. Move it down a little bit. Kind of match the movement of the wrist. Then we move that one down. Then the electrocution. Oops, I just want to move it, go up like that. Move it down. Move it down. Move it up. Just keep on going. Now here we're gonna need to use the scale. Let's come back here. But before this whole thing starts, where I laid down my The original keys here. And we're just going to make sure that we come in and apply a scale key as well. Right there. And actually I'm gonna put a scale key at 260 or 362 as well. And then come down here. We'll raise this up. And we're just going to lower it down with our scale. Kinda looks like that. Then we can bring the scale back and just come in and collect that. And to bring in the scale back, I can just go up here and type in one for y. And I'll make sure it's absolutely back to where it was. Like this. Like that. We can That's 56. Insert a key, raise it up at 5 sixth to lower it. Q0 at 720. And move it over a little bit like that. Recorded tutorial. That's fine. Okay. I want to make sure it isn't the right spot. Now we have that. The last thing we're gonna do in this video, and I know, I apologize, This video is a rather long, it just the way this process is working right now. I'm just going with it, is we're going to go in and take advantage of that group that we created for the chains and the character. First, I'm gonna go back to frame 0 and go up to Layer 27 and just rename it to Chad with chains. That way we understand what that is. And we also wanted to come in. Just looking at this really quick. Establish on frame one, the origin point, which I'll put right above the top chain. So if you click on the Set Origin tool, you can just click on the top of this layer and that will set us up for what we need to do next. And I'm just going to come in and add in a rotation key on frame one. We can get started. So again, this is just some supplemental movements. Not anything crazy, at least not right now. We're just going to come in and just kind of rotate a little bit like so so to the right. And then maybe a second later, I'm just going to rotate it back like that a little bit. And we kinda just keep going in that fashion. So it's kinda looking like this. He's kind of just hanging out literally. And actually that motion might be a little bit too fast. So I'm just going to start. Let's see here on frame one, Let's take this and move it to frame to that motion that we had on frame one. So it goes back like that. And then let's remove the next frame and just keep going like this frame. Let's say 77, we can add in another kind of rotation and starting to go back like that. When he comes in. I'm actually going to just kinda make it so that there's a little bit of movement with the chains like he's reacting. Just like that. I will ask you. Okay. I'm just going to do a little bit of a swing back like that. I will ask you only one. Actually looking at this, I'm gonna have him swinging forward a little bit due to that reaction. I will ask you only want maybe have him go back a little bit like this just because I think it'd be a little bit quicker based on that movement. I will ask you only once more. That's looking pretty good. And then let's go and add the next rotation at 168, kind of like that. I will ask you only once more. Where is that? There we go. The serum and I'm going to tell you here, we're just gonna keep rotating like this. And I'm gonna tell you one more time, you abducted the wrong guy. Around frame 12. I'm just kind of swinging back. You abducted the wrong guy. I just make animation tutorials. Let's go to, because he's gonna get electrocuted next. Let's go to 348. Like that. Let's make animation tutorials. Notice the chain here is floating a little bit. Let me go back to chain one. And I think it just has to do with these keyframes. You can see it's kind of floating. So we're just gonna go to 348 and make sure he is back on the wrist just like that. It's kind of like Let There we go. Now. Let's go back to that group. Patient tutorials. I think this part's probably okay. I mean, we can add a little bit of swinging. I guess I would help a little bit with the motion. Make it swing faster than we had before. Then as he comes out of it will kind of bring them back to a more default position like this. That was the low setting. We're going to go and just keep swinging along here. So at 450, just kinda bring it back to the right a little bit. I don't know what to tell you dude. About 21 frames. Just kinda bring it over like that. Now, I have some back like this. Vitamin D in my pocket here. Would that work? Again? Just over? That's gonna be the close-up, but we're gonna keep him animating anyway. Last chance, I always knew it would end this way. Adapted from my office while recording tutorials. Tortured by aliens. Just like grandpa. What thought? We're just gonna, we're just gonna do one more swing here at the end. I know he's gonna disappear, but that way we have it just in case. So now looking at this, let's just jump back. I will ask you only once more, where is the serum? And I'm gonna tell you one more time, you abducted the wrong guy. I just make animation tutorials. That was the low setting. I don't know what to tell you, dude, the serum. Now, I have some vitamin D in my pocket here, or would that work? Best chance? I always knew it would end this way. Adapted from my office while recording tutorials and tortured by aliens, just like grandpa. So basically we have that all set up. One more thing. I keep saying one more thing. Just one more thing. One more thing I'm gonna do really quick is just adjust the hair strands slightly and make him seem a little bit more like they're adhering to gravity. So I'm going to start right here. And let's make sure that none of these hair strand bones are being keyed in other areas. Let's make sure I select the right bone here. We want that one, not the pupil bone. And then we want this group of bones right here. Once again, we're just gonna do that red channel trick. Just come in here and make sure we move oh, the hair pieces for that channel. Then we can come right back here and get started. So we shouldn't have to worry about that now, we're just going to click off and do what we need to do here. Asked you like right here I feel like the hair should be low, it should be down. It shouldn't be going to the left like it is. So let's come in and go like that. Maybe like that as well. I will. And let's also make sure I won't see here that we need to make sure we have a boundary down for that one. I'm just going to select those bones yet again. We are. And this channel right here, the rotation, I'm gonna copy it. Just kind of taking a look here. We're gonna put it right here at 76. You can see it's still rotated down properly. I will ask you, okay, there we go. And then our new key will bring it up so that it's also one sport where the serum, and I'm gonna tell you one more time, you abducted the wrong guy. I just make animation tutorials. That was the low setting. I don't know what to tell you, dude, the serum now, I have some vitamin D in my pocket here. Would that work? So far so good? We don't really have to do much adjusting beyond what we just did. One last chance. I always knew it would end this way. Adapted from my office while recording tutorial. This one right here can maybe use a change. Here. I'm just going to hit a key for all those kind of feel like I just feel like everything should just rotate. Not that way. Oh gosh. No. Absolutely not. We wanted just to come over here and it's going to rotate out like that a little bit. Just like that. Adapted from my office while recording tutorials and tortured by aliens, right? There could be another one. We're just going to, we can just keep those top bones with our rotation. Just come over here. Like this. Again, just simply rotate it down. Tortured by aliens. Just like grandpa. What thought? Okay, there we go. Again, this videos rather long. But I think we got all of the major pieces for the character animations for scene one. There are some additional things we do need to tackle, such as the Van floating in the distance. We could also do some other effects. And of course, we need to add in the electricity effect in that close-up with the gun. There are still plenty of things to do. I hope you are enjoying the process. I'm going to pause here and up next, there's more to come. 17. Adding the Flying Van in Background: For this video, we're working off of seeing O2 torture chamber part eight. Feel free to open up this file. We're now going to take a moment and add in the background van that's going to be floating closer to this ship, which will then foreshadow Chad being teleported out. This will be pretty simple. We just want to add it kinda floating into the background and slowly getting closer. I don't want to draw too much attention to it. I want it to be more something. You're paying attention to the scene. And then all sudden you realize there's this van floating in the background. What's that all about? Well, we'll find out at the end of the scene and we can lead into the next shot. We were in the interior of the van and so on and so forth. So to begin, on frame 0 of this scene, we're going to import that 3D model that we looked at in the beginning here. Let's use Control Alt Y to do an import. And we want to jump over here to our Exercise Files folder, then locate the ships folder. In here we have the van version two folder. So just double-click on that and then double-click on the Moho file to begin the import process. Now this can take a little time depending on your computer speed and the details of the object. But you can see now it has been brought in. We're just going to come over here and click on van. And then click, Okay. Now we have the van setup and we want to make sure that it's in the 3D set. So that way it can adhere to the true distance and all that fun stuff. You can see right now the van is currently placed outside of the set. So we're just going to grab the van group and bring it into the set group and release. Before we push this into the background, There's one more thing I would like to do. Let me just come in here and clean up some of my layers here so I can find the van easier. So let's collapse that. Here is the van. I'm going to go over to the position properties and bring the van forward. I want to kinda get it close to the Chad character here. Basically I want the van to be the same size or basically I want the van size to make sense compared to Chad since he's going to be entering the van. We don't want the van to be huge compared to him or too small. Just by coming in here, I'm just going to do a quick look here. The Z property for the van is set to one. And if I just come over here to the Chad character really quick and look, he's set to 0, so I'm just going to grab the van and bring this to 0 so that way I can get a better idea of the size and all that. And I believe because of how this is set up now, I could probably come in here and just make this a little bit bigger. Something like that should be, I would say, a little bit more accurate. Now, we can push this into the background. So I'm going to on frame 0, just take the van and using the Z properties, just push it into the background. Now, I'll have it pretty far in the distance. The problem with this is we have the space background overlapping it. So let's come down here to the layers and find space BG. You can see it's currently set to negative four. I'm actually going to push this back even more to like negative 15. Now, that's going to create this effect where we can see the image itself. We don't want that. We wanted to make sure that it's covering the whole window to make it look like there's a lot of space out there. And so we're just going to enlarge this and get it back to pretty much where it was before. So something about like that. Now this allows us to push the van back further. It's at negative eight. We can really go up to negative 15 now before it disappears into the distance or close to it, as you can see? I would say that's a pretty good size for the van. It should give us a good idea of what's happening as we're watching this scene. It's visible, we should be able to see it rather well. Now the question comes in, what do we do with it? How do we animate it out? Well, to begin, I don't want it in the shot immediately. We're just going to grab the van and move it off like this. The scene will begin. He comes in, will have his entrance. We'll make sure we get that all taken care of. Well, asked you only one spore. Where is the serum? Perhaps right about here, maybe around 240. We can have the van to start come in and we can play with this as well once we get the movement down, if it's not quite right in terms of timing, we can always go back and adjust it with our keyframes. Now it's just a matter of coming in and animating this out. Let's go to about 312. We can just have the van kind of slide into view like that. Now when we come back and take a look, you abducted the wrong guy. I just make it it might be a little bit too fast, so I'm actually going to go back to 240, grab those three keys and just bring them back to about 192 and see how that looks. I'm going to tell you one more time you abducted the wrong guy. I just make animate. Maybe a little bit slower. Again, this is just a preference thing, but I just wanted to come in a little bit slower. The serum. And I'm going to tell you one more time you abducted the wrong guy. Okay, good. That's looking pretty good. Now I'm gonna go back and just do some adjustments with the angles a little bit. So we're gonna grab that rotate x, y tool and it's kind of hard to tell here, but just going to scoot them over a little bit this way. He's facing more the camera like that. Looking at this now, perhaps I should scoot it back even more and let's just hide that wall really quick so we can actually see what we're doing here. I click and drag. I'm just going to move the van so it's kind of facing more like this. Then gonna come in like this. And it will stop at 13. And at 13 I want it facing the ship that's about to come into. So maybe about right, like that. The serum. So let's put the wall back and just see how this all looks. Now, here, since we did the rotation, you can see the end of the van. We don't want that. So on 144, I'm just going to grab this and just move it over a little bit so that it's completely out of view like so. Where is the serum? And I'm gonna tell you one more time, you abducted the wrong guy. I just make animation to we have the hand slide into view. Then we have this whole thing going on Up until he gets teleported out. Last chance, I always knew it would end this way. Like grandpa, he's going to teleport at 912 about what thought because we have his reaction saying what the as he teleports out, just like grandpa right about here at 936. Let's come in and adjust the Z property for the van. And I'm just going to start scooting it closer. And by doing that, I'm just going to knock down the negative numbers here. So we can bring it, let's say to about negative five. Just like that will come in here and maybe do a little bit of rotation as well. Just to add a little bit of that 3D element to this. So about like that. If we come back here, play this out, you might have to adjust the timing here, but let's see how it looks. I just make animation tutorials. That was the low setting. I don't know what to tell you, dude, the serum. Now, I have some vitamin D in my pocket here. Would that work? So I think this is happening too slow. I believe the van should be more of a surprise looking at this now. And so again, we can easily go in and start to adjust this stuff now that we have some keys laid down. And I would recommend we zoom out on the timeline here to see all of the keys at once or as much as possible. And they are right here. I'm thinking because this happens near the end here at around he's going to tell me grandpa, around 39 seconds in this one that's going to happen. So what I'm going to do here is take these first set of key frames on 613. And I want to move them up because I think that this is all happening too slowly. So let me just come in here. I'm just gonna come in here and grab these. And I might have to zoom in a little bit just to grab these keys. Sometimes when you're zoomed out, it can be a little bit difficult to grab them. So there we go. We're just going to come in and kind of move everything forward a little bit like so let's start this whole van thing at around 15 seconds in and see how that goes time, you abducted the wrong guy. I just make animation tutorials. That was the low setting. I don't know what to tell you, dude, the serum. Now, I have some vitamin D in my pocket here, or would that work? Last chance? I always knew it would end this way. Adopted from my office while recording tutorials and tortured by aliens. Just like grandpa. I would say we can even bring this forward a little bit more. I feel like that whole transition to the window is a little bit too slow. So let's just kinda see how this goes. I'm going to bring these two sets starting at, let's say 20 seconds in. Let's just see how that goes. We can keep adjusting as we do this. Dude, the serum. Now, I have some vitamin D in my pocket here. Would that work? Last chance? I always knew it would end this way. Adopted from my office while recording tutorials and tortured by aliens. Just like Grandpa. Getting closer. That's when he teleports out. I'm thinking about maybe just screwing this up a little bit more. Again, I think I like the idea of it being a little bit quicker than slower. Again, I'm having a hard time selecting these keys If you have that issue, I don't know why I'm having that issue right now. But if you do, you can just zoom in. Sometimes it just needs a little bit of help. There we go. Then we can zoom back out if we need to there. Let's try this again. Pocket here. Would that work? One last chance. I always knew it would end this way. Adopted from my office while recording tutorials and tortured by aliens. Just like grandpa. He's going to tell poured out. I think that's a pretty good speed for the van coming in. Now. He's gonna tell poured out like, I don't think the vantage and stop at all. I think it should just keep going. So it gets to this point. We have the beam out point. Then the manager is going to take off. So at around frame 1 thousand, since that's the end of this scene anyway, we're just going to add a little bit more movement. Perhaps we'll have them kind of go this way because he's leaving now. He got his cargo, he got his Chad. We're just going to start going this way. Now. I'm not sure if I'm going to put it all the way off the screen, it might be too fast. Let's just time that out and see. We knew it would end this way. Adapted from my office while recording tutorials and tortured by aliens. Just like grandpa vroom gets what thought, Beam doubt in that timing isn't too bad. What I might do though is just cut this one down a little bit because we have just a little bit of a delay. I would like to get rid of their I think I want it to be a little bit quicker. So we're gonna bring those last set of keyframes, maybe back to your own. 40 seconds in I, aliens. Just like grandpa. What thought? I think I like that better because he got his cargo. Chads teleported out. Now he's gonna be like, oh, I gotta get out of here. So he starts speeding up as Chad teleports out. Then that should be the end of this sequence. Then of course, we need to go in and add in some effects. We need to do the gun effect, as well as the electricity going around Chad. And a couple of other things here we can do to tie some things up. But I'm going to pause here for right now with the van in place, we have a major portion of this in an up. Next, we will concentrate on those effects. 18. Creating the Electricity Effect: For this video, we're going to work off of Part nine. And I just wanted to show you really quick that this is a little bit different compared to the others in terms of how you open it. So I'm just going to go to File and Open or Control O in MOHO. And in our scene O2 torture chamber folder, we've been accessing all of our files right here. You can see that part 3456 and they're all lined up. Part nine, however, isn't its own folder. I just did this because I wanted to make sure that all the media was gathered and linking together. And so if you double-click on this part nine folder, you will find the Moho file right in there. Again, I did this just as a safety thing, especially since I added in that 3D objects. I just wanted to make sure that you had no issues at opening up these files. So we're just going to double-click on Part nine, the Moho file to open it up. Once we're there, we need to locate the part where Chad gets electrocuted. Nation tutorials. Right there. We went to watch the character or the alien rather shoot his gun because that's going to determine when we're going to add this effect. So maybe starting at 345 is when the electricity will shoot out of the gun. Then perhaps 375 is when we can end the electricity coming out of the gun. 345 to 375. That is 30 frames of animation. And I would like to do this on a new document because we have quite a bit going on here already. And I think it'll just be easier to do this on a new document, import it in, and then make adjustments as necessary. Let's create a new document with Control N or Command N. If you're on Mac. I'll come down here to the frames and let's just cap it at 30. That way we know how far we need to go. I can zoom in on the timeline, since we have a smaller timeline here just so we can get a good view of what's going on. Now, we could create images to create the effect. We do have images working for us throughout this production already. But I'm going to go ahead and use vector tools. Since I'm trying to create all of this in MOHO as much as possible. I feel it's best to create these effects in MOHO when possible. So I'm going to start with the Add Point tool. We're just going to come in here and create some sort of electricity effect. Now, I might just turn sharp corners on to start. And let me just come down here. I'm going to access the style panel really quick. It's actually right there. And let's go in and add some color to this for your fill color. Let's try sort of a lighter dollar blue, something like that. And then for the stroke color, we can do something a little bit more vibrant, maybe something like that. And then click Okay. Again, I might adjust this as we go. So we'll see as we begin here, I'm just going to draw out some of my design work here. Imagining this is coming from the gun, the barrels right here. We're just going to start. I'm going to lay out the full design as if it would be like arching at Chad. So that way we have the full design down and then we can shrink it and do what we need to. Once this is complete, just come in here. I'm going to create what appears to be sort of an electrical bolt. Instead of closing this though, I'm gonna come down and just keep going. We're gonna do another one like this. Come back through and compliment all of those pieces. Then we can do one more. Coming down like this. If you go outside your bounds, that's okay. Again, we're gonna be repositioning this in shaping it to fit the scene. Once we are good, we're just getting the basic stuff down here first. Now once you have a shape like this, we can just come up and close it to complete. So now if we click off and we can kind of see what this looks like, Am I come in here now with my select Shape Tool, click on this and adjust the width to 12. So double of what I originally had, so we can see those lines a little bit easier. Now, the other thing I'm going to do is add in a gradient to this. So let's click on the shape with that select Shape tool. Come over here to the effects and we'll choose gradient from the list. Now I'm going to click allow transparency. And we want this set to linear. Let's come over here down to the color swatches. And the start of this, I want it to be very vibrant. We'll double-click on white and come in here and I'm gonna change it to almost a darker blue, something like that. And click Okay. Then the next color. Just going to make it a little bit lighter. Then the last color double-click on that. I might actually try to make it a little bit white. So let's just come up here and make it white. Maybe add a little bit of tinge of blue to it like that and click Okay. Now, excuse me, I forgot to do this. Let's double-click on that color swatch one more time. We want to adjust the transparency as well. So we're just going to come in here. And I'm actually going to reduce this down almost all the way to the bottom. In fact, let's just put it at the bottom, the start and see how it looks and then we can adjust if needed. And the same for the middle one. I'm actually going to come in here and just put it closer to around three-fourths. So we have three-fourths opacity essentially. Then click Okay. Now with allow transparency turned on, we can kind of create this gradual effect where it's more powerful from the barrel. It fades out as it reaches the end. And then we can click Okay to kind of see how that's going to shape up. Now, I'm going to need to adjust the gradient here so that it's horizontal. So I'm just going to come in here and rotate it like so. And bring it up to the edge just like that. And then we can bring it over like so. If I use Control R, we can see what this looks like. It's not looking too bad. What I might do actually now is click on this again and remove the stroke. Because the stroke is kinda ruining the whole transparency effect. If we just come in and remove that, we should be good to go. I think it'll be okay without it now looking at it. Now we have something like this going on. The next thing we can do is add some animation. What I could do to begin, since we are using the noisy effect to help sell the fact that he's being electrocuted. We could do something similar here as well. But first let's add in some animation ourselves, and then we can compliment it with the noisy effect. So let's go to, let's say three frames in. We're just going to start grabbing some things and moving them around. Welcome at the top here and just grab some of these points. And I can shrink this a little bit. Maybe rotate it up. Just a little bit like that. Again, just to add some variety. And we're also just going to adjust all of these points again to add variety to make it look like it's electricity shooting out of this gun. There we are. Something like that. Now if we page back, we can kind of see how this is going to look. I'm just going to go to, let's say nine will do the same thing, or at least something similar. In terms of adjusting how this is all going to look. Again, just come in. I'm kind of going the opposite direction of the extremes here. So if something is lower, I'm gonna raise it up just to kinda help with that chaotic energy look. But again, you can play around with this and get it exactly how you want it. It's kind of going like this. Now. Let's go to 15. Come down like this. Go up like that. Just keep adjusting. As we see fit. We go. It's kind of like this now. We're just going to do a few more here and then we'll cover the other bolts here on the bottom. I think the main thing here is you want to make sure that every point is moving on every frame. If something is stationary, it's probably not going to look great compared to everything else. So you can see right here as an example, the front part here isn't moving, so I just want to come in here and add some keys. Otherwise it's just not going to look alive if parts of it are stationary like that, Only thing we want stationary is this part right here. The part where that's supposed to be coming out of the gun. There we are. Then we'll do one more here on Thursday. I could go in and move this as well. Again, just to add that variety. There we are. Now we're going to do the others very similar to what we just did here. I'm not going to have it animate on the same frames though. You can see here we start with three, with this second one. I'm actually going to start on five again, just to add a little bit more chaotic energy to what's going on here. But beyond that, it's going to be a very similar process here where I'm just going to come in and try to vary these points to create the effect that lightening or electricity is shooting out of the gun. Like that. You can see now we have this going on. We're just going to go here. Again, just doing the adjustments here. If they intersect, that's okay. Although in this case, it might not be okay because you can see there's a little gap that appears when they intersect. In that case, I'm just going to bring this down a little bit along with this one. So that way it doesn't quite intersect and we don't have that gap occurring. There we are. I'll go to 18. Just like that. You can see that there's some bunching up occurring here where I have these points sort of floating up and down in between each other. That's something we do want to avoid. At least I do. I mean, if you want that sort of pinched off effect, that's totally fine for me though. I think I'm just going to make some adjustments here. There we go. Something like that should be better. Hopefully, Let's take a look. That's looking a little bit better. I'll do a couple more for this one. Trying different things here. There we are. And then we have one more, at least for this one, we're just going to come in and add a little bit more variety. We have some bunching up occurring on 21. I'm just going to go in and make sure we got that adjusted. Here. Isn't right. So we're just going to make sure we make it right here. Then we have the last one on the bottom. I'm sure at this point you're probably getting sick of doing this. But if you want the results that you want, sometimes it takes a little bit. And I could trim these tutorials, but I kinda like showing the whole process verbatim as much as possible. So that way you can understand just how much time actually goes into this. Because animation is an easy, I mean, this isn't like breaking my brain, but other parts of this, that organization just getting everything ready. It does, It takes a lot of efforts, so I want to show it all as much as possible so that way it's all understood. Getting close here. 12 oh, go in and make some adjustments. We don't want these intersecting. So let's bring that down. Then on 17, we'll do similar things here. They'll do something where it kind of shoots up a little bit like that. There we go. Then on 24, then one more on 30. In this case, I might shrink it down a little bit. Kind of like that. There we go. Now if we play this out, you can see it kind of looks like this, just some alien energy like effect. The other thing I can do, I mentioned this before, is select all of these keys and right-click and then choose to set this too noisy. We have more of an electricity going on now. In fact, if we wanted to, we could select all these, come down here and play with that amplitude and scale. I could kick the amplitude up to, let's say 0.5 and see what that does. And that might be a little bit too much. So let's go down to about 0.3 and try that again. Maybe adjust the scale as well. Still not quite what I want, so I'm just gonna keep going here. We can also look at the interpolation here and see if there's anything else. I think noisy is gonna be what we want here. So let's just go to 0.2.2. I think that's looking a little bit better. We'll leave that for right now and that can be adjusted if we need to. But I think that's looking pretty good. One thing I am going to do though, is come into these four keys right here. I'm just selecting them. And I'm going to come over here to the red channel for this and right-click and change that to smooth. Because I want that to be sort of where the start of it is and I don't want that bouncing all around because that's where the barrel of the gun is gonna be. So try that again. That's looking a little bit better. It's more stationary, everything else is going, and that should be good for what we need. Now one more thing I can do here, and there's actually several things I could do, but one more thing I'll do for this video is add a glow effect to this. That's going to be a simple matter of just coming in and basically duplicating what we just did and applying it below. So let me close out of the keyframe dialogue. I'm gonna come down here to layer one and just click to rename this to electric blast. Then I want to right-click. Then I want to come up here and click on Reference layer. This is going to create a second electric blast. And I want to change this to electric glow and hit Enter. And we're going to bring it below electric blast. Now what this is going to do in case if you don't know what referencing layers is, is if I make a change on the first one, which is the one I just created, I have the ability to instantly update it with the second one. If later on I'm like, Oh, I want to adjust the way the arc looks. If I adjust it, I can then update the glow to match it without having to go back through and manually make those changes to both layers. And since we want the glow to follow the electric arc verbatim, I think that'll help us here. Now with the electric glow layer. I just want to come in and expand this out a little bit. It actually let me undo that and try this again. I'm going to grab the origin tool, which is in your layer section here. And click to establish the origin at the barrel of where we're going to have this coming out of. And then I can click and drag and just bring it out a little bit like this. Actually. Maybe going up like this as better and then a little bit over like this. And I'll be able to tell here in a moment once I start to lay down some other things. So I'm going to hide the electric blast and click on the electric glow and click on the shape with the Select Shape tool. And coming over here to the gradient. I think I'm just gonna remove that for right now instead of two plane. Then come over here to the fill. And we're just gonna change this to a really bright almost white blue. And then click, Okay. Now I'm just going to double-click on the electric glow, go into my layer settings and change the blur radius to, let's say 15. And then we can come up here. And click Okay. Now, if we come back and reveal all this and we just play it through, let's say right here. And we render it out. We can see that it's starting to get that glow effect. And it's not looking too bad, but there's still something a little bit off with this. What I'll do here is come back to the beginning. I think I might have to do with the fact when I change the size of this, I'm gonna reset the size back to one. I can click on my layer tool and just hit Resize. I'm the electric glow to bring it back to default. Now if I hit render again, we can see that the glow is still working. It's just not as offside as it was before, which I think is good. I'm going to go back to that electric glow. For the blur radius. I'm actually going to maybe increase it a little bit to 20 and to see what that does for us, and then click Okay. Now we can render this out again. And we can see where this is starting to take shape. You could also try putting the glow over the blast. That might also be something that could work for us in this case. Let me just try that again. I actually think I like that a little bit better having the glow over the blast. Then you can come in and start playing around with some blend modes. If we come in here, I could try overlay as an example. Just see what it looks like. You can see that adds a little bit of something else to it. Again, this might at this point come down to personal preference for you. But you can come in here and just try all of these different modes. That one looks pretty cool because it has this real looking at electric effect to it in my opinion. I might actually go with that. So you have your electric glow and you have the blend mode set to add sitting above. What we have done here. One more thing, and I know I tried this before, but I'm gonna go back and set the origin back to the center. And this time I just wanted to try to expand this out, just ever so slightly. Not much, just a little bit, two or three pixels. In fact, with each side, That's all you should need. I think I like that better now with that offset. Again, it's kind of hard to tell because of our background, but it'll make more sense once we get it into the shot. Here, I'm going to grab the electric glow and blast. I wanted to select both of these making sure I'm on frame 0. And then we can right-click and choose to group with selection. And we can just name this electricity. How about alien blast? That should probably be a little bit more descriptive. There we are. Now I'm gonna save this. We can put this into our exercise files. We'll put it under Effects. And we're just going to name this one alien blast and then hit Save. Now I'm going to go back here to scene to the torture chamber. And we are right where we need to be. I think when this gun gets shot, if we import within the timeline, so anywhere other than frame 0, it'll start right where we import it. And that's actually what I want to do here. So I'm just going to do that. At 345. I'm going to use Control Alt Y to import. And let's grab the alien blast. It's right here. We can click Okay to import it in. You can see before it doesn't appear and now it's appearing and that's exactly what we want. Now going to come in here and just make sure first that alien blast is set within the set. So just click and drag and make sure it's in the set. And also, we want to make sure we have it above the alien guard. Alien guard is set to 0.2 on the z-axis. Let's go to alien blast and make sure this is set to 0.1. Actually, let's try 0. Let's see what that does. We want to change it to 0.3. So we now have 0.3 setup and that's looking pretty good. I can now come in here and start to play around with this. The first thing I want to do is take the origin point and put it over where we have the start of the blast occurring. I'm just going to place it right there and I'm going to reduce the size of it and shrink it in and maybe even bring it up like this. So it's kinda like this weird looking effect. Maybe just a little bit more like that now as he starts to shoot it. So at this point maybe we need to go all the way back is when we can have it expand out, bring it up like this, bring it over. And we can even angle it so that it kind of makes sense with what he is doing right now. You kind of goes like this. He shoots it. Now we've got to make sure the alien bolt stays with the gun. So kinda like that. He kinda goes back a little bit. So let's make sure we bring that back as well. Right, about 372, we can create the dissipate effect. So we're just going to come in here and we'll scale it back. And we will also shrink it down just like that as best as we can. We are. Then at 376, we just want this to disappear. Then we can do that by double-clicking on alien blast. You're going into allow animated layer effects and then making this invisible by clicking on visible. And then we can click, Okay. Now you can see here we have this red background for the timeline at that point indicating that this disappears, right where we had it set up to disappear out. There we go. So now we have the alien blast effect in place. There are still some things we could do here to help sell the effect. We could do some things to the Chad rig to alter the fact that he's being electrocuted. We could add some smoke, we could add sparks. And just a few other things. We're gonna pause here, examine this and up next, we'll keep building up the effects for this scene. 19. Adding Emphasis with the Electricity Effect: For this video, we're working off of seeing O2 torture chamber part ten. Feel free to open up this file. You'll find it inside of your exercise files within the scene folder. And I have a separate folder for Part ten since I did a another gathered media function. That way we have everything we need and there are no issues. So now we're going to continue building up the electricity effect from what we set up in the previous video. The first thing I want to do is add in a muzzle flash for the gun being fired. So I believe this was at 375 or maybe it was at 345. I think there's actually 345 when they started there it is. Right when he shoots. It actually be kind of nice to have some sort of glow effect come out of the gun just to kinda help emphasize the energy that is being dispersed. This can be a simple matter of just adding in a muzzle flash image, which is what I'm going to do. You could go in and draw out something in MOHO if you wanted to. Kind of like how we deal with the electricity effect in the previous video. But here we're just going to take advantage of tune Files Library and use Control Alt Y at 345 to bring this in. And I'm just gonna go back to my exercise files. And if I go to sets, really any of these, but let's just go to O1 exterior ship reveal. You'll see I have all these flares that were set up to help with the scene. And we're just going to be using this again. So we're just going to double-click on really any of these. It doesn't matter to bring it in. And we now have that flare setup. But I wanted to of course adjust it. First. We want to make sure it's within the set. Will click and drag that image into the set. And we want to make sure that it's basically on the same level as the alien blast. The alien blasts was set to 0.3 on the z-axis. Let's come down here to V flare, which is right here. And let's just kick that up to 0.4. So that way it's a head of the blast that we created. And it allows us to just layer this up a little bit differently. Now we can come in and just kind of get that situated like so. And then we can animate as we see fit. Now a yellow blast might not be what we want here. So let's see if we can do anything in MOHO to change that. I'm just going to double-click on the image to go into the properties here. And we have the ability to color a layer or colorize a layer. If we find that property right here and just click on this, you can see we have the ability to basically change the color of this. I'm gonna try what is appearing to be a light-blue with a transparency and click, Okay? And really quick here, I'm just going to Alt and click on that image. So that way we can see just the image when we render this out. If I use Control R, and I'm doing this so that way I don't have to render out everything on the scene. I'm just rendering out this particular blast. But you can see here now that it has like a blue glow versus the yellow. And that's what I'm going to be going with here. Let's bring everything back so that way we can see what we're doing. We have the alien blast here in place and I have a filter on here. Let's just remove that for now. We'll be adding that in here near the end. And we just want to animate this out. Right now if we look at this, it's not looking too bad in terms of what it's doing. I'm, I actually just enlarge this a little bit more to emphasize it. So it's coming out just like that. And I'm going to have it grow a bit. Then around 381, we will have it shrink. We'll just leave it there, you know, at a smaller state because the electricity is still flowing out from it. So we'll keep that there. And I'm just gonna make sure it animates along with a barrel. Just like that. Come in and make sure we have that set. Then once it dissipates the electricity. Just like this here, we're just going to come in at, let's say 372. And we'll click down some keyframes for position and scale. Let's say at 378, we can just sort of shrink it down. Then also at 378, I'm just going to come in here. Make sure we have animated layer effects turned on. And we're just gonna make sure that it's invisible and hit enter or OK. That was the low setting. Now we have a muzzle flash in place for that. And again, it's yellow on our screen. But if we were to come in here and just render this out, and this will take a moment to render out if you do this because we have a lot going on. You can see that we have a glow and it's a little bit soft. And if that's the case, we can come back here and double-click on that image that we are using to create this effect. Come over here to the colorized layer category. I might actually just kick up the opacity a little bit and maybe adjust the color to be a little bit more lighter in terms of the blue. So we wanted to be more white than blue. And then click Okay. Then we can click okay. And then we can look at this one more time. There we go. I think that's looking a little bit better. I think we can go with that. Now the other thing I wanted to do involves the chat character. We're gonna do something similar to what we did with the glow, with the electricity in the previous video. We're going to duplicate the layer and then create a glow effect when he's being zapped. So let's come over here. This whole thing starts at around 345. I'm just going to come over here to my layers inside the set. Come down and find the chat with chains group. And then I'm going to drop this down and locate just the Chad rig. And then we want to reference this. So we're going to click on the reference layer option. This will create that second reference right above the original. And I'm just going to come in here and name this Chad glow. And hit Enter. Now, we can go in and double-click on this. And we're going to colorize the layer. And we're going to change this to a bright blue, something like this. We're going to make sure we have this set all the way to 100% for opacity. But maybe we'll come in something like that and then click Okay. Then once you're good, you can click Okay. If we were to come in and just look at this, I'm just going to hide everything except these Chad layers here. There we are. We're just gonna be showing that use Control R again, so it's quicker when rendering here to test this become more here you can see now we have this blue overlay with that new layer. Now let's double-click to go back into that glow layer and its properties. And I'm going to change the blur radius to, let's say 30. Actually let's go to 20. And for the blend mode, I'm actually going to choose to add and see how that looks. And then we'll hit Okay, and render this again. That's looking pretty good, but looks like he is being electrocuted or does something going on with them. So I think we will go with that next also on 345. Now that we know the glow is going to work, Let's go back into that glow layer. We're going to allow animated layer effects. And for the opacity, Let's change that to 99. And again we're on 345 for this and then hit Enter. You'll notice now that we have created a channel or a key for opacity on the chat glow. And we want to double-click again to go back in there. And thinking about this, we're going to change this now to a lower number. So let's go to one and hit Enter. Then as he starts to get electrocuted, again, he doesn't really start to get electrocuted until right about here at 350. So I'm gonna grab that opacity layer and just bring it up just like that at 350. Then as he starts to get hit. So by the time we get to 354, so four frames in from that point, we can go back to the chat glow layer. And then we're gonna bring this up to 100% and then hit Enter. So basically there's gonna be a transition from the glow from this point to this point. It's gonna start low, and this is gonna get high. It's essentially what's going to happen. Then at 375 we're going to cease the effect. So to make this easier, I'm just going to click on that last opacity keyframe I created and use Control C and then Control V to paste it right here. And then 378. I'm just going to come in here. We'll reduce the opacity to, let's say ten. And we're also going to make this not visible anymore after that point. If we hit Enter, we're adjusting the opacity and were also killing the layer entirely because we no longer need it. And it'll free up some space as we continue to work here. But it's kind of hard to tell right now, but that should affect should be in place. Again, you can come in here and if you want, you could just take a quick peek. We're just going to bring everything back here so that way we can see everything. And let's just hide that filter for right now, because we will figure that out here near the end. And we're just gonna do one more render here to take a look. If we just zoom out a little bit here, you can see how this is shaping up and looking. Again, we have electricity in, we have a glow effect on the character, and we have a muzzle flash for the actual gun. I think that's going to work for our purposes. So with that said, I'm going to pause it here. And up next. We can keep building up effects and finish up this scene. 20. Adding Smoke: For this video, we're working off of seeing O2 torture chamber part 11. Feel free to open up this file. So far, we have the dialogue in, we have everything animated out, and we even have the gun effect now in place. When he shoots the gun here, we have different things going on. And even though it's hard to tell, we even have a glow effect around Chad currently. So let's emphasize that effect a little bit more by creating some smoke and some sparks. Once again, like the electricity effect, I'm going to create a new document just to animate this stuff out as I think it'll be easier to do. I'll do the smoke first. Let's just come in here and I'm going to draw out some shapes. I'll click on the oval tool here. I'll keep auto stroke off. I'm just going to be using fills for this. And we'll come in here. Just create a dark gray color like so for your fill. I'm gonna come in here and just add in some smoke just like this. I'm just gonna create a few overlapping ovals like that. If we were to render this out, you can see it's all bunch up and looking like this. So that will be my first smoke cloud, let's call it smoke one. And we wanted to make sure we create another vector. We're just gonna do the same thing here, except this time when we start creating this one, Let's change the color a little bit. You could go in and use your Add Point tool to create different shapes for your smoke if you wish as well. I just find this one to be a little bit easier to do it this way. So we'll name this one smoke to here. Just click and rename. Create a new vector named this one smoke three, change the fill color once again, it doesn't have to be drastically different, but I think having just different colored smoke will help here. Of course, is trying to make the shapes as different as possible compared to the others. I think somebody like that should be fine. Let's do at least two more. We'll do two more smokes. So come in, smoke for we can maybe make this one a little bit darker. And just again, Command and create a shape that resembles a puff of smoke. Something like that. Then one more. Whoops, don't want to click on image, we want to click on vector. There we go. And name this one smoke five. Bring it up a lot like that. Again, just create a quick smoke effect like so. There we go. Now. It's just a matter of taking these and putting them into the shot where we feel they can be best implemented. And we could even animate them out. So that way, all we have to do is just put them in and then they animate out and we're good to go. One more thing I want to do though, before we get to that point is double-click on any of these. I'll start with smoke five. And I'm gonna come in and adjust the opacity for this first one I'll put it to, let's say 67. Hit and hit enter. Go to the next one. Your opacity here will be a little bit different. Let's go 45. Hit Enter. Next one. We can make this one maybe around 89. Hit Enter. We don't want it to be too transparent, but just have some transparency just for some variety. So 56. Then for this last one here, we can go in and just do, let's say 45 and hit enter. Now you have this type of thing going on. And we can animate these out next. So we'll start with smoke one, and I'm just going to hide everything except for smoke one so I can kind of see what this looks like. And I shouldn't need much. I'm just going to go, let's say two seconds of animation. And I'm going to do is just raise it up like so. While it's doing that, I might enlarge it as well. So if I come back here to frame 0, I'm actually going to take the origin tool and place it in the center. It's gonna go up like that. And as it goes up to frame 48, we're just going to enlarge it like so. It kind of goes like that. Then we're going to go back to frame 0 and double-click on smoke one. In the layer settings, we will allow animated layer effects. I'm going to blur this out a little bit. First, just at ten. I want to set the opacity to 45, but we need to make sure that there's a keyframe locked down for this. I'm actually just gonna change it to 46 and hit Enter. That should now allow us to key this out the way we want. Now if we go all the way up here, we can go to frame 48. We can change the opacity to 0 and then hit Enter. It just going to sort of fade out as it goes up. We're gonna do the same now for these others. So here's smoke too. I'll make sure I put the origin point in the center. We're going to come in here and just drop this down like so we can go to frame 48. And we're just going to raise this up. And I'm gonna try to do different speeds as much as possible and just different effects. So we'll go up about like that should be fine. And we want to then come back here to frame 0 double-click. We will allow animated layer effects. We're going to make sure the opacity has been keyed just by changing that. And we can also change the blur radius here. Let's go to 14 just to add a little bit of variety from the other one. And then hit Enter. And then when it goes all the way up, we go back to the opacity, change it to 0. We have that one now animating out. Just a few more here. Come in. And let's just go to frame 0. Make sure that we have the origin point in the center. We can lower this one as well. Double-click on smoked three, make sure animated layer effects are turned on the blur radius we can set to, let's say nine. And we'll just keep the opacity just to make sure go to frame 48. Raise this up. I'll raise this up a little bit more just to have different animation to it. We will enlarge it, Double-click and the opacity is now set to 0. Smoke for same thing, same type of procedure. Just add your origin point. Make sure you get it into position. Make sure you're on the right frame. You can see that I set this on frame 48. Not a big deal. I'm just going to select that key and use Control X or Command X to cut it and then paste it on frame 0 with Control V or Command V. Then we'll go into the layer settings allow animated layer effects change the blur radius to something blurry. Make sure we have the opacity keyed out as well. Go to frame 48, raise this up, enlarge the smoke. Come in and we're going to knock down the opacity to 0. Then we have one more here. Again. Same things. Get your origin point established and make sure you are in the right spot. Make sure you're doing this on frame 0. We're going to double-click. Make sure we allow animated layer effects will change the blur radius 213. Make sure we key out the Opacity. Go to frame two. We can come in now and just raise this up, enlarge it a little bit. Go back here, go to 0, and we can call it a day. Now one more thing I can do, I can just kinda realized as I was going through this is I'm just going to come back here and I'm going to stop watch all of these. So smoke one through five. What that will do is allow me to see them all on the timeline at once. I just want to come in here and adjust the speeds of these. I don't want them all to be going at the same pace. So smoke five, I'm actually just going to come in here and move it over to three seconds. Smoke For can say it to smoke three. Let's kick it back so it's a little bit quicker. Smoke to kind of put it in between 23 and then smoke one will also does not up a little bit. Now if we were to look at this, you can see that they don't all dissipate at the same time if we were to actually have them all on. So once again, you can see that they have different speeds and they all dissipated different times, which I think will help just with the way visually this is all going to pan out. Now. I'm just going to save this so that way we have it and you can reference it if you want. We're going to put this into your effects and we'll name it smoked clouds. Now with the smoke clouds in place, I'm going to go back here to the torture chamber. Let's get fans here. I think basically right after this happens. So at around Let's go 370. Right before it ends. We're going to bring in these clouds. So I'm going to use Control Alt Y to bring in the smoke clouds. I'm just gonna double-click on smoke clouds. I wanted to check every single cloud that I made and hit. Okay. Now we have the smoke clouds right here. They don't appear until that point, which is good. And we can see that they're moving in a different area. So what I want to do here is just come in. We're going to group the smokes together. Let me come back here to frame 0, right-click and group with selection. We can name layer eight, smoke, and then hit Enter. Let's make sure smoke is within the set. We also want to make sure the smoke is above Chad, which it appears to be. Now, if we come back here, smoke appears right there. I'm just going to grab this and bring it over like so. We want to reduce the opacity on this a little bit and also shrink it will come in, we'll shrink it a little bit. Double-click on that group. Allow animated layer effects. Change the opacity to 0 and hit Enter. I would say at around 390, We can try that. We're going to put it back to 100%. So double-click on the smoke again, go into your opacity and change it to 100 and hit okay. You kind of have that smoke now coming out. As we finish. It could also have the smoke occurring during the electricity effect, but I think just having an after should be fine. Just taking a look at this law that was kinda feel like the smoke should be over to the left a little bit. So again, on 371 or actually it's gonna be 370. We're just going to click and drag and bring the smoke over a little bit. I love. That was the low setting. There we go. Now we have some smoke in place and it kinda looks a little bit more dangerous. What we just went through with this character, with the electricity, with smoke emanating out of him after the effect. And so again, that just helps build up the scene and adds a little bit more nuance to what's going on. With that, we're gonna pause here and up next we'll add some sparks into the scene. And then we can add in that close-up of the gun charging up and finish up with some camera movements. 21. Adding Sparks and Dust: For this video, we're working off of seeing O2 torture chamber part 12. Feel free to open up this file. We're now going to add a couple more effects to the scene just to help polish everything up. First, we're going to create some dust that we can add into the shot that can gently fall to the ground and just add a little bit more atmosphere to the ship. And the second thing we'll do is add in some sparks to help with the electricity effect that's coming from the gun. Now, we're going to be doing two separate things for this. When we create the dust will be using MOHO is built-in particle system. We're gonna do that just to save a little bit on resources. Originally, when I started working on this, I was going to use following dust from the tune Files Library, which is an image sequence, and that does work. However, we are working with a pretty heavy file already with all this texture mapping and such. And so I thought it would be best just to do some vectors for that to save on resources. Now the sparks you could also create using the particle system inside of Moho. But we're going to be using some tune files library assets to help with that. In That's mainly because I'm not a huge, huge fan of the particle system. In MOHO. It does some things wonderfully such as the following dust as you'll be seeing. But other times it's hard to get precision when you're doing certain types of effects. And so that's why I will be opting for the simpler sparks to be imaged sequences and then the longer following dust to be a vector animation. To begin, we're going to do what we did before and create the effect on another document and then bring it over here. Once we're done, we'll start with the dust. I'm going to use Control N or Command N if you're on Windows or Mac to bring up your new document. And I'm going to come over here to my oval tool. Click on the Shape Tool, make sure it's set to oval. Will turn autofill on and leave auto stroke off. And I think I have a dark gray color here. Let me just click and drag and draw out a small oval like this. Well, we'll start with a bigger oval and then we'll shrink it. Once we're done, making it bigger will allow us to easily design it. And then we can make the adjustments from there. Now, we'll grab the Select Shape Tool and click on that oval. And then come over here to the style panel. You can see it's sharing the tabs with actions. If I click on style, it's brought back just like this. And I'm going to go over here to the effects. And under effect, choose gradient from the list. Now here we're going to set a radial gradient. We will allow transparencies. And we're just going to set something up simply to make it look like a soft piece of dust. Will double-click on the first color here. That's the center color that we're going to be adjusting. And I'll just drop it down. Brownish, grayish color, lighter. And then click Okay. The second color in the middle can be a little bit darker here. Maybe add a little bit of red into it just like that. Then we have the final color here, which I might actually make a little bit lighter than it is. Something like that. And then click Okay. Now I'm going to add one more color here. What I'll do is grab that last color and drag it over. And then click below this color meter to add a second color. Double-click on this one. This time we're just going to drop the opacity on this one all the way down to 0 and then click Okay. Now we have lists nice feathered off effect for this piece of dust. And once you are satisfied, you can go ahead and click Okay. Now we're going to create a particle system for this. First, Let's rename Layer one to dust piece and then hit Enter. Second, we can go up to new layer, go-to particle. And we can rename the particle layer to dust falling. Then hit Enter. Now in order to create your particles inside of MOHO, we need to get this dust piece up into the particle folder. Now if you wanted to variety, you could add several different types of dust pieces that look a little bit different from each other. But we're gonna keep it simple and just use one for now. So I'm just going to drag and drop it into the dust falling folder. Now you're not gonna see anything right away. If you have dust piece selected, nothing will show up. But the minute you click on dust falling, you're going to see a result. And you can hit the spacebar to see what it's doing. Right now. It's all bunched up and it does not look like dust or at least the way we wanted to look. So we're going to make some modifications to the particle layer. Let's double-click on dust falling to go inside. Here we have access to a particle's tab on the top. Let's click on that. And we're simply going to begin the process here of setting this up. Now there are quite a few options here to deal with. And so we're just going to go through this and play around until we get the results that we want. First, I feel that the particles are dying too quick, at least when I'm previewing it. I'm going to just come over to preview particles and kick this up to 100, since we already have 100 particles on screen by default, I just want to be able to see what all that looks like. So I'm just going to hit apply to that. And you can see by doing that, we now have way more dust in the particles being previewed. The other thing is this dust is going to have to last a while. It dies right now after 1 second, you have a dust emanate and then it dies within those 24 frames. I want to extend this out to, let's say 500 and hit Enter or Apply. You can see here that's already changed the way this looks. It's no longer quite bunched up and it's falling all the way down like that, giving us more time to view the dust. Let's double-click to go back into the layer settings and go to particles to keep playing around with this. I'm going to leave the source width and height alone. I believe that's going to work as is. Although I will need to come in here and manually decrease the size of the dust once we're done. I'm also going to add a little bit of source depth to this. Let's kick this up to about four. And what this will do. And it might be hard to see if we come over here and hit Apply. You'll notice that some are smaller and some are bigger now. And that has to do with the fact that if we were to grab this and move it around, let me go back here to frame 0. To do that, you can see that we have depth now to this somewhere in the background, some are in the foreground, and I think that'll help us as we continue to work with this. Now, moving on here, if we just play this out, It's a little bit too fast. But we need to go in here and make some adjustments to help with this. We also need to spread it out a little bit and just kinda figure out the speed mostly. So let's come in here and adjust the velocity to around one and see if that does anything. We hit Apply. We can see now it's a little bit more bunched up closer together. So it's not quite where we want it yet. Let's come back here and make sure we have velocity is set to one. Go back and just take a look at this, and that's how that's looking. Now, let's jump over here to the velocity spread because this is very much just kind of almost like a single column effect. And we wanted to take up the whole screen so we need that, get that spread going. I'm gonna kick this up to about 20 and then hit Apply. And we can kind of see how this is going to go now, again, it's more spaced out. You have different things going on here. And it doesn't quite look right. But as we continue here, we should be able to pull off the effect that we're looking for. Let's adjust the damping to tend to kind of pull some of this back. So now if we come in, we can see with the damping in place, we have the speed down. It's going slower, so we're getting there. Let's go in and adjust the direction and spread. I want the dust to fall at an angle. So kind of going from the top left down to the top right. We can also just put the acceleration in a similar direction. Let's also come in and adjust the spread of this. And I'm going to really kick the spread up and we can hit Apply. Now we have something that looks like this, and I'm not seeing this. Click OK for a moment here. And we're gonna move the beginning of this, the thing that's emanating the particles off screen. We can come in here now and kinda see how this is looking. And it's just a nice falling animation for the dust. Of course, the dust is way too big, so we can come back to that dust piece that's inside of the particle group and just grab this and let's make sure we put this origin point at the center. That way, if we're doing a nice even downscale here, I'm just gonna click and drag and just shrink it down like so. It's pretty small. We can come in and adjust the gradient if we need to, but I think it should be okay. Now if we click on dust falling once again, we can see what this is looking like. Now you can see that there's this drawing, an effect that's occurring off screen. And that's fine as long as it's off screen, but you don't want the dust to be jumping around on screen. And so I'm just gonna grab this and move it up a little bit more just to ensure that we're not going to see the particles being drawn in. Maybe that's something I should do a little bit more of. We're just gonna click and drag and just bring it up a little bit more like that, because we have enough time and spread for this. Now if we come in and look at this, we can see that it's looking pretty good. Now. I might adjust the size one more time here. I think it's still a little bit too big. But we can just go back to that particle and we're just going to shrink it up a little bit more like so. There we are. Now if we play this out again, we got to make sure we're on the dust falling particle. You can see now it's starting to look like this. And I think that's looking more like what I want. Again, we just have some dust falling in, nice and calm just to kinda help with some atmosphere with a scene. One more thing though, I'm going to come back here and go into my particles. And I think the speed is still a little bit too much. We're just going to come in here and let's try adjusting the damping a little bit more. I'm gonna put it up to 15 and see what that does for us. Now, coming back to the dust falling animation, we can try this again. I think that's going to look a little bit better for us here. Now you'll notice that some of the dust is disappearing on screen after I've adjusted the damping, that means we had to go back to dust falling, go into particles. And let's make sure that lifetime frames is extended. And it might also be the preview frames. It might be harder to tell with the preview. So I'm actually gonna match the preview with the lifetime frames because we should have enough frames here to cover this. And then we can click Okay, I just want to make sure that we're getting the results that we are shooting for here. So we'll try that again. That is looking a lot better. It seems like everything is looking the way it needs to look. Some dust. It looks like it's disappearing a little bit. And if that's the case, we can come in here and maybe just do a little bit more adjusting. Maybe try just moving this down a little bit like that. So that way it covers a little bit more. And then we can just come in and test this and make sure that it's doing what it needs to. That's not looking bad. I think we can go with that. And one more thing, I'm just going to pick a frame here and render it to see what the dust is looking like. It's not looking too bad. What I might do though, is just go back into that dust piece layer. Double-click. And let's change the opacity to about 60. And let's actually add a blur radius as well. So let's go to about five with that and then hit Okay. Now how do another render test? We can see that it's starting to look a little bit better, I would say. And actually going back here, I'm going to increase the blur radius to, let's go 15 and see what that does. I think that's looking a little bit softer and better. And so we'll probably go with that. Let me go back and just do it one more time. I'm actually kinda curious. Let me put it up to 25 and see what that does. I think that's actually probably the best result right there. So we'll go with that, a softer look for it. And we could even adjust the opacity more if we wanted to. In fact, let me just put it down to 40, then I think I'll call that good. With that, I'm going to save this and we're gonna put this inside of our Effects folder. And I'm just going to call this one following dust and then hit Save. Now we can go back here to the original scene. Before we add in the dust, we're going to add in some sparks to help with the electricity effect. And again, as I described, we're not going to be animating those in MOHO. We're simply going to be grabbing some library files from tuned files.com. We can come in here and just find the electricity part again. So it's right here. We're just going to add in some sparks, maybe right when it hits him. So like right here at 348, we can add in some sparks. So I'm gonna use Control Alt Y or Command Alt Y. And we're going to locate the exercise files Effects folder. And you'll see here I put in some sparks for us. We have a wide variety here. We can look at, you can kinda get a preview here when you go to any of these folders. I'm gonna try sparks to first. And what you want to do is make sure that you go to the PNG animation layers for this. And actually, I did the wrong type of import. So I'm just going to explain that really quick. What I mean by that. If I were to click on this, I'm only going to import one image using Control Alt Y. This is a mistake I just made in order to import an image sequence. So that way it calculates all the images that you're wanting to display. You're going to have to go to File Import and then choose in the import window image sequence. If you do a general Import, you're only going to import one of the images that you select. Here though, if we go into the PNG animation layers folder and click on that first image and then click Open. It will come in and calculate all those images based on the numbers that you have setup to place this image into the shot. And it can take a moment. You can see that it's loading here and now we should be good. I want to take that new layer here and let's just name that one sparks and place it within the set. So that way we can get the three depth setup here for this. We want this to be in front of Chad, which it looks like it is. So we're just going to grab this image here and bring it over like so. Now if we play this out a little bit, we can see the sparks shooting out. That's looking pretty good. And what I might do is add this again. So let's go to 358 and we'll do some more sparks. I'm just going to use Control. Actually, no, I'm not going to use Control Alt Y and that's the first mistake I made. We're going to go to File Import and then choose Image Sequence. And we want to go back to the Effects and we can grab any of these. I'll just choose sparks three. We can come in here, the PNG layers and just grab that and hit Open. And then I can just rename this one to Sparks two. This one's pretty large as you can see as I place it over here. So with that in mind, I'm just going to come in and scale it down a little bit like so. Just bring it up like that. Now this is being hit. It just adds a little bit more of an effect to this. I think, with him glowing with the electricity coming out of the gun with sparks and then the smoke. We should really be selling the fact that he's being electrocuted or some things happening to him and it's not good. So we'll go with that. Now with the sparks are in place, we're going to add in the following dust. So let's just use Control Alt Y in this case because we're not going to be importing an image sequence, we just want to use the regular method of importing. And we're going to grab that following dust effect that we just made. And then we can click Okay. Now if we come in here, we can see some dust falling, just like that. It's actually looking pretty good. Now, there could be some issues with the dust in terms of how It's going to be working with the 3D set. In this case, for the following dust, I'm actually going to grab it in the layers and we're going to bring it up in outside of the set. In place it right outside the set like that. Now, we're gonna get this effect where we're not gonna really be seeing anything at the moment. We're just going to come in here and kick this up to one. So that way we can see it and you can see I accidentally put it at one on 66. We don't want that. We want it at 10. So I'm just going to cut that frame, come over here to frame 0 and paste it in. So that way it's set up. And we just need to get this situated so that the particles will start coming in. We do a render, we can see the dust is right there, so it is working. We might just need to come up here and make some adjustments to make sure that everything is looking the way we want it to. And you might find it easier to come in and hide the set. As you're placing this in. You can see the dust as keeps running and running and ratings. So that should be fine for what we need here. It's a little bit above the set that works for us. Sets at 0 does is at one. And we can work with that. And as we continue on here, we will be able to build up a little bit more atmosphere with that filter and just some other elements we can add in. But we now have some sparks in place along with some following dust, both using image sequences as well as the particle system built into Moho. We're going to pause here and up next, we can jump in and finish off this scene. 22. Creating the Disappearing Effect: For this video, we are working off of seen O2 torture chamber part 13. Feel free to open up this file. We're now going to jump to the end of this scene and animate out the teleportation effect. You may recall the alien gets angry, he sets his gun for a lethal blast, which we'll also be adding in here soon. And then the chat character teleports out with his alien friend. We need to determine where that's going to start. Let's jump in and go to, let's say frame 900. Since we have a total of 1000 frames, we know this happens near the end. So this should be a good starting point to figure this out. Now this is probably gonna be pretty choppy given we have a lot of stuff going on, on screen, but let's just listen to the audio and see what we can determine. And tortured by aliens. Just like grandpa. What thought? We have the tortured by aliens just like grandpa line. And then the alien reacts to the character, the hero beaming out. So how about at, about, let's say at 912, we can begin the teleportation effect. That happens right after chats line. And we can have him completely materialize out at 972. That gives us 60 frames of animation to play with. Now the way I wanted to do this will involve the eraser tool, the bitmap eraser tool built into Moho because we can go in and create sort of a sketchy transportation effect of him being erased out of existence a little bit. And we can compliment that with other effects such as a glow to help sell the teleportation effect. In order to do this, we will need to make this rig one solid image. Then that might seem counterproductive given we have all this animation going on. But it's just a quick little effect. And presumably when he's in this effect, he can't move anyway. He's just kinda trapped in time, so to speak. I think we can make it work for what we want to do. That means we need to isolate this frame, particularly the chad frame, and then render out an image so that we can work with it. Let's come down here to our Layers and open up the set. Then locate the Chad with chains group holding Alt and click on the visibility icon to hide everything but that group. But we also just want the Chad rig and not the chains or the glow effect. So we're just going to come in and Alt click then on the Chad rig to reduce all this so that we just have now chad visible. We do also have some dust and that's because the dust is outside of the set and it was just accidentally included, not a big deal. Just click on the visibility of that. And now we should be good to go. From here. We are going to just render out an image. But I wanted to note you can also use layer comps for this if you wanted to as well. But since I'm setting this up to do most of it in MOHO, I'm not really focusing on Layer Comps right now. Just on what we're doing here. On 912, I'm going to use Control R, or you can use Command R if you're on Mac OS. To render out this frame. With the render complete, we can take a look, and this is the frame that we want. So let's come down here and go to save as PNG. And I want to go to my exercise files. Let's go to the Characters Folder. Or you could create just a brand new folder for this and call it character PNG sequences. But let's just put it inside the character's folder. We have our rigs right here, but we're going to come in and create a new folder in here. So I'll use Control Shift N To do so. We can name this one, Chad beam out layers, and then hit Enter. Now we're just going to double-click on that and go into that folder. And we can rename this image, Chad, beam out one, and then hit Save. We should now have the image in our folder that way we can import it. So we're just going to close this. And I want to make a new document file new or Control N or Command N. We're going to import that image right into this new document. We're going to do the animation here in a much more lightweight file and then bring it over to our main scene. More done similar to how we did some of the other effects. Just use Control Alt Y to do your import. And I'll come over here. And grab the chat, beam out one image which is in that new folder I just made. Bringing it in, you might find that the image doesn't completely fit the boundaries. That's fine. We're just going to be using this as a workspace. We can make sure that everything is lined up once it gets into the actual scene. The next thing we want to do is set up a frame-by-frame layer. We can come up to the new layer option and then choose frame-by-frame from the list. It's going to ask you how you want to do this, either a vector or image-based layer. We can choose Image. And the important thing here is come down and choose your folder. We're going to make sure that it's in that Chad beam out layers folder and then select the folder. Now, once you select the folder that will get rid of your prompt here, we're just going to come in and rename this layer to Chad, beam out and then hit Enter. When we drop the layer down, you'll find that we have another image layer in here that was created by default. We're just going to remove it and then take the chat beam out PNG and bring it into that animation layer. Now, we can begin the animation process. Again, we're going to be using the eraser tool or the bitmap eraser tool for this. And it's quite a simple process. And once you get going, you can do it at a pretty good speed. We want to click on Chat beam out, which is the actual animation layer here. And I'm just going to zoom in to get us in a good position so I can start working. Now, you want to come over to your timeline and you're going to find that we have three buttons on the left from your tools here, plus a number that we can enter. What I wanted to do right now is just duplicate this frame and then duplicate it a second time. We probably don't need to duplicate it twice, but I just do that to make sure that we have this first frame on frame one where there's no teleportation occurring. We just set him up on frame one, and now we're on frame two. And we can begin the process of altering it. From here. Let's come up and grab the eraser tool. My size is set to 63, Hardness down to 0. Opacity is at 100. To begin, I'm just going to take a little bit off the top. Just like this, not a whole lot. Just make it look like it's just starting here. So something about like that should be fine. We're just going to duplicate this layer and keep going. That's basically all you're going to do. You just keep going down the line here of duplicating. You can also put on onion skinning if you wish. I particularly don't feel it's needed. But if you feel differently about that, then by all means do it. You can also page back and forth with left and right. As you can see that I am doing that and it's giving us an idea of how this is progressing. We're just going to keep going here. New frame. And I'm also gonna start touching the hand here now since we're getting to that point. Next frame, just keep going in. There we are. And then we can start on the other hand now as well. Coming in here and just phasing things out slowly. Again, remember you need to go until frame 60. You don't want this to go too fast. And we can also play with the timing here once we get done with it, if we feel we need to also remember not to advance forward before duplicating. You just want to stay where you are and hit duplicate. And just keep hitting Duplicate. You don't actually have to use the arrow key to advance and then hit Duplicate. Only use the arrow keys to test out what you've done so far. Keep going here. When these tools first came out, the bitmap tools for MOHO, I actually wasn't a huge fan of them. I didn't really think there'd be much use for them, at least from my workflow. However, here we are. I was proven wrong. I'm using it and I think it can provide a cool effect. In a certain circumstance. Again, I probably would not design a whole character using the bitmap tools if I had a choice, but coming in and doing an effect like this, Sure why not? Just allows us to go in and quickly create the animation. I could do something similar in Photoshop or even Procreate. But why do that when you have the ability to do something similar right here, we're just going to keep on going. Zoom out a little bit and just kinda see where I'm at. So again, if we play this, you can see it's kind of just erasing him and that's what I wanted here. That's sort of effect. We're gonna keep going, just add a new frame. Keep adding frames. It was starting to go with a little bit quicker now and again, you can take as much time as you need to get the result that you think is going to work for your production. For me, I do this a little bit quicker. My concentration isn't as high since I am talking while doing this. But if I were doing this for my own, I might spend a little bit more time just kind of coming in here and making sure everything is erasing the way I want and at the right speed. And again, I think there should be an okay speed, Speaking of which were coming up at the halfway point. For the speed. Let's keep going. Almost over the torso here. Move this down a little bit. We have 12 frames left. If you don't do it exactly to 60, that's totally fine as well. 60 was just kind of a good milestone given what was going on in the scene and with the dialogue. Oops, don't want to go that far. Let's undo that and try that one more time. There we go. Just going to do something like that one more time and then we can remove them. So we're at frame 58, that's pretty close to 60. Again, this is more of a preference thing as well. Kinda what you want to see out of this. Now if we come in and hit this, you can see he just disappears just like that. Now that won't be the only effect I have in place for this. I do plan to add a glow and all that. But right now, let's get this layer back into the actual scene. The first thing I'll do is save. This will come in. And let's just use Control S to save. We're going to save it right in the chat beam out layers group. So if you need access to this, you have it right here. You can see that all the images that we created are saved right there. So that way Moho can reference it. And we're just going to name this one. Chad beam out just like that and then hit Save. Now we have exported this out. We're going to jump back here to Part 13. And we want to now add in this layer. We wanted to start at 912. So let's make sure we are at 912. And we're going to import now an image sequence. So let's go up here to file and then import. And we'll do an image sequence import. And you can see here that we have all of our layers lined up. The only thing I wanted to do is come in and just click on untitled layer one and then hit the Delete key. We don't need that one. That would just create it as a blank one. When we created that frame-by-frame layer, we're going to click once on Chad beam up and then everything else from there should be fine. We can select all the layers just to make sure that this is going to go the way we want. But typically clicking on the first image should work. We're just going to click on Open. And that will then import this PNG sequence. Now, once it's in, we just need to take a look here at where it's positioned within our set. We're just going to come in here and let's put it into the chat with chains folder. Drop it in just like that. We can name this one, beam out animation. Now if I look at the Chad layer, there are some differences here in terms of positioning. And we can just copy and paste these position properties at the top and bring it on over to that image. So we'll paste that there. Come back to this one, paste the y property, as well as your x property. Now, because of how this is set up, it's not going to be 100%. Which means then we just got to come in here and use our best judgment and just enlarge this and bring it over. We're just going to try to line this up as best as we can. You can hold in control or command and use your arrow keys if you want to push things along to help here. We're getting closer. Just want to get a little bit closer here. So let's just try enlarging a little bit. Rotating a little bit more. There we go, Getting a little bit closer. Now I think if we resize here by shrinking it up, we should get pretty close to the mark. Maybe just a little bit more. Maybe just a little bit more down like that. There we go. So it kinda goes like this. Then we have the eraser effect go into place. Of course, you have to make sure. If we hide the chat group here, we can see this. Make sure you hide your original rig. Otherwise you're not gonna see this effect take place. And then he just gonna tell, poured out just like that. What do we do with that original layer? Well, let's make sure it's visible. Then we can come over here. And we're just going to double-click on that rig on 912. Make sure allow animated layer effects is turned on and then just turn the visibility off on it. And then we can hit. Okay. Now you're just going to go from this to this. What thought? He is gone. We could go in and add some more to this to help with the teleportation effect. I think that's what we're going to do here. We'll pause just to make sure these videos don't get too out of control, although I've already kind of lost control of them. Some are quite long. And up next, we are going to couple this with another effect to help sell the teleportation sequence. 23. Adding a Teleport Glow: For this video, we're working off of CO2 torture chamber part 14. Feel free to open up this file. We're now going to compliment the eraser effect that we just created with a glow and some other things just to help sell the teleportation. We'll start with that glow layer that's currently hidden. If we were to click on the visibility option, we still can't see it because we hit it a while ago. But now we're going to bring it back. So let's double-click on Chad glow on frame 912. And we're just going to come in here and bring the opacity back. So first we want to make it visible. And let's put the opacity down to, let's say one to start, just to give us some room. And then we can click Okay. Now, we want to have this glow increase and then basically dissipate in near the end once he's all gone. 912 to let's say about 954. We'll double-click and go into the glow. And let's change the opacity now to, let's say something around 60 and then hit Enter. I also want to backtrack again to 912 and double-click for the blur radius. Let's change this to five and hit enter. It's going to start kinda like that and increase. Then it'll be good to go. Now as we're previewing this, we can't really see what's going on because of just how we preview effects within Moho. But let's just use Control R1 is to bring this up so we can get an idea of what this is looking like. When we render it, we can see it currently looks like this, which is the effect we want. So as the dematerializes, we're going to have basically his body turned blue in glowing, glowing glow and dissipate eventually with the chat glow. Here. We wanted to command on frame 955 and makes sure that we up the blur radius to, let's say 30 in and hit Enter. And then go to 970 to come in here. And we can change the opacity down to, let's say, 1%. And the blur radius now can go out to 100. And then we'll hit Enter. Also, if I come back here to, let's go 955 and double-click on chat glow. I wanted to bring the opacity of to its highest point. So actually it's bringing up to 75 at that point and then hit Enter. So now you're gonna get this effect where the glow is intensifying and then it dissipates. Again, it's hard to tell what we're doing right now because of how Moho displays things. Let's do another test preview to see this. There we go. As you can see, it's starting to get that faded effect. And then basically once he's all gone, this will then blur even more and then disappear. That's what we have it set up to do. One more thing we can do is add in a flare of sorts. Let us come back here to 912. And we're going to use Control Alt Y once again to import. Coming over here to the exercise files. We can go in to let us go scenes and then scene one and then images. And here we have that flare once again that we can grab. So we'll just click on that and hit Open to bring it in. And we wanted to start at 912. That's where we have it currently set up. But also let's make sure we have this inside of the Chad with chains group, which we do. And we can come in here and just make sure that everything is working the way we want it to, which I believe it is. I'm just going to place this so that the Z property is close to that of the rig. So 0.5 should be fine. And then I can bring this up. I'm actually going to adjust the size of this, so I'm just going to bring this down like that. And we'll even just rotate it a little bit. So come in and rotate it like so. I'm also going to colorize the layer here, so we can double-click on this and colorize it to be. I'm actually going to change it to white this time. And click Okay, and then hit Enter. Now, what's going to happen here is I'm just going to shrink this down just a little bit more. But we're going to have this come down basically to help with the dissipate effect. It can start right about here. We'll also do a fade-in with this, but let's just do the animation first. So the animation is gonna go all the way down. And we can hide the glow does for a bit here just so we can get a better idea of this. Then this will end at 972. Someone's going to bring it down like this. And we can do a little bit of adjusting here. Not too bad, but I might come in and actually just do a little bit of rotation like so. We're going to start this a little bit smaller. So at 912, I'm just going to shrink it. At around 942. I can enlarge it. Also. I'm gonna bring this up so that it's more on the edge like this, so that it's not below the dematerialize effect. At 960, I can come in and just tweak this a little bit. Do rotation. 948 could also do with a rotation. Probably just come in and go like that. It starts small, goes big. We want it to end small. Maybe something like that. Now let's double-click on the layer again. I'm going to allow animated layer effects. So this flare. And we're just going to start the opacity here. At 0. We're just going to adjust the blur radius to ten. Let's go ten. Then we're going to hit apply. Just to hide this at the beginning. Then as this continues, when it gets to you about here, we put the opacity at 100. Then I'm gonna dissipates out. We can put it back to 0. There we are. It's kinda hard to see this, of course, in animation right now. But you will be seeing a preview of this whole animation before you purchase the course, and it will be with your materials. So you can of course, look at that to see how this is playing out. But again, the effect that we're creating here is he's disappearing. There is a glow effect behind him that increases and gets to the apex essentially when he is halfway gone. And then he starts to fade out or that glow fades out as the rest of him fades out. In addition, we have this flare that's following the sketch out effect downward to help sell the beam out effect. So those are just some things that we can do here to help sell it. I think we are good. We could of course do more. We could add in sparks, we could do so many things, but this should help for what we need to do for this course. I'll pause here and up next, we will concentrate on the close-up before the rifle. 24. Creating the Gun's Power Charge: For this video, we're working off of seeing O2 torture chamber part 15. Feel free to open up this file. We're now going to go in and set up the power up sequence for the gun animation. Originally, I was going to separate this out entirely and create a brand new scene and then splice it into the action as we're seeing it play out. However, as I continue to look at this and feel things out as we built up the animation. I'm realizing it's going to be easier just to replace the file and animate out some lights with vectors and just take it from there. Now, there are a number of things we can do here to replace that image that's currently with the alien. And if I come down here and just reveal the alien, you can see that we have that gun. And just to note and to review really quick. The reason why we want to replace this is because we want to show those lights going from green to red to indicate a lethal charge is about to happen. But also the lights are a part of that image. If I hide this, you can see that those lights are all part of the gun, which makes it very hard to edit those lights. If we want to have green to red or whatever. It's not going to work out rather well with everything on one image. So we're going to have to go in here and make some modifications. Again, we can do this a couple of different ways. First, just to show you, if we double-click on this image and go into the image category inside of your layer settings, you have the ability to do what is called set source image. You could just outright replace this image if you wanted to. And sometimes that is the best option. However, there might be a small issue with that. You might find once you swap the image, the proportions are not quite right based on what we did in MOHO, you might find that the gun is too large or too small and you're gonna have to do some resizing or adjusting to get it back to where you want it. If that is the case, it might just be easier to import a new gun, use the old one as a reference for size and position and then remove the old gun once you have your new ones setup. And then you can add in your lights through vectors or whatever you want to do, which is what we will be doing, which you'll be seen here in a moment. With all that said, let's come back here to frame 0. And I am inside the alien guard rig. We're going to use Control Alt Y. And I want to go inside of the Exercise Files. Under exercise files we have props. So we're going to double-click on props and you'll find that we have alien no lights or alien rifle no lights. It is this PNG files sitting right here. I also included a PSD file in the event you want to go a little further with that, but that's optional. You don't need to open that up if you don't want to. So let's just use this one. We're going to double-click to bring it in. You can see it's placed above the alien rifle right here. In terms of layer ordering, it's where it needs to be. What we need to do now is just come in and rotate, resize and reposition. And we can use the original as a reference. I'll just come in here and resize this. And to make it even easier, Let's Alt click on alien rifle, no lights. And then just click once on the visibility for alien rifle right there. And you can see now we can just look at the rifles, which allows us to just come in and quickly get a good reference here. You can see that currently it's too big. So we can just come in here and try to get this closer. Now again, it doesn't have to be identical to the original size and all that, but it will help greatly if it's close. Come in here. Getting this positioned. Like that should be fine. We can overlap it just to make sure that it's looking close. And I believe it's pretty close. We made we might be able to resize just a little bit. Kind of like that. Just come in here. And now we have this situated and I think it's looking how it needs to look. So with that, I wanted to also come over here to the barring layer tool and click on that. And then choose to click on this bone right here, which is the front hand bone. Because we wanted to lock in just like the original. Once you have that setup, we can hide the alien rifle, the original one that is we can bring back all the assets for the alien guard. And to do that, let's just come in here and alt click on front arm with an alien guard that should bring everything back just like that. You can see now there are no lights on the gun. Asked you only. And everything for the most part seems to be working out rather well in terms of the size and position. So with that, we're now going to take a step back here and adding the lights. So let's go back here to frame 0. Let's come over here. We're going to locate that alien guard once again. And we can also just use the Select Layer tool and click on that gun too quickly snap to where we need to on the layers here. Now, let's right-click on alien rifle, no lights, and choose to group with selection. I'm just going to name this one alien rifle. Same name as what we had for the original here. And in fact for the original, since we no longer really need it, we're just going to remove it. So that way it's not confusing us and we don't have two layers. One of which could accidentally be turned on, but we don't want to turn on. Now with that group, we can go in and make some vector layers. So let's just add a new vector layer inside of this group. We can name it light one and hit Enter. So now I'm just going to come in and zoom all the way in and we're going to add the lights on this little piece right here. Let's just grab the draw, a shape tool set to oval. We're going to go over here to the style panel and select the fill color. And we want to make sure we set this to green. A bright green shouldn't suffice, something like that should work. And then we can click Okay. Then we can just come in here and I'm gonna hold down Shift so I can draw a perfectly proportionate circle and just come in and draw this out like that. Now looking at this, I feel like I could do a little bit more. I'm going to click with my select Shape Tool on that green piece to select it. And then come over here to the Gradient option under effect. We'll switch this to radio. And I'm going to allow transparency. Double-click on the dark green or the rightmost color and will reduce the opacity down to 0. So it looks like something like this. Actually, I'm gonna double-click on that one again. I'm going to adjust the color because it's certainly it's currently set to black. So let just bring this up to a lighter green, even though we can't see it because the opacity is turned off. Let's just do something like that and click OK. And you can see it gets rid of that dark gradient on the edge and now create something that's a little bit more pleasing to the eye. I would say, there you are. And you can adjust this gradient if you wish, but this should be okay where it's at. And you can use Control R If you wish to create a render. Even with everything hidden, they can still take a little bit, but here we are. If we just take a look, we can see that it looks like this and it's not looking bad. It looks kind of faded and that's not bad. So we're going to go with this then. And we can simply duplicate this light. And we're going to do it four times. So with light one selected, we can duplicate. And we'll grab the transform layer tool and just bring it down like so. Duplicate. Same thing. Then just one more time. Down, just like that. Now you have three green lights. And we can animate these out as we see fit for the powerup sequence. Now before we go too much further, there's one thing we should consider. And that is when we bound this gun to the hand, we only bound the gun, at least we did currently. If we were to come in here and start playing around with this, you can see that the lights are not currently bound to the gun anymore because we forgot to go in and bind those particular layers. And that could be an issue, but it really is just a matter of coming in and adjusting here really quick. So we're just going to go up to the alien rifle group, grabbed the bind layer tool and then bind the entire group to the hand. So that way the lights will go along with the action. So now speaking of action, we're going to power up the gun. That takes place at around, I believe 624 from sixth 24 until 672 is when we want the gun to start powering up. Let's just come over here. We have the gradients in place. We're just simply going to create a transition effect of colors. Let's double-click on light one and make sure we have allow animated layer effects in place. Then we can hit, Apply and hit Okay. We can do one more render here just to make sure these green lights we just added are. Going to work. It looks good. We can see that the green lights are showing up right there. Now, we want to create that transition. And again, there are a few ways we could go about doing this going from green to red. We're just going to do something simple here. Let's go back to frame 0 and all these lights that we just created one through four, I'm going to command and group those. Just like this. We're going to name it green lights. Now I'm going to duplicate green lights. Name it red lights. And we're going to place red lights below green lights. Let's hide green lights. And I'm just going to come back here so I can see what I'm doing and then go into red lights. And we can start now just by coming in here, I'm going to click on the Select Shape Tool and then click on the first gradient here. And then click on the gradient effect setting. Come over here and just change that middle one to read. It has a code I can put into, get this exact colors. So I'm going to copy that code. Come over here to light too. And then go into my colors here. And we're just going to change that middle color to red. We can just do the same for this last one. Just change it like that and click Okay, like three. Same thing. Just come in and we're just going to adjust the colors just by copying and pasting. Then light for this come in. Make sure you click on the shape. There we are. Now you have those red lights and green lights in place. Let's make sure the green lights are above and on. And for the red lights, I'm actually going to come in here. We'll expand the red lights folder. We're going to select all of these. And we have allow animated layer effects turned on for this. But we're also going to come over here and for the opacity, change it to 0. Then hit Enter. Now the red lights are at 0 and they'll remain at 0 until we need them to come on, which is going to be at 624. At 624 is what we're going to have the power up effect take place. Let me just zoom in here so we can see where we're at within the animation. You can see why we have a green lights right there. From here, we're going to do some fade-out effects. Come back here to green lights. And we'll start with the first one at 624. I'm going to double-click to go into light one under green lights. I'm going to change the opacity to 99% and hit Okay. You can see that creates a key. Now we can go to 670 to go in and change the opacity to 0 and hit, Okay. We're gonna do this now for the others, but not in the same order. So the first light is going to go first and then the second light will go. You guessed it second. So at, let's say 636, we can go in here and begin. This will just change the opacity to 99 hit. Okay. Let's make sure I'm out. Making sure allow animated layer effects is turned on before you do that. So let's just come back here and do that again. And you can see now a key has been set down. And we're just gonna go to 670 to double-click. Change this to 0 and hit Okay. Like three, we can start at 648. Double-click, make sure allow animated layer effects is turned on. Change the opacity to 99 and click Okay, 670 to double-click, change your opacity to 0 and click Okay. So for your last one light for, we'll start at 660. Double-click on light for, go in. Make sure you have animated layer effects turned on, change the opacity to 99, jump to 67, to double-click, go in and change this to 0, and then click Okay. Now you're going to have this effect where the lights appear to be essentially just fading out as time goes on here. Now we need the opposite to happen with the other lights. Let's go into red lights now. And I'm going to click on the stopwatch for light one under green lights. And then click on the stopwatch for light one under red lights. And we can see now the key frames setup for light one which is under green lights. And we just want to do the opposite of what we have here. So double-click on light one. The opacity is currently set to 0 and we have. Allow animated layer effects in place. So I'm just gonna come in here to add a key. We'll add a 1% opacity to this red light. Again, it's not enough to make it visible. So it'll just be enough to add a key so that way we can transition from 624 to 670 to go into 670 to change the opacity to 100%. Now we're gonna do the same here for the other three lights. Again, I'll just stop watch light to under green so that way it's easier for me to see where this begins. So it starts at 636 for the green light will just double-click to go into the light to Settings. Make sure we have allow animated effects turned on, change the opacity to one, then go to 672, and then we can change the opacity to 100 and then click OK. Just a couple more here. So light three. That's going to start at 648. So for like three under the red color, make sure you allow animated layer effects, change the opacity to 1%, then go to 672 and change the opacity then to 100%. Then you have one more here. Like four is right there. And at 660, double-click on light for mixture allow animated layer effects is turned on, change the opacity to 1%, go to 670 to double-click, change the opacity to 100%. Now that should create the transition that we need. And again, it might be kind of hard to tell given we can't see these effects take place on the canvas itself. So I'm gonna pick a spot, Let's just say at 648 and then use Control R to render this out and see if we can see the transition occurring here. Partway through, which will give us an indicator of this is working the way we want. As you can see it is we have a mid transition right there in this next one is also starting to transfer over. So that is looking pretty good. Again, the first light doesn't transition all the way until the end. And so that's why it looks a little bit faded. But I think it works for our purposes. We could also add a glow to the gun for the lights as well like we did in the original file. But I think I'm gonna leave it as is for now and just focus on what we did here. Again, it's a very subtle effect, but with the camera movements in everything that we'll be adding in here soon. I think it'll help sell the effect and of course we'll be adding in sound effects later on. So you'll have that charge up sound, which will also help sell the fact that something major is about to happen here. With that said, we now have that animation in place. We can pause here and up next, keep focusing on the scene. 25. Implementing Camera Movements: For this video, we're working off of seeing 000 to torture chamber part 16. Feel free to open up this file. We're now going to go in and add in camera movements to help build up energy with this scene. Because right now everything is stationary and pulled back. And I think we could do a little bit more to spice things up. This will probably be the last major thing we do with this. We might go back and do some polishing near the end here. But after this, we should have all the major components in place for the scene, which will then allow us to move on to the third and final scene except for the exterior shots where we have the chase occurring. But we're just going to come in now and make sure we bring everything back that needs to be brought back so that way we can see the scene. As intended. We have everything brought back here. Now, I'm just going to hide the filter layer. And it's gonna be a little bit difficult to come in with this because we can't really play it at full speed. But it should allow us to at least get a good idea here. And then once we render it out, we'll be able to see even more what we plan to do here. I'm just gonna make sure we have the Chad character brought back in as well, just like that. So we have the alien come walking in. If we come back here, we have the shot of Chad hanging, and then we have alien come walking in. I'm not sure if we really need anything. We could have a camera sort of panning along, following the alien into the shot to kind of add some more excitement. But I do want to also establish this room. And I don't have a whole lot of time to do that. So I don't want to be doing a lot of cuts and pans within this first three seconds and throw everyone off. I want to give the audience just a chance to sort of take in what's going on here. And we can then do some other camera movements after that. Asked you only one spore. Where is the serum? When he says, whereas a serum maybe we should do a close-up where he aims the gun spore. Perhaps at 138, we could do that. Let's grab the track camera tool. Click once on the scene to establish a key. And we're just going to go one frame up. So that way we are on 139. And I can come in now and using the Z property of the camera, we're just going to push this in a little bit. As you can see as I'm doing this, we kind of get that van and shot, which isn't a bad thing. Let's just see how that looks first. Where the serum and I might hide the van during that, we'll see. But let's just concentrate on the camera right now and then we can focus on that near the end. Where the serum right after he says that I'm going to do a pan over to Chad. So at 198, I'm going to insert a key with a camera. Let's say at 206. So a little bit into the dialogue, we can just pan over. Just like that. We want to make sure that we keep this all within the bounds of where it needs to be. Obviously, we have some things going on here with the background now, with the space background, since we're doing these pans. And we have some issues with the arms connecting with the chains. But again, we're gonna focus on that stuff next, we're gonna just keep going right now with the camera movements. I'm gonna tell you one more time you abducted the wrong guy. I just make animation tutorials. So right after that dialogue, Let's cut back to the establishing shot here. Kinda like this. And we're going to show the lightning now. We're gonna do just a little bit of a closer shot, perhaps, maybe just like this. You can kind of have that going on now. Actually, that might be a little bit too close, so we're just going to go back to that frame and kick it out a little bit more. Something about like that should be fine. It's really wanted to show off that effect. At 396, we're going to add another key and we'll do another zoom in on the alien when he's talking about like that. That was the low setting. Let's go for 44. We'll add a key. Then at 456, we can do the pan over. I don't know what to tell you, dude. We have that line and then let's insert a key at 492. We're gonna go just one frame in to do a quick cut back to default here. Coming like this. Bring it back in. And we can zoom out a little bit more about that serum. Now, I have some vitamin D in my pocket here. Would that work? So now we have the gunpowder ing up. And that's what we're gonna do a close-up in. Remember before I was talking about doing a whole new scene for this, but we don't need to. We're just going to pan in on this here. Make sure we zoom in. We've got a pretty good close-up there. It's going to jump. And again, it's hard to tell because we can't really see that transition with those layers. But we have the lights going from green to red. And at 672, we can just bring this back. We'll add a key at 672 and then at 673, just zoom out to show the characters again. Last chance, I always knew it would end this way. Adapted from my office while recording tutorials and tortured by aliens. Just like grandpa. I wanna leave that shot as is because I want to show the van. We could do a close-up of Chad while he's talking there, it wouldn't be inappropriate to do that. But since we do want to show the audience that there's something going on outside of the ship. We do want to keep the focus here as wide as possible and as interesting as possible. So we'll just keep it like that. Then we have the zoom-out effect. I don't really think we need to do anything else with the camera pans there because we want to show the whole thing will show his reaction and the van and all that. So really we just have the pans at the beginning. We have the close-up of the powerup of the gun. We have close-ups of when the characters are talking. And we do have a few things that we need to correct. We have the van and the distance right here. We don't want that the space background is sort of off alignment when we pan around and the distance is not working with the chains here. You can see that as we zoom in and do different things, it's throwing it off and making it look like it's not apart of the rig. There are a few things we need to correct here. In addition to this, to some other minor polishing techniques. So we're going to pause here and up next we'll dedicate this next video to polishing up all the little areas that need to be polished. Before we move on to the next scene. 26. Correcting Scene Errors: For this video, we are working off of seeing O2 torture chamber parts 17. Feel free to open up this file. There are a few things that we need to go in and correct. Ever since we added in the camera movements, it's revealed some flaws within the 3D set. Some of these are pretty easy to correct. The other things will require some creative thinking in order to get them corrected. But it's probably good. I'm showing all of this simply because these are just more techniques you can use when working on your own productions if you run into certain issues. Let's just start at the beginning and play this scene out and see what happens and what we can catch here. Starts here, he comes in, I will ask you all. I'm actually going to just remove the voices for right now so we just can watch the visuals. This first part is okay. But when we go to the close-up of him talking, I don't really like the fact that we can see the van floating in the background. The van is supposed to be hidden up until basically near the end. So to fix this, I'm actually going to hide the van and just bring it in when I feel it's needed. I can do this by first just coming over here to my layers and let us go down and locate the van group. I believe it's somewhere here. We could also just come up in search for it. So van, and we have the group right there. Let's jump back here to frame 0. I'm just going to double-click on van and go inside, allow animated layer effects and then turn off visibility and then hit Okay. Now the vans turned off. We're going to want it to appear a certain point here. I think it's going to happen right around this point. Probably right after this close-up, I believe is when we have the band come in the shot. I'm just going to make sure we get to that point where the camera changes. And then we can make the adjustment. Right here. At 493. I'm going to double-click and choose to make the band visible. If we take a look here, we can see that the van comes into view at that point. When we do the close-up, we don't have the van being visible in any way, so we don't have to worry about that part. Then the van comes into view and starts to get closer to the alien ship. So that part is now looking fine. The next part has to deal with the space background. If we backup and go back to the beginning, let me just type in BG here to locate the space background. We can take a look. One thing I'll do here really quick, I'm actually going to Remove BG. You'll notice that my timeline is showing light for that was from a previous video. When I was working on that, I turn that on on the timeline. I'm just going to turn that off really quick and then go back to BG that way where there's no confusion as I continue to work. For the space background. There are a couple of problems where we start to interact with the 3D space. I simply didn't push it back far enough in angle it correctly. Because you can see here as we pan over, we get to see the edges of the space background and that's not going to work. So let just go back to frame 0. And I'm going to simply grab the edges here and enlarge this object. We can move it over just a little bit if we feel it's needed to make sure it's covering everything. But now if we come over and we pan back and forth, we can see that it's not having any issues and everything is looking fine there. Now the last issue has to do with the chains. You'll see here on close-up, the chains are offset. And why is that? We spent all this time putting the chains together. Why is it now breaking? Well, first of all, I wasn't really thinking too far ahead when I set the chains up. You may recall that we position these so that they were ahead and behind the character within 3D space, we were basically adhering to the hierarchy we've established for this 3D set. In theory, that's not a bad thing to do. If we come back here to chain two, you can see if we click on the transform layer tool, that this chain is set to 0 on the Z property. However, the chat character is set to negative 0.3 and then the other chain, the back chain is set to negative 0.5. Because we are working within 3D space and we're moving the camera in and out of 3D space and left and right and all that. It's showing that offset within the distance between the layers. And again, that's something I did not consider. The obvious choice would be to go back and reposition these so that they are not doing that. But that would require you to go back through and change the transform key for every single position that you've altered for the chains. And now as you can see, just by looking at this chain, I added quite a few keyframes. So we can't do that, but that's kind of a pain because of all the work we did. So what else could we do? Well, we can create what I would like to call a correction group. We will essentially group these chains which are already grouped themselves. But we will group the groups together, separately and then alter the distance-based on that group. That group will not contain the motion that we animated out for the chain. Therefore, we won't be altering any of the keyframes of those original animation points, will just be essentially adding another correction on top of everything to demonstrate how this can be done, Let's go back to frame 0. We will start first with the front chain. Let's just come up and locate the chat rig here. Just kind of collapse some stuff here to make it a little bit easier to navigate around. Here's a chad rig and as we established, that is set to negative 0.3. And the front chain is labeled chain to, as you can see right here. So going back to frame 0, I'm going to locate chain too. And let's just right-click on chain two and group with selection. I'm just going to rename this one front chain and hit Enter. Now again, change to is set to 0 and the rig is set to negative 0.3. We just want to take this new group and alter the distance. Let's go to frame one. And you could go in and try to push this more into the background by coming up here and altering your Z property. But then they'll change the size of the chain. And then you're gonna have to go through the process of trying to resize it and get it back to where it needs to be. You can, on the other hand, use the Shift Alt method. And what that will do is allow you to push the object into 3D space, but it will maintain the same size, which can be very useful in a case like this. So we're going to hold Alt and shift, and we are on the front chain layer. And if I start to move this now, you can see I can move it up and down. As I do this, you can see now it's set to 0.2087. That's not the direction I want to go in and I want this closer to negative 0.3. So we're just going to alter it again. I'm gonna start moving up. And every time I release the mouse, you'll see that it's snapping back to the original size, but it is actually changing its position within z space. I just want to get this as close to 0.3 or negative 0.3 as I can. Just teach under it would probably suffice. Let's go to negative 0.29. That should be close enough. That's all we should have to do for this. Let's go back to frame 0 and locate chain and do the same thing. We want to group this so that way we can alter the original position. So here's chain, Right-click group with selection. And we'll rename this one to back chain. Then hit Enter. Now back chain or the original chain layer. If we go to frame one, you'll see a set to negative 0.5. The chat rig is set to negative 0.3, which means I have to add 0.2 or roughly that in order to get the back chain close enough to the same Z space as the rig. If we go to back chain, it's going to be set to 0. We need to get this to about 0.2 to offset what we did before. So on frame one, I'm going to hold an Alt and Shift and click and drag on that chain. I'm going to start moving down to bring it up. Again. We want to get close to, point to as close as we can. So 1971 should be close enough. Now we can test this by just paging forward. And on any of the close-ups we had with him, that's where we were having that error with the chains. But you can see now that it has been corrected, the animation has been maintained. And so whenever we have any animation going on that we created, you can see that it's all still there, working out. Now there might be a couple more things I could go in and correct. For instance, we might want to put the shackle in front of the wrist just so that it looks a little bit more complete. We can also work with the alien hands a little bit as well. Maybe add a finger going up to that trigger. Certain things like fat. But for right now I'm going to leave this scene as is. I feel like we've done plenty of work to warrant a pretty complete package. And maybe at the end of this course I'll go back through and add those small little changes so that way we can have a more complete production. So we're just gonna leave this here for now. I think all of the major errors have been ironed out. We have our close-up for our power up. We have the van. We don't have any weird glitches. We have the teleportation effect. Of course, we can't really see what that looks like here because of just how this all works. But if we were to come in and of course look at this in more detail, we would be able to come in and hide all this and we'll be able to see that animation now if we do that. But anyway, we are good to go. I'm going to pause here and up next we're going to jump over and start working on the next scene. 27. Setting Up Teleport Dial: For this video, we are working in MOHO and we're going to jump over to the third scene. But before we get to that point, I'm going to open up the file that we made for the character tell reporting in. We're going to modify it a little bit. The reason for this is we could go in and try to create a new effect with the character materializing into the van. But why do that? When we have the effect essentially made and we could repurpose it. Now this adds some complications to the process because we need to figure out how we're going to reverse the frames. But we can do so with just a couple of tweaks here and there. And I think it'll help overall with the speed of the production. Let's open up that file with Control O or Command O. If you're on Windows. And I want to go to the Exercise Files, go to characters, and we're going to go to the chat beam out layers folder and then locate the chat beam out Moho file. So just double-click to open that up. Again, just to recap. It's just this file of him disappearing. Just like that. It would be nice if we could again do a reverse of this so that when he comes into the van, he teleports in rather than out. You can't From what I understand with MOHO, go in here and just select these and right-click and do a reverse. I believe you can do something similar in After Effects if you wanted to do a reverse of sorts. But here we're going to have to use the tools available to us that Moho provides. In this case, I think the best option will be to create a dial. So that way we can control just how this moves. To get that dial created. Let's come back here to frame 0. And we want to actually group the chat beam out frame by frame layer into its own group. Right-click, and then choose group with selection. Here we can rename this to Chad, beam out with dial. That way it's pretty explicit and we know what that's supposed to be. The next thing we want to do is convert this group to a bone. So that way we can create the dial, right-click on that group and then choose Convert to bone. Now we should be set up for this. While on that bone layer I'm going to hit a to bring up the ad bone tool holding Shift, click and drag up to add in a bone going straight up. We can come in and change the bone name to beam out. Now, let's select the bone. With bone constraints. We can change the angle constraints to negative 9090 and then hit Close. Now, the next thing we're going to do is create an action for the style. On the main line, we will just create a new action with that bone still selected. So that way it names the bone the exact same and everything is good to go there. Let's make sure we are on the main line for this. So double-click to go back out to mainline and click on the chat beam out layer. You'll see that we have all those keys setup for the beam out effect. We're just going to come in here and select all those keys and use Control C or Command C. If you're on Windows, then double-click on beam out to go back. And we're going to be on that beam out layer. And we're just going to paste the frames in place. So it goes just like that. The other thing we want to do is make sure the dial is set up so that it's going to animate properly. When we bring it down like this and don't mind it being drug along here. We'll change that in a moment. Going left will be whole. And then I believe this last for 60 frames. So then going right will be completely gone. So it's going to kind of go like this. Except let's go back out here now two main line. And we want to click on the bone strength tool while the bone layer is selected and just kick that strength back to 0. So that way we don't have this being drug along as we are working with the animation. Now if we go to frame one on the main line, let me grab the transform bone tool. You can see we can come in here and do this, allowing us to fade in and out the character. As we see fit. We don't even have to go the full 60 frames. We could have it be just to frame 18 and he could disappear all the way out. It allows us to adjust the speed as well as the direction of this. So he had been back in just like that. So the image stream we use before works. But if you want more control, you can do something like this. Now we can go a step further with this by adding in. Additional effects. Let me come back here to just frame 0. I want to import that flare that we were working with before. Let's use Control Alt Y or Command Alt Y. Go to your Exercise Files and we're just going to go to scenes. Will go to the torture chamber. Inside the torture chamber, if we go to images, we should be able to find that yellow flare right there. So we'll just click on that and choose to open it up. And we can come in here and adjust the size and all that. But let's first make sure your yellow flare is inside the bone just like that. And then we can come in here and make those adjustments. Now let's click on the bone layer and double-click on beam out to go in. And here we have the beam out effect taking shape. We're just going to grab that yellow flare, bring it up. We have it go down like so to frame 60. So we can just come in here and do that. Here's it up a bit like so. I can make my adjustments here. So in frame 24, I'm just going to raise it up. Frame 48, I'll raise it up a little bit as well. Just like that. Also will start smaller on frame one to frame 24 here and just create a size key frame and then go back to frame one and reduce the size. So it kind of goes like this. And then at frame 60, I can also reduce the size. So it looks like that. Then we can also adjust the opacity. So starting at one, we'll go into yellow flare. We'll enable animated layer effects. Come over to the opacity and we'll change it to 99. And just looking at this, maybe we can change the glow to 100 at around frame 30 here. Let's go back to frame one now and reduce the glow of that even more. So I had it at 99, Let's actually put it to 0. Then it'll go to 100 and then back to 0 at 60. Now if we come back, play this out, we can see it just kinda goes in and fades out. Now let's do one more thing here. We're going to add in the glow effect that occurs as well. So we have that blue glow go over the character as it's being teleported out. Let's go back to the main line here really quick. I'm going to go to the beam out frame by frame layer and go all the way down here to the bottom, locate Chad, beam out one. And I just wanted to duplicate that. We're going to duplicate it and then bring it all the way up past this. But we'll place it above the beam out layer. I can come in here and just name this to blue glow. That way, it's a little bit more explicit. Now for blue glow, I can command by double-clicking, we will allow animated layer effects. And let's colorize the layer. Can bring it up like that, and I'll just bring the opacity up all the way and click Okay. Now if we come in and hit Control R, You can see the blue effect is completely taking over the character. We wanted to just kind of have a fade in and out effect similar to what we did with the flare that's going up and down. Now with a blue glow where it needs to be, we can double-click on beam out. We have this occurring now. So let's just go to frame one for blue glow. Now double-click. We have allow animated layer effects in place. We have colorized layer set. It's a solid blue. We just want to now Command and change the opacity of this to 0 on one. And as this animation plays out, Let's go to 30, double-click and change this to 100. Then when it goes back to 60, we can then reduce this now then back to 0. Also on frame one, we can double-click on blue glow again and change the blur radius to 20 and hit okay. If we were to go in-between any of this with these frames and we were to take a look, we can see how this is playing out. We have that blue glow occurring and we have then the body materializing as we need it to materialize. Now one more thing I do remember I changed the yellow flares color Last time. I can't quite remember exactly where I had it set. So I'm going to open up part 18 of s2, just so I can quickly reference that color to make sure that it's going to be similar to where we were at. So just go to frame 900 or about that. And I just want to find that flare really quick. It's happening right there. I'll just grab the Select Layer tool and come into the teleport flare. And it looks like we have it set to white. And I remember that being the case. So I just wanted to double-check over here for that yellow flare. We're just going to come back to the main line and then double-click on yellow flare, go to colorized layer, set it to white, change the opacity so that it's all the way up. And then we can hit enter. Now that should give us the effect that we are looking for. Now we can come back here and we can start playing around with this. We can put it wherever we want. So if we put it like right down here, hit Control R. You can see that it looks like this. If we come back, put it up like that control are, you can see that the effect is in place and it is looking good. We now have this setup so that way we can just drop it in and control it as needed. We could have done this again before, but the image sequence that we put in place works just fine. Again, it just gives you more options to play around with, in more ways to work. So hopefully by giving you all these examples, it gives you ideas of how you can work with your own productions. Once you get to that point. Now that I have this setup, I'm actually going to save this file and then gather media. And I'm just going to put this inside the character's folder. We can name this one. Chad. Beam out with controls. Hit Save. Now with the media gathered, and that file is saved. We can pause here and move on to the next part where we will be bringing this rig in, setting up the beginning of scene three. 28. Setting Up Van Interior Shot: For this video, we are back in MOHO and we're going to open up the third set. So we can go to File and open inside of the exercise files, you'll find these sets folder. Double-click on that. And here we have the interior van shot. Let's double-click on this and then choose to open up that interior shot. Once we have this in place, we can begin importing the rigs. First. We can import the alien who will be in the driver's seat, which just use Control Alt Y to import. Go to your Exercise Files, go to your characters. Here we have Frank version one. Let's just double-click on that and then double-click on Frank to bring him in. You'll get an import prompt here. Once it figures out what it wants to do. So right there, we'll click to import. Now. We have frank. We want him inside the van. So lets just grab and drag him inside of the van groups. So he's in the 3D set. I'm going to use the layer selector to click on this seat right here. Because I wanted to see where the Z property is for it and it's currently set to 0. So I'm just going to come over here to Frank. We're going to bring up to, let's say 0.25. So he's just a little bit above that seat. We can flip them and get them into position. Perhaps about this, I might do some adjusting, they're a little bit perhaps I might have to have them bend downward as he's driving the vehicle. Or maybe I'll just adjust the size as we continue here. But we will just put them right there for right now. Now we want to import to more rigs. First, we're going to import that teleportation effect rig that we just made. And then we're going to need the actual Chad rig so that we can finish up the scene with all the animation. We will import the effect first. So Control Alt Y, go to your characters, go to the chat, beam out with controls, and then choose Chad beam out with controls. Here we're just going to select that Chad beam out with dial option and click OK. Now, just to double-check here, we have him in the van group, which is where we want him. Let's come over here and make sure we select this seat. Right there. It is currently set to 0.75. So we'll put Chad up to, let's say one. Just goes up like this to about one end. We can flip him, resize him, perhaps about like that. Then we can place them in. So he's going to come in and he's going to teleport right in. And I don't think I'm gonna have them there right away. So let's just do a little bit of an animation here to get this established. On frame one. I'm actually going to have them set to just nothing. Then we're gonna have them animate in when the time is needed for him to come into the shot. Now before we get too much further, there's one thing we have to consider and that is lining up the audio and the dialogue with the previous scene. We can do this by referencing the previous scene and just coming in and making sure that everything is lined up and looking the way it needs to look. If we go to File and open and go to the Exercise Files and go to scenes. We want to go into the torture chamber and we're going to come in. Let's locate part 18 and double-click to bring that in. Here. If we go to frame 1000, we can see that's where this is going to end. If I bring back my voices, you'll see that we have more voices continuing on. From here. What I actually want to do is on this scene, I don't want any of the action to begin until 10001. Now that might seem a little bit weird, but we're going to import the audio like we did before. So that way we're gonna have the beginning audio set up. And we can use that as a way to sync up these scenes later in a master file. So that way it all flows the way it needs to. That might not make a whole lot of sense right now, but hopefully it will, once we get to that point, just know right now we need to set the scene up so that we have all this space. So that way it's easier to accommodate when piecing it together. Later on. With that said, I'm just going to come over here and we have two files I want to hide. I'll double-click on van and come over here and make sure it's invisible. I will also allow animated layer effects. And we can hit Okay, Same for the background. Just come in here and make sure it's invisible. Now, I'm going to extend this out to you, let's say 2 thousand frames and hit Enter. Now we can come over here to one hundred, ten hundred and one. And we're going to re-enable visibility right there. Come in, reenabled visibility on the van. Re-enabled visibility with the background. Now, I want to come over here to this file, the part 18 file, and we're going to just copy the voices folder. So Edit, Copy layer. Come back here to the interior of the van. Go back to frame 0, Edit, Paste Layer. Now your voices are in shot. The only thing though is we don't really need the guard. In this scene. We do need chads voices, but we don't need the guards since that's another scene. So we're just going to remove the garden mixdown, but then use Control Alt Y to do another Import. Go to your Exercise Files, Go to your audio voices, and then choose frank mixed down from the list. Now we have that voice in place. I want to double-click on Voices, allow animated layer effects and we're going to turn off visibility for voices. That way. It's just another reminder that we're not going to be animating any of this because we have this red color here on the timeline indicating that nothing is able to be edited or changed. But then we would have 101. We're going to bring the voices back. 101. We can come in here and bring the voices back so that way we can hear them. And it's easier to edit from here. Cutting it a little closer. Now, we have Chad coming in saying, cutting a little close, don't you think, and all of that fun stuff. We probably could use a little bit of establishment time though with this. Because right when we start, he beams in and he's talking, we might want to just kick this back a little bit more. Maybe we should start at 960. We'll just double-click on voices, come in here and make those visible along with the van, make that visible and lonely universe. We now will start at 960 on this. And we're going to have just a few seconds here. Again, we might cut some of this out, but it's better to have more than not enough when you're animating and then you can choose to edit later if you have too much. But now, cutting it a little close, Don't you think? Sorry, I almost got swallowed up by a space worm. So now you have the voices coming in here. And we can now begin the process. Then when it comes time to piece this together in MOHO, we have these natural sort of checkpoints setup for us. So that way we can kind of keep running with this without too much issue. This also means when we piece things together, we don't have to drag groups around to try to align things up. We can put all the groups together and just have the visibility options sort of be the change to the timelines for us as we continue along. So let's come over here now to the van and go to the chat beam out with dial. Let's back up to 959. And I'm just going to insert a keyframe here for the dial and then go to 960. That's when the scene starts. And then we're gonna have him teleport in maybe at around 996. He's going to tell pour it in like that. Then we can have the other rig takeover. So right when he teleports in like that at 997 is when we will have the actual rig takeover and we can start the process of all this. I'm going to use Control Alt Y to do an import. Come back here to your Exercise Files, go to your characters. And here we want to go to Chad, virgin one, and bring in that rig will choose Chad and then click Okay. Now that rig will not appear until 997. And let's just make sure we know what we're doing here with the positioning. Chad is set to one on the Z properties. So we want to make sure that this rig is as well. Come in and make sure he's set up the way he needs to be. Then let's go back to part 18 here. And I'm just going to come down to the Chad layer here. We have these bones setup in a certain way. And that's where he beams out. And I wanted to have that same pose. So instead of trying to go back to the third scene and reposition the bones to get it into position. I'm just going to go to frame 1000 on here. Use Control F to lock down all of the bone keys. And then we're just going to copy those. So Control C, come back here to your van, locate the new Chad rig that we just put in, and then Control V to paste. Now he's in the same position as he is in the image. We can just come in now and swap him and just try to resize and rotate a little bit more to get it where we need it to be. We might have to do just a little bit more adjusting here. It just kinda depends on how we had the setup. I might hit the rotate a little bit. So maybe it's come in and rotate slightly. Then down a little bit. And then over. Something about like that, it doesn't have to be perfect. It's going to be a pretty quick transition. It's gonna go like that. And then he's just going to drop into the chair. When he gets to this point, we can go to 1002. Then he can drop into the chair. So it's kind of like this. Lands cutting. Then we'll have them prop backup. Actually at this point, I might just on that Chad layer come in here and look for a action here. So let's just go to our morphs. We have the stand poses. I can command and just add this. We'll use a copy for that. And the only thing is with his arm here. It goes up as you can see when it's transitioning. I'm just going to change that. Tried to at least you can see that arm is going a little bit nuts. Let's just come in and select those bones for that arm. And I'm actually going to cut out all those red keys for the arm. I'm just going to redo it. So at 102 or 100 to try to readjust really quick. There we go. Then he can start talking to his alien friend right there. You just had to get a little gonna tell port in and then land. And he starts to talk. And the alien of course, will then be interacting with them as we do this. The last thing I want to do is just hide that beam out with dial rig at 997. When the chat Rig takes effect, we're just going to come in, make sure we have allow animated layer effects turned on and make sure we cut the visibility of that other rig. So it goes from this to this. There's still some work we could do with that transition in and I'm not quite sure if the aliens positioning is correct yet as well, but we'll be working on that here after we get the lip sinking in place. But we should now have a well established scene for this. We have everything laid out. We of course have a lot of dead space, which seems probably counterproductive right now. But once we start piecing this together, hopefully the way I have time this out, we'll make more sense. With all that said. We're going to pause here and up next. We'll keep working on this scene. 29. Lip Syncing Chad and Frank: For this video, we are working off of seeing O3 interior van part one. Feel free to open up this file. You'll find it inside of the Scenes folder. We're now going to just lip sync up what we have here for this new portion of dialogue. Then we can move on to adding body language. Now, I could just cut this portion out and just say, Hey, we lip sync. But this course is already long enough. So why not just add a little bit more time to it and show the process of lip sinking again. You can by all means, bypass this section if you are already clear on how lip sinking works, and move on to the body language section which is coming up here soon. If not, then strap in and let's start lip sinking. We're going to first focus on the first voice, which is chads. We can come in to the voices here. Let me just make sure I locate those. And I noticed that the voices are actually in my 3D set. It's not a huge deal, but it's just easier to work with if I bring them outside of that. So we're just going to bring it out and hide the frank dialogue so we can focus on chats dialogue. And let's go into the chat rig and locate the mouth. So it's right there. We can come up here and go to Window and switch selection to bring up the switch selector, you could of course, use whatever you want for this. And let's make sure we're actually on the frown for this so that way we can animate out the mouth. And once we're good, We can get started. Let's just start here. I'm going to insert a key foreclosed. So I'm just going to go back and forth really quick and just to get that key in place, cutting. So we're going to have ETC. Let's go here. We have an L sound. You want a, they're close. Here we are. We can close the mouth right there. Okay. Cutting it a little close. Don't you think? There we go. Then we have a little bit more over here. Now the next step is, let's start at 117. Since there is a breathing I have there. And we'll just go a couple back at 1068 to establish the closed pose and then go in and we'll put in an IPO. There we go. Now the next step is to keep going, keep going. I believe those might be all the voices we have here. Let me just take a look. What's the plan? There we go. I guess I missed one. So let's come back here. Now the next step is to write here. So what's the plan? What's the plan? Come over here to the mouth. Make sure we have it set to close first. What's the plan? We have that in? And I believe that's all the dialogue that we had because it's mostly the alien talking from here. Let's just come back really quick. Just to make sure I can re-enable that alien dialogue. Cutting it a little close, Don't you think? Sorry, I almost got swallowed up by a space worm. Still got the vile. Yep. Now the next step is to. It more. What's the plan? There we go. Okay, so now we just need to go in and do the aliens voice really quick. It shouldn't be too hard. Let's just hide the chat mixdown. Come back here. And we're going to jump in and start with the voice sinking. Come over here to Frank and go to mouth. So we'll begin by just touching up on each of his voices doing what we just did. And we have the chat voice hidden. So that way it just easier to figure out where we're at here. To begin, I'm actually going to have his mouth closed, so we'll go to 960 and just make sure it's closed. And then we'll start here. Keep going here. That's th. There we go. Keep going here. Do a close pose for the B sound. There we go. Let me do the S sound here. Closed. Okay, so we can take a look at this really quick here. If we zoom in, it's kinda hard to see just because of how this is set up right now. But sorry, I almost got swallowed up by a space worm. Still get the vial. We got to get guys come in knowing isn't I guess it's too late now. That's his voice. Okay. So we're gonna keep going here. Then we have just one more round of it here, just two more lines. Shields can't take. We're just gonna go in here, make sure it's set to close. I think this is the last one right here. Actually, I was wrong. We have two more. Okay. It goes guys and knowing what I was thinking, That should be good. Maybe add a little bit of a up there. Goes. Let me just go back here and review this really quick before we wrap up the video. Just going to come in here and re-enable the visibility for the Chad voices as well. Teleports in cutting it a little close, Don't you think? Sorry. I almost got swallowed up by a space worm. Still get the vial. Yep. Now the next step is to get out of here. Then it's gonna be the part where we have the van being chased. That's why we have all this space. I shields can't take my tomar. So what's the plan? That's now all lips inked. And we just now need to go in and add in the body language and the reactions to the explosions in the lasers flying by and all that. So we're gonna pause here and up next, we'll keep building up this scene. 30. Modifying Chad Rig for Body Language Animation: For this video, we are back in MOHO. And I want to begin by opening up the original Chad rig that was standalone from any scene. You may recall we started with that and we imported it into our other sets. The reason why I wanted to do this is because in this section, we need to animate a part of the body language when they refer to the vial. And I want Chad to actually pull it out of his hair or pocket or something. However, when we created the rig, we forgot to incorporate the vial in the hand. There are a few ways we could tackle this, however, because we offset this new scene by 960 frames, it can be a little bit challenging to get that new prop or hand into place. We're going to go about it a little bit differently and see what we can do. So as I said, the first thing we should do is open up the chat version of one rig. You'll find it right here. We can just double-click to open it up. Now we have no animation or seen here, it's just the rig, which is what we want. When we animate this out, we're going to have him pull the vial from his hair or something. So it kinda grab it and you'll yank it out. It's cartoony, meant to be unrealistic and kind of funny. We need his backhand to be holding a vial. If we go into the rig here, let's go down here to the backhand and we open this up. You can see we have four variations of the hand in place, none of which though are holding this vial. Let's use Control O once again to open up another file. Go to Exercise Files, go to props. And under props you have vial. Double-click on vile to bring it up. Now, if you were to use Control R on this file, you can see what it's all about. It's just a vile that's supposed to represent I don't know whatever you want really. You can see if we page through the timeline and render again that we actually have a glow effect that pulse rates as well as bubbles that are going up. So this is set to a cycle effect. You can see if we go into any of the bubbles that they're cycling. And so this can go on for a ramp. And so we can have this go on forever and ever and ever, and that's good. So this is what we're going to use as a prop. Let's just click on the vial layer that's on your layers panel and go up to Edit and then Copy layer. Come back here to Chad version one. And we want to go down to that backhand. Will just click on Open hand, palm and then go up to Edit Paste layer. As you can see, the vial is now pasted within the backhand switch layer. Now of course we need a hand for this. What I'll do is Command and right-click on vial and choose to group with selection. And then click on layer six and rename it to hand with vial and then hit Enter. Now, I'll come down to the fist bottom layer and we're going to duplicate it. Take this new fist bottom layer and bring it inside the hand width vial layer. From here, we're going to grab that vial. And it might be easier to come into the vial and hide the glow, because the glow is hard to work with in MOHO itself when we render it, it's transparent, but here it's a little bit harder to work with. We're just going to come in here and start to work with the vile layer. And I'll actually also come in and just adjust the origin point for this. So put it in the middle that way it's easier to resize and rotate. There we are. We can come down here and just shrink it up so that it looks like it could fit into his hand. We can rotate it. We can place it in just like this. Now at the moment it doesn't look very convincing. You can bring it over like this, and this might look a little bit convincing. It just depends on how big you plan to make it. So I'm actually going to make it a little bit bigger like this and we'll bring it up like so. And then take vial and actually bring it above the fist. Make sure it's adjusted. There we are. And we'll make a new vector layer. Economic fingers. Let's just zoom in a bit. Grab the eyedropper tool and click on the hand. Then come over here to, let's just do the shape tool and we'll select the oval and make sure we have auto stroke turned on and come over here to style. And we should have the color for the stroke and fill the same as the hand. Since we eyedrop heard it on that fingers layer. I can just come in and I'll draw one oval and rotate it like so. Just bring it down like this. I'm going to use Control C and V to copy and paste. I'm gonna do this four more times. Just like this. Now will come in and start to move some of these points around just to get things looking a little bit more like they should command. And we can round this one off a little bit, maybe shrink it down. This one can be about like that. This one can be a little bit bigger. It's kind of like hanging out like this. Then the last one we can make smaller. Actually might be better to maybe do it like that. Also, if we click on fist bottom, we can see that there's some points from that original layer still poking out. I'm just going to take the select Points tool and lasso around some of that stuff and just delete it. It's hidden due to the fingers anyway, we might as well. And one more thing we could also do for the fingers is we could add a thumb. The thumb could actually be right here. And before I do that, let's turn off sharp corners. I'm just using the Add Point tool here. It's going to come in. And just kinda like that actually will create a shape like so. Then we can grab the height edge tool and just hide the edges like that. There we go. So now it looks a little bit more convincing. Like the hand is holding this and it's looking good. Now with that, I'm going to save this file. So that way we can reference this new file with this new hand pose. And again, it all should work now. So if we come back here to backhand, we can right-click, choose open palm, right-click and then go to hand with vial, and it'll pop right back into place. With that. Let's go up here to file. And I'll just do a gather media just to be sure that everything is where it needs to be. We'll go into the characters here, the Characters folder that is Alice name this one Chad version two with vile, hit Save. The media has been gathered. Now, if I were to close this and I can close the vial file as well and come back here. We have Chad virgin tooth with vial. We can double-click on that. And the vial is now in place. Now with that, we can move on and start building up the body language. In the next video. 31. Animating Chad's Body Language: For this video, we are back in MOHO and we're going to need to open up two files for this particular part. Let's use Control O or Command O if you're on Mac. And first, since we're right in this folder, I'm going to need the file we just created, which is Chad virgin with vial. So I'll double-click to open that up. Next, Control O. I'll go into the exercise files under scenes under seen O3 interior van. We have interior van part two. Let's find the Moho file for this and double-click to open it up. The first thing we need to do is get that vial. The hand holding the vial pose into this scene that we're currently working on. Since we already have some work in place, we really don't want to start over with the rig. So let's just go in and try to modify. We're currently on frame 0 of this scene. And you'll recall that we offset everything to help us with putting it all together in the end. And so on, frame 0, everything looks invisible. So what I want to do is just locate the backhand for the chat rig, which is right down here. We come in, we can see we have all those poses. Now let's just go back here to Chad version two with vile. I'm going to click on hand with vial, Edit, Copy layer. Come over here to the scene and we'll click on open hand, palm and Edit Paste Layer. Now we have the vial within the rig. We should be able to use this now as we move forward animating the body language, Let's go to 960 and hit Enter. And we can begin the process. Let's make sure of course, we're on the right scene here, so I'll click on van. We can start with the chat rig, so I'll make sure I click on that next. We already have some animation in place, you'll recall because he comes beaming in, cutting it a little close, don't you think? And he starts to talk. Now, I originally had it setup so that he has his hands and his sides. And I think that's completely fine for this particular part because he's sort of angry at his friend for taking so long to save his life. And we can go in here and add some pupil movements as well as head turns, which we'll do here. After we get done with all the main pieces of the animation. Think I almost. So he has his dialogue that is Frank the alien. This one still got the vial. That's when he says, Do you still have the vial? And that's when Chad is going to pull out that vial that we set up in the previous video on the chat rig. Let's just use Control F to establish keyframes for this. We can go in and hit the actions panel here so that way we can just quickly add in some poses for him if needed. So we're on the chat rig. Let's go to down poses within the actions and just click on down to and we will insert a copy. So it's gonna be kind of like this. Actually, let's do an opposing instead. I'm just going to use Control Z to undo that, insert and come back here. And let's find the poses here. Do I have any opposes? So maybe I don't. That's okay. We'll just do an oppose ourselves. We don't need any other poses. We know what we're doing here. So let's co-opt like this. Go down like that. Just to kinda give them a little bit of an anticipation here. When he comes down. I'll have his backhand go up. Then perhaps on 1173, I can just bring this up a little bit. Kick the head back. We can leave the hair loan. Let's just grab the head and move that back. And then grab the arm and we'll just bring it over like so. Now, the next step, I'm gonna have them hold there for a moment. And then at 1182 will just insert some keys and then page 21185 go down. Then at 1188. Let's move this back up. And then that's when we'll reveal the vial. Then we can have them go back to a more neutral pose. And to do that, we could just do it manually, but I'm actually going to go back here to the stand poses under my actions and click on stand arms at, it should say stand arms at side and just click. And that's good, but we just need to come in here and make sure that this is backup like so. Except this. Particular arm here. It's kind of being a problem. The front arm, not quite sure why it's doing that. So we're just going to try to get it to not do that. Let us try to grab that arm bone. It's going to bring it down like that. Just wants to rotate, doesn't it? Let's take a look here really quick. So if I click on the transform bone tool and I come over here, we can see that the angle is 565, and then it goes back to 205. Next day. That's the problem. We need to make sure it doesn't do that. Maybe what I could do here is just put it to 205 right after 1188. We can't even see that change. And then just kind of stress right? Then it just kinda rest like that. We can bring this over and oops, let's make sure we're doing that. There we go. He's gonna be kinda looking down at it. I was just talking about it. So now the next step is to of course we need to do the hand poses, but let's just get the main body pieces down and then we can get to that. What's going to happen here is they're both gonna react to an explosion. Because the alien ship that he just escaped from is chasing them. Right after his dialogue at 1205, we'll use Control F to insert keyframes. Then we're going to have him kind of propelled forward here. Actually before that, let's go to 1207 and just do a little bit of a back kick like this. And then it's going to go like this kind of flight forward. Boom. Then you can kinda kick back. He's little bit off camera, but that's okay because we will be adjusting the camera here near the end so we can accommodate for that. So he gets hit. And then we'll bring them back to default, which would be at 1205 where we added that key. Command. Copy that. Then at 218, he's back in that same position. But I might actually do because that looks kind of jarring. Kinda wanted to last a little bit longer. Let's just grab that block of keys just by last longer around it. And I'm gonna hold an alt and drag so that we end at 51 seconds in. I'm actually going to grab and drag this back so that it begins at around 1203 to I think that's going to work a little bit better. Again, when we get to the aliens body language, we will also animate him jolting. And of course the animal jolt from whatever is being impacted and everything will just lock into place from there. We have that and then we have this gap. We're gonna have the exterior shot of the alien ships flying and changing. Okay, so we have to decide then we want to do a chat. So he's holding the vial here, you know, at this point, he brings it out, there's an explosion. He's holding it. The ship rocks and the aliens like we gotta get out of here and then we're gonna cut to an exterior shot. I don't think we need to have the vial in his hand when we come back. I think it would just kind of proved to be distracting. We've already established that he has it. We've established that he keeps it in his hair of all places. So it's going to hopefully be insinuated here when we cut back. He will have access to his hands, but also maybe he just put the file back in his head, his hiding spot in his hair. So let's come over here to 416. Actually will start at around 14 O nine and I'll use Control F to just lock this down and then we'll go up to 410. And we'll start and establish a neutral pose for him for this next scene. Maybe more than a ready position since there's more tension going on. Now, what's the plant? My character or the Chad character at around 1470 starts his dialogue asking, what is the plan? Let's just add keyframes at 1470. And we're just going to go into the actions and add some keys here for the talk Poses, sort of key for this one. So what's the plan works? And then we can just go back here to stand at stand arms at side and then insert that heating it back. Now we want this to stay here for a little bit. We don't want his arms go down right away. So I'm just going to copy these keys and bring it over to 1488. What's the plan? And also I'm gonna have them lean forward when he brings his arms up like this. What's the plan? Then with that will come in and copy those keys and paste them back to 1488. What's the plan? I'm just going to kick these keys at 1494 and kick it back to 1490 to move these arms back a little bit like so. And then at around 1496, we'll just kind of kick it back like so kinda go like that. And then we interspersed that with the exterior shots. And I believe that's all we really need for this. Now let's quickly go back here to 960 and just add in any eye movements or head turns for this. Cutting it a little close, Don't you think? When he talks like this here and just get that Chad rig ready to go here. He lands and what he's doing and looking down is fine. However, I'm kind of curious to see if I could just come in here and lower that a little bit more. Then when he lands, maybe kinda go up a little bit. Then you can kind of go up a little bit like that. Maybe just come, it'll turn it a little bit like so. And the pupils right here scrap, kind of move it up like that. Cutting it a little close. Don't you think? We're just going to copy those keys at 108? Bring them over here to 1164. Yep, now the next step. So here we can animate some stuff out. We can do, let's say at 1170, putting his head down. And we can also do perhaps a right turn like so. Then at 1176, maybe raise it up a little bit and bring it more to the center of the screen. Yep. Now the next, when he brings it out like that, we can kind of maybe do an opposite reaction to that. We can just raise the head up. Now the next step is we go. And when he's resting at 1194, I'll just kinda bring the head over a little bit like so and maybe down a little bit so it looks like he's looking at it more. So now the next step is to I don't want the head, the float here between 1194 and the next set of frames. So we'll just copy those and bring them over 1203 and paste. And then they're gonna get hit. So maybe just bring this down and over a little bit is to then at 1217 can raise the head up, bring it over like so. Then maybe just bring it over here at 1200 for just a little bit over this way. Now copy that. Bring it over to the next set of keys. That way the head is in floating end. Let's also go here to 410 and just control F to insert keys to lock that down since I'm moving the head around here. And we'll copy those keys and bring them over to 1470. What's the plan? The one he says, So what's the plan? I should probably have them look more over at the alien. Will copy those keys and make sure that 1488, that they stay the same. What's the plan? I can have them kind of recoil the head a little bit. Maybe have it sit about like that. Hang on. And then we go to the scene where they're being shot at some more. Here they will do a cut back to the alien. Perhaps a close-up saying here goes nothing. And then we'll cut again to them careening towards the sun. I'm just going to come back one more time here and do blinks as well as eye movements because I didn't do all the Close, Don't you think? Sorry. I almost got swallowed up by a space worm. Still got the violence. The violence come in here. I'm just going to start moving the pupils around as I feel it's needed. Let's see here it is going to come in here. And I'm actually thinking, because I still have keys laid down for this particular bone, the pupil alone. I'm actually just going to zoom out. And starting at 1178, I'm just going to go up and remove all those keys for that bone and then zoom back in. That way I can just do this without having to worry about it floating about from other keys. Then he's gonna be looking at it. There we go. Yes. Now the next step is to middle. And then we'll do a closed eye phase. They're in a moment. Then when his friend starts talking, he can resume his eyes up. Kinda get cut to the next part. So what's the plan? That's okay. Maybe at this part, let us go back to 1631, insert keys. Then at 1362, maybe he's looking ahead at this point. Even the head's turned. He's just kinda looking more forward that way. Goes. There we go. Then I'll add in the blanks. So let me just come back here to 960 really quick. Let's make sure we click on that blink bone and just right away come in and make our lives easier by removing all those red channels. That way we can just move it as we need it in without having to worry about it floating about. When he comes in. We'll have them land. I'll insert a key at 999. Widen his eyes and then he'll land. Like that. I think is a little close, Don't you think boundary. Then I'll just do a blink. There we go. I almost got swallowed up by a space. I'm actually going to come in here and make sure that the beginning and end of that blink animation are the same. There we go. Almost got swallowed up by a space worm. It's still got the bile. There we go, still got the violence. Then when he reaches into his pocket, I can do closed pose. There we go. Yep. Now the next step is to then when that explosion hits, starting at 1206, bug the eyes out again. Close them. Then we can open them wide. Hands. Can't take what's the plan? Hey, when he says So what's the plan? We can just maybe do a quick blink like that. What's the plan goes? We have that in place. The last thing I know we need to do for sure is the hand pose. So I'm just going to go back really quick. 60. Now looking at this transition from the image to this, I probably shouldn't have the head down as much. So that way the image in this don't look too dissimilar. Dissimilar. Maybe something like that. Cutting it a little close, Don't you think? Now finally I'm going to do the hand poses. Before I dive into this, I'm gonna do something that might be a little bit confusing at first here. But I'm going to go back to frame 0. And I want to come in and remove the backend forward hands switches. I'm just going to come in and delete those because I added that vial in that hand posts with a vial, we would have to go back into the backhand dial and then reanimate out that new pose. And honestly, there really is no need to do that since the switch panel works well enough. So we're just going to control our switches through that or through right-clicking. Now we can go back here and begin the process of these hand poses. You can see here things have defaulted back a little bit because we removed that dial and that's okay. We're going to come in here. Let's go down to the backhand pose first. And I can bring up my switch selection. Just to make this a little bit easier. I can bring this to a fist just like it was when he was beaming in through that image sequence. And I'll come up here to the front hand and make that a fist as well. It comes in. Maybe at about this point we can open the hand up. So make that relaxed. And then we can come back here to backhand and we can open that up. Now. When he puts his hands to his hips, we will go back to fists. Just like that. Now when he goes for the vial, we can leave the front hand as is, it's the backhand that's going to need to be controlled here. We have this open up. When it goes into the back, pulls us out. We're going to pull it out with a vial. Then he gets hit. I think everything is good there. Then we're gonna cut back to the ship here. At 1410. We're not going to have the vial available anymore. It just gonna go back to a fist. And again, it's insinuated that he put it away. We can leave those as phis. There. There we go. So now we have the hand poses in place for this character. There's only a couple more things I want to do here that are pretty minor. For instance, when he lands, you'll notice that the front arm is behind his head, which I don't want. I'm just gonna go into my layers here. Find the head. We have the front arm right here. That's why this is doing that, because of the way this is all. I'm just gonna take the front arm on the body group and bring it above the head. And that should solve that issue. That looks like it should know. The hair strand seems to be behind the eye. Again, that might have been something that happened when we were rigging originally. Not a big deal. We can just command and go into the head here. Let's just take the eyes and bring them below the hair strands. That might be something I might want to go and look at two for the other scenes where I had this in just to make sure that the hair isn't intersecting with the eye. And also the eyebrows. These eyebrows should be below the hair strands as well. Technically, that way the hair strand is in front and it intersects the way it should. But there we go. That now takes care of chads body language for the scene. We're going to pause here and up next, we can move over and tackle the aliens body language. 32. Animating Frank's Body Language: For this video, we are working off of seeing zeros 03 interior van Part Three. Feel free to open up this file. We're going to begin now by animating out Frank's body language and his animations will probably be a little bit less extreme compared to Chats. Mainly because he has his hands on the wheel and he's trying to concentrate on keeping them alive. So we'll start at 960 here and I'll get a good default pose for him because right now he's sort of off screen. Let's just come in here and start playing around with this. Can move them down a little bit here. And I can place his arms on the steering wheel. Now, I'll notice here right away that I didn't set this up so that he can stretch his arms out. That's not a big deal. I can just come in here and make sure I have those bones selected. Just like this. There we go. And go to bone constraints. And let's just make sure we set this then to squash and stretch. I'll put maximum IK stretching to two and then hit Close. And now we're able to do this and actually, let's bring this up to three, perhaps 3.2. There we go. We'll have them stretch at least to about that point. And I can come in now and do the same for the other arm. Just bring this out. Now, you're going to notice something right away. His back arm is intersecting with the wheel. It doesn't make any sense, it's overlapping. We'll fix this by going in and using layer referencing. But for right now we're going to leave it and just move on to the main portion. I can see right here I didn't get that arm piece, so I'm just going to come in and bring that to 3.2. So that way it stretches away. It needs to, and there we go. And then I can actually just kick this back a little bit like so. For right now we're just going to leave that overlaid and then we can correct it here near the end. But we still got to get him into view here. So we can keep going just by modifying him here. Kind of a goofy guy. So I guess having him in a goofy position probably works for him. We can just come in here and manipulate this portion to get it where we need it to be. Just kind of go back like this. And I can shrink this down a little bit if needed. I mean, why not? There we are. It doesn't have to be completely in view, but pretty close. It'd be nice, something like that. And this last I is probably okay. So we can leave it like this. I think that kind of sets his personality rather well. He's kind of a goofy dude. So chance is going to be min. Hello, Close, Don't you think? Again, his actions are gonna be a little bit more subdued. So maybe right here at 1048, I'll list insert some keys and also have them lower a little bit, then raise them up. I might adjust a stretching on this a little bit more of the front one. Just a little bit more so he has more room to stretch as he's moving his head. I'll also move the eye is around just to again made out his alien this, I guess, just come in here and because he's also kind of scrunched into this car as well. So that's something else to keep in mind. I'm going to just come in and copy and paste these keys back like that. I almost got SLA that bias space worm. Then when he said it's still got the vial, will do another motion here. So I'm just gonna copy and paste all of this stuff that I just did. We're just going to modify it a little bit. Come in and get the bile. There we go. Now we're going to get hit by an explosion. At 1203. Let's just insert some keys, like the Chad RIG. We're just going to add a little bit of a In anticipation to this, the explosion timing of this will be pretty close by. I'm just gonna have it leg a little bit behind chads just to add a little bit of variety to their movements. As he's going forward, I can have all his eyes go forward to so kind of moving forward like that. Maybe just comes back. Kind of like that. Then we'll just bring it back to default is to get here. What's the plan? I think that should probably do it. Here it goes. We'll add a little bit of movement to these last two lines. The plan. At 1506, we will insert keys. When he goes hang will have lower. Like this. Let me goes up. What's going to bring his eyes over like that? This kind of getting back to default, make sure it is. Delete these other keys I don't need. There we are. There we go. I'll just going to copy and paste this and do a variation of this for this last one. Just paste that in. I'm actually just going to hold an ALT and shrink this in. I think that'll work. Okay. Now I can go back and just add in the blanks and the eye movements as well as any head turns here. I can start with a head turns first. I'm just going to come over here. And actually while I'm at it, I'm going to grab all the dials here are the pupils, the blink and the head turns. Come over here to my red channels. And you know the drill from last time when we did the Chad RIG, we're just going to come in and remove all those pupil and head-turn and blink keys. So that way, we can just run through this quicker. We'll start with the head turns. So let's start here. I'm just going to insert keys for both the head turn dials at 1048. I'm going to turn the head just like this. Then when you say sorry, I'll have them kind of look over. Like so. Almost got swallowed up by a space worm. Then when he says still got the vial, we can have them turned back. Then to get them back to default, we're just going to come in here and copy and paste the red channel for the head turn dials here and put them onto 1156. Sorry, I almost got swallowed up by a space worm. Still. Here. Let me go back here to 1064 and Control F to insert keys. And I'm just going to copy and paste this at 1140 to make sure we don't have any floating keys. Sorry, I almost got swallowed up by. And let's make sure we also have the up and down that as well. So copy and paste that over. I almost got swallowed up by a space worm. Still got the vial. Now the next step is to get I don't think we really need to do much for that part. Let's just keep going. Shields can't take what's the plan? When he says hang on, we'll have him look over. Let's just come in here. Insert keys for these. And I'll have them turn over this way. We'll have them look down a little bit like that. Then we can go back to default. So default just come in here and copy these keys and put them back to 1536. There we go. Actually, looking at this. I'm going to actually bring this back even more. So we'll put this back closer to 0 at the end, at around 1536. There we go. I think that'll work now let's just go back here to 960 again and we're gonna do any pupil or blinks that we feel are necessary. When he's looking like this at 1064. Let's first go back here to 1048 and click on each of these pupil bones to insert keys. Then just come over here to 1064. And then we can move these over a little bit. Just to kind of add some movement. Sorry, I almost got swallowed up by a space worm. Still got the back. Then when he goes back like this, insert keys at 1146. And then at 1156, he's gonna be looking again forward towards the cockpit. Got the vile. Yep. Now the next step is to take what's the plan? Then when he looks, when he looks at Chad, we can also do some pupil movement here. It's going to come in here and adjust because it looks like some of these are popping out. There. We are. There we go. See here, it looks like I have a little bit of a floating I issue with this particular bone right there. Not quite sure why that's doing that, but I'm just going to click on it and insert a key right there. I can copy that and paste it over here so it doesn't float. There we go. So what's the plan? Now? Let's just go back and do the blinks and that should wrap up his animations. Up. Next, we'll keep refining the animations a bit more. Added in some explosions to help with the space battle, along with some shakes with a camera and movements with the ship. 33. Animating Battle Carnage: For this video, we're working off of seen O3 interior van Part Four. Feel free to open up this file. We first want to jump to frame 960, so that way we can get back to our action here. Let's just play this out. Because the goal for this video is to add in some explosions and lasers to help sell what's going on within the scene in terms of carnage and action. So let's just hit play and see what happens. Cutting it a little close, don't you think? I almost got swallowed up by a space worm. It's still got the biome. Yet. The next step is to. So when he says Yep, now the next step is to, and then they're gonna react to an explosion. At around 1200. We can put in that first explosion that's coming from the back because the evil alien is chasing them. Currently. At 1200, I'm going to go up to File Import and then choose image sequence. Here under your effects inside of your exercise files, you'll find you have three explosions plus some lasers. Let's just grab explosion one. Go into the PNG sequences. And I'm just going to select all of these images just with control a, so that way they are all accounted for. And then I can choose Open. Now we have this image sequence laid out. It's currently labeled as layer four. Let's just come in and rename it to explosion one. We also want this inside the van, and actually we want it below most of our layers. Remember this scene is not set up with true distance. We can actually reorder our layers using the layers panel. I'm just going to come in here and just drop this down all the way to the bottom of the group. So right here under driver window to release. And now the explosion is in the back. We can bring it up and we can see it right here. Let's place it about right here. We want the explosion that come from the back because that's how they are reacting to it. If we start to play this out, we can kind of see how this is going to look. Now the explosion might be a little bit too soon. Let's take a look by just playing this out. Actually, I think it should work because it kinda gives us enough time to see what that was. And then we can go from there. Now while that's going on. So the explosion at 1236, let's add in some lasers, or at least a laser flying by. Once again, do an image sequence import, File Import, and then choose image sequence from the list. Go to your Effects, go to laser to go to your PNG sequence. And once again, we're just going to grab all these and choose Open. Now we have the laser right here, and it's currently below the driver window, which is what we want. I can come in and just rename it to laser one and hit Enter. I'm just going to grab it here and move it off so that it comes from the back. It does animate out, but we are going to have to move it ourselves. At 1246. I can just grab this and move it over like so. Actually maybe we should go to 1248 with that. So I'll just bump it up a couple of frames. You can see that there's that laser flying by. Which again, just kind of helps sell what's going on. Then we're going to have this sequence of action in place right here. That way. We can add that in when we put everything together and we'll be animating out that sequence here next. But we just want to make sure that we are on track here. So let me just find my voices just to make sure you have this few second gap. It's actually see your five-sixths. It's about six or seven seconds long. And then we're gonna cut back to the ship. So during those six seconds, we'll show some animation of the exterior shots which we'll be doing here soon. Cut back to the ship at 1434. Let's add in another laser. We can either duplicate the original or just import another one, which I think I'm just going to do is apply the easier to work with in terms of trying to match the sequencer. We're just going to grab those files again and bring them right in. And now we can name this one laser to end. Let's just pick this one and put it up a little bit higher. Just some of those, some variety here. And then we'll just animated outgoing across like that. With the plan. At 1500. Let's add yet another laser. So we're just going to import the image sequence once again, grab those and import. Name this one to laser three. Just grab this one and we'll put it right over there. So it does its laser effect. Just go all the way across like that. Then we're gonna do that sequence where they're being chased. Then he says here goes nothing. And then that's when we go to the last shot of them careening towards the sun. So with all that, we really don't have much more going on here because of how this is all being set up. We have the exterior shots and then we really only have one explosion that they react to. And so I think we could probably leave it there unless if you want to do some more with it. Like we could just maybe add some little explosions going on and we could have the ship rocking back and forth a little bit. Maybe at around 1656, we'll add just one more explosion just to make sure that everyone's aware of that this is a pretty dire situation. 1656, Let's go to File and Import and bring in an image sequence. We'll come back here to the Effects. And let's just choose explosion to this time. I'll make sure I grab all those images to import. So here we're just going to rename this one to explosion too. And I accidentally opened up the layer settings for this, but you don't need to, we just need to rename it. Then. We're just gonna take this one and I can add it maybe just like right here, just kind of explodes. Showing that there's stuff going on. Now. Let's back up to about 1646. And I'm gonna do another image sequence import, go back to the effects, and this time we're gonna grab laser to go in and re-import that second laser in. And I can just name this one. I believe it's gonna be laser three at this point. Start over here. Ray here. We're going to have the laser impact where the explosion is just to make it look a little bit more authentic. There we go. The laser might be actually a little bit too slow. So I'm just gonna take this transformation property right down here and just move it up to 1650. I'll do the same for the visibility as well. There that looks a little bit better. That should be pretty good now for the carnage That's ensuing within the ship. We can do a few more things though to help sell this. So let's go back to 960. And we just want to begin here. I'm actually going to come up and just click on the actual van group. Just like that. Let's just play this out a little bit. How to get a little close, don't you think? One thing we could do right off the bat with this van and we can try it. But since they are in space and they're driving, we could add a little bit of movement to the scene itself, just subtly, just to kind of help with that floating effect. Let's give it a shot. I'm going to start, let's say at 972. I'm just going to drop the scene a little bit like this. 996 or close to it. Just going to bring it up a little bit like that. Again, I don't want to do much movement. If we come back here and just play this, you can see it's sort of a little close. This one right here might be a little bit too fast. Let's just bring that back. This one right here, this mark should actually be at 960. So it's kind of moving already, cutting it a little close. Don't you think? We're just gonna kinda keep moving along here with this? Of course makes sure that your boundaries are fine. You don't have anything cut off That's looking weird. Kinda keep moving around here. We're going to also animate out the explosions that are occurring. But right now we're just adding in some sort of ambient movement here just to kind of help with everything. This also allows us to take advantage of the 3D space. So you can have some of that Parallax going in all that. We are just a little bit more here. Getting close to the end. Here goes nothing is when we can end it. And in fact, I'll just end it at 1700 for that should be a good place to end this. And then I'll add a little bit more movement here to the ban. So at 1704, we'll do one more. Now I'm gonna go back to 960 and do one more thing with this. I'm going to grab the x y tool. And I'm just going to click once somewhere here just to kind of establish a key for that. Then we can kind of play this out a little bit more so we can do some rotation stuff. Again, just to kind of help with a 3D set. Cutting it a little close, don't you think? Some things like that? Making sure where I'm at here, I'm at 1057. So I'm actually a little bit too far up there we go. So we'll just keep going. Again, just doing this to help celebrate the 3D space. And we're gonna be doing some different jolts here in a moment with the explosions. But we're just gonna add in this ambient movement first. As I think it'll help here. Getting close to the end. Again, I'm just kinda doing some random movements. Really going to do one more like that. Now, if we come back here to 960 and play this out, we'll be able to see what this is doing for us. Cutting it a little close, don't you think? I almost got swallowed up by the bio. Now the next step is let's add in that explosion right now. At 1200. I'm going to click on the van with my transform tool just to set a keyframe. And I wanted to do the same now for the rotate x, y tool. Then when the characters can react going back like this, we're also going to help sell that a little bit here. We can kind of come down a little bit with it. Now, at this point, I'm going to go back here to 1200, grab the transformation tool and click once to establish a rotation property. Then when it comes in like this, we're going to kind of go like that. And then when reacting we're going to just tip it over like so. And then when they kick back, we can bring it back. But a little bit to, to the extreme, just like that. A little bit more slowly like this, and then back to two to four. I will just reset this to 0. Now the next step is to steer your shots. Exterior shot, come back with the plan. Then we have some other stuff going on there. It goes. Then we have this explosion right here. So we'll just add a little bit more of a jolt. At 1656 will add that jolt. I'm just going to establish keys for everything that needs to be keyed up. Let's say at 1668. I'm just going to kind of let me go down like that. Then we can go to 0, right there. There we go. Now we have those jolts in for the lasers hitting the van itself. Of course, there's always more we could do here. We could add smoke, we could do all sorts of things. But I think this should help with the effects that we're trying to create. So let's just come in here. Zooms in a little close, don't you think? I almost got swallowed up by now. The next step is, what's the plan? That should be it now for the carnage. And we added more motion to the scene just to help sell the fact that it is a space seen. There is one more thing I do want to do. Just kinda realized it. As I was looking at this. That is, I want to move this space background to make it look like that we are flying through space. Now, there is sort of an issue with this because this particular image isn't really long enough to match our sequence. So really quick amongst you're going to go back here to frame 0. And we're going to locate that background layer, which I believe is called lonely universe. There it is. And we're just going to duplicate it. Magic gonna duplicate it like four times. Now, let's go back here to 960, since that's the start of the scene. We're just going to start with this one. Go to the next one. Lonely universe to, I'm just gonna hold down shift and click and drag to the left. By holding Shift, I keep it from going up and down. We're just going to bring it over like this and link it up. And I'm going to use the flip layer horizontally tool in addition to the vertical tool to create this seamless transition of space. In fact, we're just going to keep doing this now. So come over here to the next one. We can bring it over. It's not quite matching. You can rotate. In this case, we have these two stars close together. I think that'll be okay. You can try making this vertical, but it might be a little bit harder to match it. So we're just going to do that. And again, there's a lot going on is a lot of zoom ins and stuff, so we might not catch that there's two stars in the background there. I'm hoping we won't. If we do, we can make that correction. Then we'll just do one more here. We'll grab this one and bring it over. Like this. Once again, we can just flip this. And I think flipping it vertically should work. And we should have something that's looking pretty good. Now we have that. Let's just come back here by removing the search so we can see all of our items. And I'm going to now go back to frame 0 really quick. So 0, and I want to group all of these background pieces together. So right-click group with selection, and I'll rename this new group to BG. Hit Enter. Now we can come back to 960. And we're going to just insert a key, a position key for this group. Let's just go to 1704. That's the last frame of animation. And we're just going to move this over like so. We can see here what's going to be convincing. Let's come back here to 960. Zoom in, play this out and see how it looks. Cutting it a little close, don't you think? I almost got as well? Now the next step. Now noticing a couple of things here. Number one, I'm actually moving in the opposite direction that I need to be moving it. I'm going to change that. Number two. This is floating about and I'm not really sure why. I think it looks like it might be linked somewhere else where I don't want it to be linked. That happens. Let's just come back here really quick and take a quick look at this to make sure that it's not linking up with anything that I'm unaware of, that it's linking up with. I think it might be the fact that the Z property is set to 2.25. Let's bring that back to 0 and increase this a little bit and bring it back up. Go to 960. Looks like it's where it needs to be. And there we go. How did you know Close? Don't you think? It was a it was just simply a distance discrepancy since I had it pushed more into the foreground and we have the 3D ship now rotating. It was moving quicker because it was closer to the camera. But by putting it back to 0, I was able to fix that part. Now for the background that just gonna require us re animating it really quick because I wasn't quite paying attention to what I needed to do. So we're just going to go and search for BG. Click on BG, go to 960. Zoom out a bit here. We can see what we're doing. We're going to grab this and move it all the way forward this time. And then go to 1704. Then actually move it back like this. There we are. Now, if I go back to 960, we play this out. We should be able to see what's going on here. Cutting it a little close, don't you think? I almost got swallowed up by now. The next step is What's the plan? Goes? There we go. That is looking pretty solid here. I think we have everything pretty much where we need it in terms of the action. I'm going to leave this video here. We'll pause and up next, we'll polish up this scene and add some camera movements to build excitement. 34. Animating Camera Movements: For this video, we are working off of seeing O3 interior van part five. Feel free to open up this file. I'm going to jump to 960 so we can begin polishing and adding camera movements. Now the first thing I wanted to correct are the aliens arms. Currently, the arms are stretching not enough or the back arm isn't where it needs to be. Let's go back here to frame 0 really quick. I'm just going to locate Frank. I'm going to select the arms go to bone constraints. And let's change the maximum IK stretching to four and hit Close. Now if we go back to 960, you can see that the arm reaches where it needs to go. As we page forward. Yes. Now the next step is to we can see the arm here is being detached. Let's just starting at 1200. I'm going to click on that bone for the wrist to insert a key. Then when we go up like this, we're just going to bring it over more like so. Then we go down. We can bring it up a little bit more like that. It looks more consistent. Then when he recoils back even more. You can have it go up. Now, stretching isn't able to make it. And so if you wanted to, at this point, you could do a little bit of different animation. We could have the arms sort of kickback. It's like he's losing control. And as we do that, we can go into the Frank rig here and just replace the hands here so that they're open. Come down here to the other hand. I'm just going to open it up. Then he's going to grip it again. Come back to fist, then go up here to your front hand and we can change that to a fist. Now, coming back here to the rig, want to take a look here, make sure we can get that risk back to where it needs to go just like that. Then we can just move this up a little bit. Just animate this a little bit more. Just to keep it up so that it's on the steering wheel. Go up a little bit. At this point, I don't think we're seeing the action. I think we're cutting to the exterior is but that's okay. We'll just keep fixing it here as if we are seeing it. Okay, and then this back that up. We have a little bit of a rotation like that, not a big deal. Just move the hand to compensate for it. There we go. Then we have the hand kind of get detached a little bit at the end. So let's make sure that it's not. Now we have that. The next step is to correct the backhand. How do we do this? We have a rig. We have two arms on the rig. It's on one layer. The steering wheel is on. A completely different layer, is going to be really hard to do this unless we use layer referencing. So let's go back to 960. Once again. We're going to click once on Frank, come up here to our options and choose reference layer. Now we're going to take Frank two, which is being referenced according to Frank one and bring it below. Let's hide Frank one right now and take frank T2 and then start moving it down. Let's bring it below the steering wheel. There we are. Now, what's this gonna do for us? Well, from here, we're going to go in, find the back arm, right down here, back arm. And we're going to Alt click on the visibility of the back arm. Now you just have the back arm being displayed on that layer. Then if we come back to the original Frank layer and reveal it, we're going to do the opposite. We're just going to locate the back arm. We're gonna come in here in height it just to make sure absolutely that it's hidden. I can double-click on this and I'm on 960. Allow animated layer effects and we're just going to make it invisible. You could do the same for the other layers for the arm. Because we just hid the layers and it's possible they could accidentally be brought back. If you want to make absolutely sure. You might also want to go to Frank to find all of the layers except for the back arm. So I'm just gonna come in here. I'm going to select these layers, all except back, arm. And we're just gonna come in here and make them invisible. Making sure of course that the back arm is visible. For this, we can now see how this is going to work. The hand looks like it's behind the steering wheel as it needs to be. And if we ever make any corrections to the main rig, let's say with that hand, we can update the reference so that the isolated arm will update along with your main rig. So that way it's not too messy, but also allows you to take advantage of the 3D environments that you can build inside of MOHO. Now this is a few more things I want to cover here. I want to look at one thing, cutting it a little close, Don't you think? Now here this is kind of hard to tell. But if you look at his eyes, you can see that they're actually animating. They're getting a little bit more squinting before he blinks. And that's just a keyframe issue. I want to correct it though because it can be distracting. We wanted to find the Chad layer here. So there is the Chad layer. If we come and just locate here the blink dial, I'm going to locate my red channels. And so this floating effect, I believe happens right here. You can see it's kind of floating down a little bit. So all you have to do is just copy that last key on 188. That's where we last stop the blank and then come over here and paste it on 1072 because we accidentally move this a little bit between those and that's why you have that floating Close, Don't you think? I almost got it. There we go. We have that down now. Finally, I just want to add in some camera movements. So once again, we're gonna go back to 960 so we can begin the process. I'm just going to grab the camera tool and click once to establish keys. As you can see, I've done it breakdown there. I could do some other things, but I think just having a track camera tool is enough for this. So we'll just leave it like that. Cutting it a little close, don't you think? I almost got swallowed up by a space. Now when he says still got the vial, I'm gonna do a close-up to chat. Let's insert a key for the camera at 1164. Then. One frame up, we're just going to grab the Z property for the camera and bring it in. So that adds that at that it's at around 2.2. We can track the camera back over so that way we can see a close-up of Chad. Actually, this might be a little bit too close up because we can't really see him grabbed the vial from his hair. So let's just kick it back a little bit. But like this. We go from here to here. Yes. Now the next step is to now. When he pulls up the vile, he moves it down off camera so it's harder to see and we do want people to see the vial. Let's just do some adjusting here really quick. You can zoom out a little bit more. I'm currently on 1194 for this just to kind of get an idea with a framing. So perhaps we have a z position of 2.9 and we move it up to about like this. And we can move it over a little bit more if we want. Now we want to take this frame on 1194 and click and drag and put it back to 1165. So that way, that is the original frame for this. Let me just try that one more time. There we go. You cut back here. Now the next step is to I think that's a pretty good close-up for that. We're just going to have that sequence play out with the ships come back here to 1416. Here at 1416, we can zoom out a little bit. I'm going to add 1415, insert a key. Then at 1416, this zoom this out a little bit and pan it back over to where we want it. About like that. What's the plan? So when he says hang on, I'm gonna do close-up for him. 1506, insert a key, go to 1507. We're just going to zoom this in. That way we can get a good shot of his face. In fact, we can probably put Chad space in there too, just to kind of compose this a little bit easier. So that's more pleasing to the eye, something like that. Then come back here. And I think for this final shot here, let me insert a key at 1640. Actually, let's go back to 1630 to insert that key and then go up one frame and then do a zoom out so that we have more of the whole ship in shot. We have that now in the camera movements are in place. And we have corrected the hand movements for the characters. And we've also did a couple of different layer ordering things. Just to spruce things up. I would say now we're at a point where this is solid, the scene is complete. Of course, we could go in and do much more. There's always things you can do. However, for the sake of this tutorial, I'm going to leave it here. We'll pause here. We'll put this scene aside. Up next, we will animate out some exterior shots and then put it all together. 35. Setting Up the First Chase Sequence: For this video, we are going to begin by looking at seen O3 interior van part six. This is the current file for the interior shot for Frank and Chad. And we're going to be using this to gauge what we need for the exterior shots. Now we already set up one exterior shot. You may recall, I can go to File and Open. And let's go back here to our scenes. You'll remember we have seen 01 ship reveal. If we come in here, you can see we just have this shot of the ship flying, and this is the alien ship. So we already have that established. What we need though are two or three shots of the van being chased by that ship. We want to show the alien ship shooting at the van with lasers. And we also need to show the van and the alien ship careening towards the sun. And that's going to be our final shot. So we'll be using the interior van seen to gauge what we need. To begin. I'm on that van interior shot on frame 960. And we can just kinda go through here and figure out what we need. Cutting it a little close, don't you think? I will set SLA that bias space? We have all of this going on. Then we have the explosion bio. Now the next step is to write there. We got to get out of here. Now we're gonna cut and we left some time for ourselves here to play with this. But we'll cut and we'll jump then to the exterior shot. Now, the exterior shot then has about, if we take a look here, starting at 1284, We have about 5.5 seconds here to play with with that exterior shot. So with that in mind, let's come over here now. We can close the ship reveal and seen one. We don't need that file. I was just showing that to you to refresh you. Let's go to File and Open. And we want to go to our exercise files. You want to locate sets. Inside of sets we have two scenes that we haven't worked on yet. And that is ship chase and then to the sun. We'll start with ship chase first, we can double-click on this one and then double-click to open it up. Here we are. We have this scene mapped out and ready to go. Then we'll cut and show this ship chasing our heroes and firing at them. Now the best way to do this is to lay out the 5.5 seconds that we need and then we can intersperse the action through it. I can go in here and hide this filter. We don't really need that at the moment. We will add that here at the end when we put everything back together. You'll also notice I have some lasers here as well. I put those in as placeholders and I think I'll actually leave one or two of those here. That way we can easily just use that if needed. And the other thing that's bugging me about this now that I have it sitting here and I'm looking at it. If you come back here to the third seen, the characters are facing to the right. If we come back here and then the chase scenes, we're going in the opposite direction. Kind of it's not a huge deal. However, it could be a little bit jarring, cutting back and forth. I think it makes more sense to have the ships basically going in the opposite direction. Let's just click on the van. And with the rotate x, y tool, I'm just going to rotate things this way. And then using the transform layer tool, I can just bring it over like this and just reorganize as I feel isn't needed. About like that should be fine. Let's grab the evil ship and we can bring it over and get it into position. Move it so that it's behind here. And we can just rotate a little bit more like that so that it looks a little bit more in line. We could also come in here and adjust the angle as well. I'm just going to try to rotate this here, see if I can if I reset it, it looks like that. Actually, I think I'll keep it at around negative 14. That should work for our purposes. Now the lasers, we can go in and let's just hide those for now because we can add those in once we get the movement down. Now, for the scene, we're just going to animate out 5.5 seconds of movement. We can start with the van. And let's just go to 1 second in. And I'm just going to kick this back a little bit. Using the Z property that we can bring it up. Rotate it over a little bit. And now let's just go to 5.5. So at 132. And we can just come in here. I'm going to bring the Z property up on this. And then we can just bring it over and then rotate as we see fit. Now we're going to come back. And we have this going on. Looking pretty good so far. Let's go back now to the evil ship and we're just going to essentially do the same thing here. We'll start on one. We're going to go to 132. We can bring up the Z property here. Let me compare this really quick to the van. The van is at 0.2. Currently the evil ship is at negative four. We're just going to kick this back. Let's say to about negative four as well. So maybe around negative 4.5. Actually thinking about this, let's go even further back. Let's go around negative 6.5. So that way it's not too close and there's still enough room for the lasers to come out. But also, we're showing that there is a danger here that the ship is catching up. I think all that can work out for us. Then we can go in and just make some adjustments with the rotate x y tool if needed. If we come back here now, we have this going on. It looks like the alien ship needs to go back further on that first frame. So we'll just go here to frame one. And we're just gonna kick this back even more to, let's say around negative 10.3. We can bring this up. Now, what's happening is the ship is behind our background layer. That's why it's disappearing. It's going to go back to frame 0. Grab that background layer, and let's make sure it is pushed back even more. In fact, I can go to around, let's say negative 20 just to be safe. Then we can enlarge it to bring it back to where we need it. Now if we play this out, you can see this is what it's currently looking like. I'm going to backup the evil ship a little bit more on frame one. Since we have a little bit more wiggle room. Now, let's try around negative 14.5. That's probably looking a little bit more in line with what we need. Although I feel maybe the distance should be a little bit more extreme. So let's come back to the van actually and just bring that up to around negative two. That were the chase looks a little bit more spread out. Something. If we start with that. We have this going on. Looking at the speed and just how all the action is panning out on 132. Let's bring this van forward and over so that it goes off screen. Around almost four. For the Z property. You can see it flyby. And then we'll have the alien ship flying as well. And the alien ship, the evil ship. We can bring up a little bit more perhaps to around. We could have a go off screen, I suppose. Let's see what happens when we bring it off screen. We'll just bring it up to here and bring it over. Like that. Let's see how that looks. It looks like it's going a little bit too fast. Let just go back to that evil ship once again, and we're just going to kick it back a little bit more. We can go about like this. That should work. That's at 130. To come back here, let's try the speed of this again. Distance is still a little bit too close for me. And so with that evil ship, I'm just going to kick it back a little bit more. Let's go to around negative 18. I might need to adjust my background layer again while doing this, but that's okay. Then at the last frame here, I'm going to kick this back just a little bit more. Actually. Let's go to about negative three and try that. Let's make sure we go back to that background layer. This time I'm going to hold Alt and Shift and just kick this back. It'll automatically enlarge it for me once we kick it back. So come in here. It's not looking too bad. One thing I'm going to do is make sure that my movements are set to linear. On the van. I'm just going to select these two groups of keys. Right-click and choose linear. Go over here to the evil ship. We're gonna do the same thing, right-click. In linear. We have about this much animation occurring here. It almost feels like it should be quicker. With that in mind, I'm going to actually bring the ships off the screen, then have them come on the screen and go that route. That's not a big deal. We just need to kick things back a little bit more. On frame one. I'll kick the van back to about negative ten. And I'm gonna take it off screen like this. Come back here then to the evil ship. Grab that one, bring it over. Now let's go to 132. It looks like I accidentally had 132 selected when I was making these movements, which is why we see everything on the edge like this. But that's okay. I can just come in here and quickly animate it out. Like that. Van. Again. Just come in here and grab this sort of like that. What's the EDL ship at? Let's go back here to the van. I want to put the van little bit closer to the camera at this point. Let's go to about 7.5. That's not looking too bad. So we have it starting here and then the ship is coming in. The only thing I might do is just again, kick that band back a little bit more off the screen. Perhaps like this. Something that comes onto screen. Kind of like that. I'm 132. I'm going to just move this over a little bit more. That just take a look here. A little bit hard to tell given what it's doing because we have it's so close to the camera. What I might do here is just add an in-between frame to help me. At frame 60. Let's make sure I bring this over. About like that. We can do this. We have it flying. Then we have this flying right behind it. I think that looks a little bit more dynamic in a little bit more convincing. I do, however, want to adjust some of the angles here. I think the van is actually looking pretty good. I just need to come in here and adjust the angle of the evil ship a little bit. So I'll click on evil ship. I'm on frame 132. I'm just going to move it over like this. Bring it off screen. If possible. Just grab it and move it like that. The only other thing I can see here is maybe angling the evil ship down a little bit using the XY rotation tool. Maybe it's rotating it down a little bit more like that. You can have this going on. I think that works for what we need. Now we have that shot here where basically the ship is being pursued. What we can do then is add in some lasers and explosions to help the scene along a little bit further. And for that, I'm going to pause and do that in another video. So that way this one doesn't get too carried away with length. So we'll pause and I'll see you in that next video. 36. Animating Lasers and Explosions: For this video, we are working off of seeing O4 ship chase version one. You'll find this inside of your exercise files. If you go to your Exercise Files and you go into your scenes, you'll see that we have this new folder. If you double-click, you'll find that you have version one right there, ready to go. With that said, we have the movement here setup. We can maybe add just maybe a camera pan or two or something. But ultimately this is looking pretty good. What we need to do though is just come in and add in those lasers and explosions to help with the action of the scene. First, let's make sure that we have our timing setup here properly. I'm just going to come over here to 132. And let's make sure we lock that as the end frame so that way we don't get confused as to where we need to be with this. Now we already have some lasers here we can work with. They are right down here, and I added those in as placeholders. But given that we've rotated everything and change the movement, I'm just going to come in here and remove those because there's really no need to keep those in, I would say. Now, it's just a matter of animating out the lasers and the explosions. Let's go to about frames 60. And we can add in our first laser. So we can import an image sequence because we'll be using that same laser we've used before. File import, image sequence. We want to go to the Exercise Files and under effects we have laser to. So let's double-click on that. And then we have a PNG sequence. Now, we're just going to double-click on that PNG sequence and select all of the images in that folder and then click Okay. Once you've got this imported, we just need to bring it over here. First. Laser one should go inside of the scene. So let just make sure it's in there and we can bring them laser over so that it matches the gun barrel of the evil ship here. We can just make sure that it's above the ship. So the lasers at negative 8.7, the ship is at negative 8.9. So that works out for what we need. Then that laser is going to fire. And then we're just going to have to animate it out. One thing we could also do to set this up, I'm actually going to go to frame 66 just so I can see what I'm doing here currently. And I want to move the rotate x, y tool over just a little bit like so. And we can also grab the transformation tool and just rotate like so. That way it's angled down like it needs to be and everything's looking good. I can then come over here to those keys I just laid down on 66 and drag them back over to 60. Now, when this comes out, you can see that it looks like it's coming from the ship. Then we just need to animate out the rest of the laser. On from 72. We could just bring it over like so. It's going to look really quick, but you can see that laser is coming out and hitting the ship. Will of course add an explosion to that. But for right now we're just going to keep going with this and adding in more lasers as we see fit about frame 96. So on 96, I can do another import for an image sequence. So File Import Image sequence. Just going to grab the laser once again, despite selecting all of those frames. And we can look at our alien ship here, which is currently at negative 3.1. Come back to this new laser, which I can rename to laser to end, we'll just kick this back to negative three. This one is going to come from this barrel this time. We'll bring that up. Then we're going to see the animation come out. It's hard to tell because it goes behind the ship right away. Let's just get this to about 108. Then we can bring this back up over just so we can see what this is going to look like. And also at 108, come in here and rotate the laser so that it looks like it's gonna be coming on in the barrel. The barrels right there. I guess I had it mixed up. So there we go. You have the barrel right there. I'm just going to grab the keys here that I laid down and bring them back to 96. Then you have this occurring on 96. I'm just going to grab this and move it up a little bit to match. Then at 100 to actually just looking at this, let's go to 108 again. We can just animate this going out like so. And I accidentally had these keyframes selected. I've been doing that a lot this round of tutorials and I think it's because I accidentally have relative keyframing turned on. I'm going to turn that off because that's been kinda Actually screwing me up a little bit here. So once again, come over and you can see now even though I have these frames selected, it's not going to alter those frames because I turned off relative keyframing. Rotate a little bit like so. At this point it looks like it could angle a little bit down just like that. Fume just like that. See how these lasers, laser, laser. I feel like there could be one more. Maybe we'll just add an explosion right here at around 36. So you're not gonna be able to see the laser come out, but we can show the impact of that laser and 36. And then it happens again. Then it happens again. In that way. Maybe it doesn't hit him but it comes close to it or something like that. But I think that adds some variety here so we can work with that. Let's come back and just adding those explosions. We can again start at, let's go to around frame 32. And we'll do an image sequence import once again. And of course you can make your own explosions. However, I'd just like to access the tuned Files Library when possible. As it just seems like it can make things easier and quicker for what we need. I'm just gonna grab explosion too. Grab all those keys, bring it in. Make sure that the explosion is in the scene layer. We can name it explosion one. Just grab the explosion here and bring it up. And we're just gonna make sure it goes behind the van. Which if I look here, the van is sitting at negative 2. There we go. Come in, we'll put it at around negative 2.8. You can kind of see the edge of it just like fat. Let's take a look here. So I might have the explosion follow little bit just kinda like this. It's exploding. And I might actually kick that back a little bit more. And let's resize it. Let's shrink it up a little bit because it's a little bit too extreme. So let's bring it down like that. Just kinda you have this explosion occurring and then we have another laser coming. So let's say at 66, we will do another image import. Just go image sequence. Come in here to your Effects. Let's go to explosion one this time. Scrub all those and bring it in. We can name this one explosion to bring it up. Look at the van which is currently set to 0.48. We don't have to kick this back too far for it to probably go into the back just like that. Then we could just do something like this. Now once again, I could probably shrink this up a little bit too big for what we need. It's not like the A-band is being destroyed, it's just being shot at and it's taking damage. Perhaps I'll have it move a little bit as well, just kind of along with everything. Then we have one more, which will be off screen. We don't have to put that one in. Now when the van is getting hit, for instance, at 36 or around that, Let's start at 33 unit. Actually, I'm just going to click to insert keys for position rotation and then the Rotate XY tool. Then when it gets hit, say at around 42, I can kick this around. Like it's being affected by it. Just slightly like this. And then once it gets hit, we can snap it back to a more default position. Perhaps we can have it rotate like this. It's kind of pointing back up. And then perhaps in a corrects itself fully at, around this point. So let's come back and come down like that. So it gets hit. We're going to get hit again at 66. Insert our keys to make sure everything is good to go there. My adjust the position of that explosion now that we've adjusted the position of the van a little bit just so it's a little bit more visible, but right now, so we get hit 74. Once again, we can kinda do something like this. A little bit of a rotation. Then 84, we can bring it back. And then correct at around 91, something like that. So it gets shot, gets shot. And we're going to have it correct. The angle a little bit like this. There we are. I think that works. The lasers are kind of hard to see, I guess a little bit here, especially that first one, it's kinda hard to tell. But I think it should be okay. Because we'll be adding the sound effects and it should hopefully be enough to sell it. And on top of that, we have the lasers appearing in the cockpit view as well. One final thing I might just do here, just for a little bit of added movement is just critic, small little camera pan at 132. I'm just going to kick this up to about 2.4. You just have a little bit more movement occurring. Except for the fact that the van Gogh's way too close to the camera and cuts in. We're just going to have to adjust that now, since the camera movement has changed that a little bit. At 74, I'm actually going to kick this back this way. That way it looks a little bit better, just like that. And actually I'm going to remove the key on 60. It looks a little bit too robotic with all those keys together. Just kind of do a little bit of adjusting like this. Maybe here I'm just going to kick this back a little bit. I think that's looking better. Like this slight little hitch here. I'm not a fan of it goes here and then here. Maybe it's just a matter of making sure it doesn't go too far that way. I can play around with this all day and I'm sure you could as well. But this should be good for what we need. So I'll be saving this and we'll pause the video here. And up next, we'll focus on the other two shots. 37. Animating Sun Shot: For this video, I'm referencing seen O3 interior van part six. Here we just want to get the timing down for these last two shots or just the last shot depending on how you want to end this. At around 1500, we have the final or near final line from the alien. He says, hang on. And then at 1548, I want to cut to the exterior of the ships going towards the Sun. Because that's his ultimate plan. He's going to drive towards the sun and what happens from there, Who knows? I guess, if you want, you can continue the story if you wish completely up to you. However, he's gonna go towards the Sun and that's what we need to animate out. So let's go up to File and Open. And we want to go into the exercise files and locate the sets folder. And inside of the sets folder we have right here to the sun. So we're just going to double-click on that and then double-click on to the sun to open it up. Now we have this shot right here, the sun and the van and the ship going towards it. So let's come in here and lay down how long we want this to pan out. Again. If we come back here, we have this last bit of dialogue. We could start at, let's say, let's say at 1548. So that gives us one 2.53 seconds of animation for this particular shot. So we can come over here, locate 3.5, which is 84, type in 84 and hit Enter. So that way we know exactly how long we have to work with here. Now I just want to animate these two ships going towards the sun. So let's come over here and grab the alien evil ship. Going to bring it up a little bit. Just by using my tools here. I'll probably kick it back a little bit more. Something like that. Then we have the van come in here and looking at this evil ship is at 40 to vanish at eight. I can probably kick the band back. Actually it was I looking at that correctly? No evil ship is at 1.25 and the van is at negative four. That's what it was. Let's just bring this maybe back a little bit. Let's go to negative 1.5. The sun needs to be pushed way back. So I'm gonna grab the sun holding Alt and Shift. And we're just going to push this back. It's kind of hard to tell because of that sky. But we can hide the sky here. And just keep pushing this back. There we are. Now. We pushed it back but kept the same size. So it's at negative 70. That works for us. I just want to come in now, grab the van. And that frame 84. Gonna push this further and further into the distance. Let's go to around 15. I think we're getting that red screen every time I move because of the filter. This is turn that filter off there we go. Going towards the sun and we can have the alien ship do the same thing. Just like that. Put it to around negative nine. We can do some x, y rotation as well if we feel it's needed here, as well as any other rotation. So I could take the just the regular rotation tool here and do some rotating if I feel it's needed. But I think in this case we should be okay with what we have. Let me just him up a little bit like that. Now if we come back and hit play, we can see what this looks like. I want to put this to the linear, both the movements for each ship. That way. It's all accounted for here. There we are. Try that again. It's looking a little bit better. Actually feel like I could speed this up a little bit more. Let's take that van. Make sure we have the right tool selected here. Let's push it to negative 20 to bring it up. Go back to the evil ship. Go around negative 17. It's like that. Let's try that again. I feel maybe something happened here. Let me just make sure that these are closer. We'll put one for the evil ship on frame one. And then for the van, we can put that to, let's say negative four. There we go. I think I could go a little bit faster. I'm just going to go to I'll go to 84 and push this more into the sun. I'm going to go actually up to about negative 30 for the van. Evil ship can go to about negative 25. I keep accidentally moving these different keys around when they don't want to. So let's make sure that that's where it needs to be. At 1.25, about 1.75. You have this going. You'll ships there. Van is there. Looks pretty good. We could do some camera movements as well. Just come back and we could maybe push in a little bit just to kinda see how this goes. Then as they go closer, we can do pan out. Just kinda move things a little bit. See how that looks. It doesn't look too bad. You have this zoom out effect occurring and then you have the queue ships going into the sun. I might actually delay the evil ship here for a moment. That it's not quite as close to the van. It just seems like it's a little bit too close. So let's go back to 84 for the EDL ship. Just making sure we have the Z property selected. I'm going to remove this a little bit from the vans position and put it back to around negative 19, spring and down like that. See if that helps a little bit. I think it does. There we go. Now, I can come in here and just make sure that the background is back. That way. We have that going on in. Well, it's a good thing I brought that back because I forgot we need to adjust it. As you can see, it's not doing what it's supposed to. So let's just go back to frame 0 really quick and make sure we grab the lonely universe image here. I'm just going to make sure I have Alt and Shift selected. And we're going to push this back. Butt like that. Let's say negative 100. That'll make sure we cover ourselves and I'm gonna get to blow it up a little bit more. You have this now. And that's not looking too bad. Now we have that final sequence in place. With fat. We could go in and add more. Perhaps we could have the Sun really close to the screen as the van is going towards the surface or whatever their plan is. I'll let you figure that portion out if you wish to continue the story. But for now, we're going to pause and up next, we'll do some final polishing and then put everything together. 38. Adjusting Ship Speed and Filter in Scene 1: We're now going to go back through each scene that we have animated out, makes sure everything is looking good. I know I've done some polishing and just looking at things a second time already in this course. However, especially when I'm recording, there are things that sometimes just bypass me. And it's always best to take a second peak to make sure everything is looking good before you finalize and piece it all together. So we're just going to take a look at each scene one at a time. We'll start first with the first scene. So we'll go to File and Open or Control O or Command O, however you wish to open it up. And you'll see here that we have seen one inside of our exercise files. Inside the scenes, we have the scene one folder. If you click on that, we only have one Moho file to worry about. So we're just going to double-click on this and open it up. This is a very quick and short scene. So we probably don't have to do much in terms of polishing things up. So if we play this out, we can see how it currently looks. There's one thing about this I don't really like. And you'll notice near the end of the ship sort of dips downward. And I'm not sure why I did that, but I'm not really a big fan of it. So I'm actually going to go to the 3D ship animation here and go to the Rotate XY tool keys and just remove those on 72. I think that looks better. The dip seemed a little bit too robotic To me. I just wasn't really a big fan of how that was looking. But by removing those keys at the end for the rotate XY tool, I think we're now able to get a more pleasing shot. Men. We want to make sure that our filter is in place. Now, the filter is, is something I put into each scene to add a little bit more pop to what's going on. Again, I talk more in detail about all of this in my scene building courses. But here if we were just to pick a point and use Control R or Command R, You can see what this filter does. It just adds a little bit of a darker tint and just helps with the contrast. So it's not a huge thing, but it does help. We want to make sure that the filter is of course turned on for this. Now, one more thing. We have the scene as well as the filter. The filter is separate. And that's fine. We could, if we wanted to take this and put it into the scene. You can see though, that it does move its position. And that's not something we really want. Now, you could go in and disable camera movements for the filter. Or you could keep the filter outside the scene like you have here and create another group. Which I might just do that because in the end it's probably just gonna be a little bit easier with how we're gonna be organizing everything. On scene 0. I'm going to click on scene holding Shift, click on filter, right-click and group with selection. And I'm gonna rename this selection to seen O1 and hit Enter. Now we have that established. Everything should be looking pretty good. Again, very simple scene. We shouldn't have to do much more than this. Now, I'm just going to save this. So that way we have a final file that we can use for when piecing things together. File gather media. We are good just going to go to the scenes here, making sure that we are in seeing 00 on ship reveal. I can just create another folder within this one. So we'll name this one. Ship reveal underscore, final. I'll put final and capital letters just to make sure I understand what that is. And then we'll do a gather media function for that. There we go. Seeing one is now ready to be implemented into our production. We'll pause here and up next, take a look at s2. 39. Finalizing Scene 2: We can now take a second look at s2. So let's just go up to File and open. We are inside of our scenes folder. We want to locate seen O2 torture chamber. We have a bunch of files in here, but we want to locate the part 18 folder right here and then open up seeing O2 part 18. Now, once we're here, we can just move along here. And we want to just basically figure out if there's anything we need to do here to polish up the sequence anymore. There's only really a couple of areas I know for sure that we need to touch on. First, we want to make sure that we have the following dust in place for this. So that way the ambiance is there as well as the voices. We want to make sure those are turned on. We also have a filter here. This filter acts similar to the one that we were working with in the previous video. It's important that we have the filter above. Basically everything here. The way that the scene is set up. We're going to either have to put this above the set or we're gonna have to work with it within 3D space. I think I'm just going to do what I did last time and bring the filter above that group. And even outside the voices group. Now that filter is covering the scene just like that. Then we can go in and make any further adjustments if necessary. Again, we have the following dust in place as well. So we have all that occurring. There is just one more thing I would like to do for sure on this. Let me just hide the filter and the dust falling because that can be a little bit distracting and it takes up resources when working on this. So let's just come over here. We have a close-up that occurs with the gun, starting at 1604. For that power up effect, I'm thinking I wanted to do something in terms of him shaking or perhaps the guns starts to shake, something like that. So let's come over here to the set, go to the alien guard. And we could just alter the bone structure here. So I'm gonna click on the alien guard and we have keys laid down here. I'm going to just make sure that we also have keys laid down for when this transition takes place with the camera. I believe it happens after 672. We're gonna cut back at six of the two. I'll use Control F or Command F to insert keys. And we're just going to start this process here. By coming in and adjusting just very carefully here. Make sure we grab this hand. We want to keep this within the frame, of course. But we also want to show that there's something occurring here with the gun. In this case, it's starting to power up. The idea here is just to add some movement. So right now it looks like this. But as it's powering up, I think it'll make more sense that it's moving. Then we can add a sound effect to go along with that as well. Which should help with everything here. It just going to cut to a close-up powering up. When we cut back here, we could probably have him still moving a little bit, but maybe it starts to slow down because, you know, the power up has occurred. It's now powered up and it's ready to go. So we can have maybe just a little bit of movement there to kind of signify that it's powering up. It goes down. We can bring it back up. And then maybe just down a little up, something like that. Then we can just take this keyframe and copy it and paste it over here. This one right there. Now we come back here, see it starts to shake. It's powering up. And it's now powered. And then we have the van coming and we have everything playing out. Then he's going to be teleported out. So I think this is looking pretty good in terms of Polish. There might be something that pops up here near the end, but I think this is looking just fine. So let's come in here now and make sure we get everything isolated like we did last time with the other set. We have our following dust or voices. And the filter. We're just going to select everything on frame 0. Right-click and group with selection. Rename this one to seen O2. Before we wrap up, there is one more thing we should look at. And I noticed this after I finalized this video. So I'm actually going back now to correct it. That's why I know it's an issue. However, if we hide the filter just so it's easier to see what's going on. Right now we are on frame 48. Really, it doesn't matter which frame you're on to see this. Let us start with frame 48. We're going to do a render really quick. You'll see here, once I render this out, when the alien is entering the shot, we actually have that glow effect from the electricity present. And what's actually happening here is it turns on and then it slowly goes to invisible by the time we need it to go invisible when we set it up. And so we basically just need to come in here and correct that so it doesn't turn on right away. We only wanted to turn on when he gets electrocuted. So we're going to come back here to our layers here. And I'm just going to locate that glow layer. With Chad glow. We're going to go back here to frame 0. I'll double-click on Chad glow. And we will change the opacity to 0 and then hit Enter. Now the opacity is going to be set to 0 for this. Then we're going to need it to come back on when we need it. If we double-click on glow here, we can see that the glow is set to 100%. If we come back here to frame three, three-sixths and double-click, we can see that the opacity is set to one. So I might actually do here, is make sure that the opacity sets itself to 0 up until 347. So I'm just going to locate that glow layer once again, double-click. You can see that it's set to one, which is probably okay, but we'll just put it to 0 just to make sure. And then it'll kick in. Then we should have the electricity going. If I double-click on the glow, you can see that the glow is set to 100%. Then once we are done with that sequence, double-click on glow, you can see that it is set to ten. Then if we go to the glow again here, you can see it's set to nine and it eventually sort of kicks out. However, I don't want this to be going on forever. So how about eyebrow on 390? We just come in here and kick the opacity to 0. If I come over here on the timeline and just look around, let me jump to, for instance, let's just go to 450. If I go back here to the glow and double-click, you can see it's set to 0. We should be good there. Now, with all of this, again, it's just a matter of going through and making sure everything is set properly. Sometimes little things can slip through the cracks and that's just what happens in these cases. There we go. We should now have that in place. Everything should be looking good. There should be hopefully no issues as we move forward with this scene. I'm just going to go up here to File. And we will choose gather media. And for the CO2 torture chamber, where it is going to rename this to final hit Save. This will gather the media, make sure it's all within the folder. And we should then be able to easily grab this and we need it when the time comes to piece it all together. There we go. We now have that setup. We'll pause here and up next, jump over to scene three. 40. Polishing Scene 3: For this video, I'm working off of seeing O3 interior van part six. We're just going to go in and make sure everything is good to go for this scene before we add it to our main file. Here, we can go through and paged around and see if there's anything that really needs to be done. I feel like this part right here where he teleports in could use a little bit of work. Because right when he teleports in, you can see that especially the hair changes positions. And so we can maybe go in and just adjust that really quick so that it looks a little bit more in line with that original image. So at 997, which is when this rig comes in, I'm just going to move over here and zoom in and try to arrange that hair so that it's more like the images. It doesn't have to be a 100% perfect. But having it close, I think, will help with most of what we're doing here. So at the very least it's not on the opposite end of the hair. I think that'll help. Then when it cuts back here than we could possibly just bring this back up and down and kind of put it morning neutral position. I think it's a little close, don't you think? I almost got swallowed up by a space worm. There we go. The hair swaying along with the movements of the van, which is cool. So we have that now. I believe I've corrected most of everything that needs to be corrected with the eyes and all that. One thing I know is the vial has a glow to it. So let's come in here to the Chad rig and go into that back hand, go into hand with viol, go into vile. Next for the vial, you can see I'm looking at that glow layer. I want to double-click on the glow layer and make sure we bring the opacity up to about 50%. So that way we can see the glow from the vial. We can see that the glow is coming off right there. It goes on and out and out. And then it just stops. I want a cycle this back to 997 where the glow is gone. So I'm just going to double-click on the glow once again and change that to 0 and hit Okay. Then the glow is going to appear at 1032 to almost 100%. And then it's gonna go back to 0 again. And then we wanted to keep going back and forth like that. All we have to do is just cycle this transparency frame 2997. Right-click cycle. We're going to choose an absolute value of 997. You can see now it's going to just keep going and going back and forth in, glowing in and out. Now he's not going to have the vial in this shot. He will have it here, but we haven't set up now so that the glow is occurring and that is looking the way it needs to look. And we can just keep moving here. Let's maybe tackle the filter in such next because I think everything else is looking pretty good with what we need here. Although I'm looking at the camera angles and I'm wondering if I should maybe adjust those a little bit. Because as I look at this, let's go to I feel like when we do the close-ups, for instance, when we close up here, it's not very effective because it's just a slight jump. So what I might do is make this next one a little bit more drastic. So I'm gonna grab these two frames for the camera and just move it up to 1173. Because I just want this camera change to happen a little bit later. So right when he reaches up essentially to his head, we're going to do a Zoom in, a bigger zoom in then we had so I'm just going to zoom it up a little bit. And he's going to pull out the vial. Perhaps. When he pulls it out, just add a little bit more excitement. We can do to say small zoom out like that. So it's kinda like closest extent and then he pulls it out. And then we have the explosion going on in the back. And I'm going to copy that camera key and bring it over to 1415 and paste it so that way the camera isn't floating between these two points. There we go. Even though it'd be kinda hard to tell given we have the van moving, but that's okay. That should work for that close-up. We have a closeup right here. Kind of wondering if we should just make it a little bit more close up just to actually warrant the fact that we're doing the closeup. I'm just going to try to focus more on him. Let's make sure we lower that a little bit so we can accommodate his movements. That's a little bit too tight. We're cutting off too much of his face. This is come back and try to run that in a little bit more. Maybe something like this. That can probably work. And then we're gonna cut then to the exterior shot. And let me make sure I copy that last camera key. I just laid down and paste it over to the next. So that way we don't have a floating cameras situation here. This like that. There we go. That should work. Just adding a little bit more to the camera, I think should help. So once again, let me come back here to 960. I believe that's when this starts. I wanted to make sure the filter and everything else is working out. Let's just come over here to the layers and I want to locate the filter. If it's even here, maybe I didn't put a filter in on this one. And if that's the case, we can just add another one. It's right down there. At 960. We're gonna grab that filter. And remember we're able to move our layers around in this one so we can actually move this up above everything else pretty easily here. It's come up and we're gonna keep it inside the van, but just above everything else in the van. And then I want to grab the filter here and click on the Shape selection tool and click on the color of this and then go to my Gradient. We're just going to do a quick adjustment here. For the blue color. I'm actually going to make it a pale yellow. We'll do the same for the second color. It's just gonna be a little bit less noticeable. And then for the final color, we'll make that more of a darker blue. That sort of fades out like that. Let's click. Okay. We're going to take the center of this filter now. Bring it over towards the light. It kind of looks like the light has some say in what's going on in this scene here. Just take a look here and you can see the center just like that. I think that will work out a little bit better. Let me just use control are really quick to see what that would look like with a filter now in place and looking a little bit different. I think that works because now the light is here, you can have a darker area more over there. Let me bring in the chat character just to make sure he's not completely washed out in the darkness. There might be a little bit too dark now that I'm looking at this. So we're just going to come back here and maybe just extend the gradient out so that it's kind of like this. There can be a little bit of darkness, but we don't want him shrouded all the way in darkness. Let's try that one more time. There we go. I think that looks a little bit better. The filter is attached to the scene. So as we continue to move, you can see here that the center of that's gonna stay towards the light in the ship. Which will then make this feel a little bit more believable with what's going on? I believe that should be everything here. We have the filter in place, we have the glows occurring. Everything is looking good with the facial features. We don't have any issues that I can see. That of course, we could always go in and polish things up a little bit more, but I really think just should be fine for our purposes. I guess the only thing I see here is that last shot where you can tell his front arm is not attached to the steering wheel. Let me just correct that really quick and then we should be good to go. Just come up here and let's just grab this layer selector and turn the filter off. Click on this, make sure we're on the Frank layer. We cut to this and then that we already have keys established before this. So I'm just going to grab this and move it over. And the reason why that's happening is because of the different angles in the different ways of how space is working. Because we just have different things occurring with a 3D elements, as you can see. Just come back to this and move it like that. That's looking a little bit more convincing except for that part right there. Bring that over. So what's the plan? And we just got to make sure that that stays where it needs to stay. Just like that. We just have some red area is occurring here. So that's why we have this different movement and that's okay. I'm just going to keep moving it just like that. Again, mostly it's off screen for this, so it's not a huge deal except for that one right there. That's kind of a huge deal, which is move that over like that. Then we cut back. We can just make sure that that's over. Like that. There we go. This a little bit more. There we go. Okay, and then this is the end. So we should be good to go. They're going through again, I would just recommend you polish anything up that you see might not be looking quite right. That should be fine. Again, this isn't touching but it's cut off, so we should be okay. We shouldn't have to worry too much about that. So with all that, I think this scene is now good so we can save it. I'll label it as final. And up next we can take a look at seen for. 41. Preparing Scenes 4 and 5: For this video, we're going to take a look at scenes 45, just to make sure that everything is looking good. I'm going to open up the scene. Let's go to our scenes folder. Double-click on ship chase, and open up version two. So here we are. We just have this chase sequence and we just worked on this and we don't probably have to do too much with this. It's looking pretty good. The only thing I wanted to make sure is that the filter is in place. So taking a look at this, we have just a filter that is supposed to help with contrast and darkening things just to help with the space setting. So I can take a quick look to make sure it's all looking the way it needs to look. And that is looking good. With that filter on. I just want to come in and make sure we go back to frame 0. We'll select Filter holding Shift, select seen, right-click group with selection. And we'll name this one scene O4. And I didn't really do anything with this particular scene to warrant and other file, however, I want to stay consistent with my naming and all that. I've been naming everything final. So we're just going to go back to that scene O4 ship chase folder. And we can make now ship chase final and do a media capture here so that way we know everything is good to go. So gathering media, that way we know for sure everything is locked down. We can now move over to seen o5. Let's open up. Go to scenes. Go to the Sun. Open this one up. And the action there is looking good. The one thing I might do though, is just look at this filter really quick. Once we've done that, we can go back here to frame 0 and just make sure that we line up this gradient so that the orange part is near the sun, just like that. Let's now go to frame one and it looks like it's disappearing. And I'm gonna grab this transform layer tool and just bring up the Z property until we can get this into view. So about like that. Then just come in with the scale properties here and make sure we have everything where it needs to be. I think it did that because of the way the cameras set up. Not a big deal. We can always go in and make those modifications. Due to the camera movements. We can see that it's shrinking really far. In this case, I'm just going to double-click on Filter, come down here and choose immune to camera and then hit Enter. We can see that it places itself up here. And that's okay. We're just going to come in and make a quick adjustment. Put that filter into place. Just like that. Now, we can have that movement without the filter getting interfered with, with a different camera movements. So now if I use Control R or Command R, just to test this out to make sure that the filter is working. We can see it currently looks like this. Let's come over to the color options here. I'm not sure if I edit a blend mode to this or not. Double-click un-filter, it looks like I didn't. So let's just come in and add, let's say overlay and try that. Do one more render here. There we go. I think that's looking a little bit better. Now with that, we now have these two exterior shots finalized and ready to go. Which means for the most part, we should have our production assembled. We can pause here and up next we'll move on to piecing it altogether. 42. Exporting Scenes For Easier Assembly: For this video, we are in MOHO and we're going to now begin the process of exporting our scenes out so that way we can assemble them in another file. Now originally when I began this course, my idea was to bring every Moho seen in as a group and assemble it within the timeline on a master file. And we could still do that. However, when I was running through some tests, I realized that my files are rather large. And so putting them all together really makes it difficult to work with. And so at this point, I'm going to opt to essentially compress everything down within the scene into either a video file or a PNG sequence, and then put it into a Moho file as a master file. So that way we can assemble it and then export it as a video for the world to see it. That's how you wish to go about this. Now I'm just going to make a disclaimer right away. We'll actually a couple. First, I never assemble productions inside of Moho like this. I prefer using a video editor. The only reason why I'm showing this in this course is because I want this to be a comprehensive course on MOHO as much as possible when doing a production. But also I know there are those of you out there who would prefer to do the whole thing in MOHO if they could. So that's why I'm going to go this route. But typically I like to use a video editing software like Premiere, which I'll also be showing you in this course, just so you can see how you could do this both ways. But second, I was going to put all the scenes together back-to-back, but it just became so bloated. And then I ran into the issue with Scene Three, which I offset 960 frames. And I realized later my math was off on that. And while you could go in and try to correct that on the master file or go back to the original file and correct it. It seems like way too much effort for really just a small mistake. And so I feel like this is going to be the best way to go about this for this particular file. Now again, you might have a production where your files are very low in weight. You're not using 3D textured Props. You're not going that route. And if that's the case, you might find then that you can't easily put things together just by importing your scenes and putting them back to back. But with that said, we are going to go the route of exporting the scenes out. And again, I apologize if that's confusing. I intended this for this to be different, but this is my longest course. It's been going on three months of recording time. I since in this time have had a baby and other things have been going on in life. And I think I just brain **** add something here. So we're going to correct it now and it's going to be just fine. With that said, let's export out these scenes as PNG sequences and put them into a master file. That'll be our first step. So file and then Moho exporter or Control D or Command B. If you're on Mac. This is a way for us to export things out in bulk within Moho. And I use it a lot. I usually save all my exporting until the end, like we are right now. Once you get into this, you can either drag or drop your files or you can use the Add File prompt, which I'll just do right now. We're going to go to our scenes. And we'll start with scene one. And we're gonna go to the final folder and just drop in scene one. Next, we'll go to scene to go to the final folder and just drop in scene to final scene three. We're going to go to scene for scene five. Next, we're going to go into the settings for all of these. And then we'll do an individual setting for seeing three given we created that offset and we no longer need it. So we're going to select all these scenes and then go to the settings within Moho exporter. This can take a moment when you have multiple scenes selected, especially given how heavy these files are. Sometimes it takes a little bit. Now that I have the export settings brought up, we're going to ignore this first part. Come down to the output. And you can do either video files or you can do PNG sequences. I'm going to go ahead and try the PNG sequence route. So just come in here and we're gonna do just image sequence. Preset will be PNG. Now again, you can do video and if you do do video, I would recommend that you go either with AVI if you're on Windows or QuickTime, if you're on Mac. If you go with Mac, make sure you, you use something like ProRes. Again, it will bump the file quality up really high. And so it will be a very heavy file in itself. But you can try it and see how it works. And it can be tricky because if you go with something like MP4, that's a lighter weight file, but you're technically going to be losing quality if you go that route. With all had said, Let's go with just image sequence and see how that works because we can retain most of the quality this way. All these other options are fine. The only thing we should choose as our destination. So I'll go to the destination drop-down here, choose a folder, and I just want to go to exercise files. Let's go into the scenes. I'm just gonna make a new folder. And we'll name this one PNG sequence scenes and hit enter. Once we have that, we can just double-click on that folder and then hit Select Folder to put these new renders in there. And once you're good, you can click. Okay. Now, the last thing we need to do is make sure we just click on scene three and then click on settings. We're seeing three. We're just going to come in for the start frame at the top here and change that to 960. Because remember we offset it because we're gonna do it differently and then blah-blah-blah, brain **** and things. And now we're just going to make sure we render from 960 to 1704. Again. If you were to do this on frame 0, it would be okay, but you would just have 960 frames of essentially useless content. So why not save the space and the headaches in let us go that route. So once you're good there, you can click Okay. We now should be good to go to render. Once you are comfortable with that, we're just going to come up here and hit Start. Now this can take a little while. Again, we're creating multiple images here. And these scenes are rather large, so it's going to go through and render out everything. And with all that said, I'm just going to let us do its thing. It might take again about an hour or two depending on your computer and all that. But when we pause and come back, we'll take these image sequences and start assembling the master file within Moho. 43. Piecing Together the Sequence: This video, we are in MOHO and we're going to create a new document with Control N or Command N. And it's time to import the files we exported in the previous video. First, starting at frame 0, will go up to File Import and then choose image sequence. You wanted to go to our scenes, go inside P&G sequence scenes. In here we have seen one. We can click on that, click on the first image and then choose Open. To begin. Here we are. The first scene is in place, and it ends at 72. Which means we need to put the next scene on 73. Go to 73 will go up to file import image sequence. We wanted to go to the second scene, click on the first image and then choose Open. We have the second sequence in. So we go here, here. And it keeps going. So then this sequence lasts a few frames here. Up until about 1068, right about here at actually 1073 is when it cuts out. One thing I'm gonna do right now is just come over here to the out frame and extend it to 3 thousand. Just so I have enough frames so that it doesn't kick back to the beginning of the timeline as I'm going through this. Now we are at 1073. We're going to do another import this time, once again File import image sequence. We're going to go to that third scene and import it in. There you go. The third scene is now in. While I'm thinking about it, Let's come in here and rename these. So we'll put this as seen three. This is s2, and this will be scene one. Now, we're going to go back to frame 0 and import some audio files. Let's use Control Alt Y to do the import. Go to your Exercise Files. And then we go to audio and then voices. Now under here we have a variety of files. Originally when we did the lip sinking, we use the individual character files. So this one contains only chads voices, Frank's voices and so on. But now, since we have completed the lip sinking, We're just interested in using the audio to reference everything to make sure that we are where we need to be within the animation. So what I've done here is credited to a space chase mixed down, which is the entire production with all the voices. But in addition, just to make sure that I can modify some of the timing of this, I've split this into two parts. Part one goes until the end of s2 and then part two is the rest of the production. So I'm going to bring in parts 12. Then let's go over here to the sequencer. But first let's click on part one. We want to find the end of part one, which is going to be closer to 90906. And that's the end of the first wave. Now, if we go to the sequencer, it looks like parts 12 are playing at the same time and that's because they currently are. So we're going to resequence part two to play after part one. I'm going to zoom out first on the timeline just so it's a little bit easier to move these things and then come back and grab part two and move it up so that it doesn't start until 906. Now let's come back here to channels and just see how this all plays out. Now, right away, we already have an issue because we are completely off sync because we forgot to account for the fact that for the first three seconds here, I will ask him only one. We don't have anything going on, so we actually have to push both of the audio files up three more seconds than what we have. Let's come back here. Go to the sequencer. We're just going to come in and grab part one here and move it up so that it starts when the character starts to talk. Now again, let me just hide this really quick. He doesn't start to talk until actually close to 144 because we have the walking animation. So we had to move this up even more than we were originally thinking. Let's just reveal these once again and grab part one and make sure it starts at around 149. I will ask you only once more. There we go. That will then allow us to bring up this next part to around 110 for probably, let's just take a look. Cutting it a little closer. So close to that. I'm just going to remove this a little bit more and let's take a look at this timing really quick first though, he teleports out. Cutting a look. I kinda feel like seen two or three rather can come closer because we have this dead space here. Maybe right after that, just right when he disappears, we should cut right to seeing three. So I'm gonna grab seen three and actually bring it up to 1042. Then the voice for this can start at around 1087. So grab that waveform and just bring it over, cutting it a little close, don't you think? I almost got swallowed up by a space worm. Still get the bio? Yes. Now the next step is to There you go. You don't have all that going on. Now it's time to bring in scene for we have seen three playing out here. And then we have a spot where we're going to have a chase sequence show up so that we can see what the ships are doing in reaction to the characters. If we come over here and listen to this, we got to get out of here and then almost immediately after. And we can play around exactly what the timing. Let's start with 1370. We're going to import seen for go up here to File Import in an image sequence. We're going to go to the scenes, go to the PNG sequence scenes. And currently I have two scene four files here. We actually only care for this one. We're going to look for a scene four, which is right here. We'll double-click and then we want to grab this and hit Open. There we are. Now, you can see it looks like this. And then we cut and we have this sequence taking place. When we cut back here. We could probably move seen for back just a few frames to help with the timing. I'm going to just rename this to see no O4, go to the sequencer and we're just going to kick it back just a few frames like that. There we go. That looks better. And we can now move over here and do the last scene. We have. Hang on right here. Then that's what we're gonna do. The last exterior shot will just drop it in at 1632 again, we can adjust the timing here. Once we get to that point. We're just going to go to Import and then choose Image Sequence. Come over here to our PNG sequences and we'll do the final one scene five. Click on that and choose Open. They fly towards the sun. Goes. Then that is the end. After here goes nothing. That's gonna be the end. We'll actually cap this scene at 1776. Just like that. We should be good to go. We'll pause here and up next, add some audio and then export it out for the world to see. 44. Adding Music and Sound Effects: For this video, we're going to open up our master file that we've been working on. So Control O or Command O, go into your exercise files, locate your scenes, and we want to bring up the master file version one. So we'll just go ahead and bring that up. Now in this section, we're just going to add some audio to the shot. There's a lot of audio we could add and the more audio you add in, tweak with it, adding balance and just making sure everything falls within the scene and it seems to make sense. It can help build up atmosphere pretty quickly with your different shots. But here I just chose a few select things that we can put in just to give you some practice with implementing audio in MOHO. And again, I'm just going to mention, I don't want to make it sound awful, but I typically do not add audio this way to my productions. I usually use video editing software, but we're just going to go this route in the event that you want to do it this way. So the first thing we can do is add in some music and we're currently on frame 0. And that's good. So let's just use Control Alt Y and go into our exercise files. Go into the Audio folder, locate music, and we can grab this piece of music right here. This is from incompetent.com. He has a lot of great royalty-free music. So if you're looking for more music, you can definitely check out that site. Here. We can come in here and just play this out to see what the audio balancing sounds like, that you may be able to hear it from my end, but the music is too loud compared to the voices. Let's come over here to this audio file and double-click on it. This is for your music. And I just want to come in and go to audio. Here we have audio level. Let's try putting it to point to see what that does. Let's make sure that that audio level change is also at the beginning here, so that the whole thing is quieter and not just that part where I put it in. That sounds a little bit better. The audio is more equalized in terms of the background. Now, we can just keep going here. Again. I could add in more sounds here, for instance, a ship flying by and all that. But let's just come in here. And let's add it as a door opening for this part. At around 80. I'm going to use Control Alt Y. We'll go over here to our audio, go into the sound effects. I'm just going to extend this out. You'll see that we have a sound effect here called door automatic air pressure. Let's just double-click to open that up. It could probably go in a little bit sooner. So let's just come in and kick it back a little bit. Let's try that again. Okay, that works. And we could also have the sound effect come in again to indicate that the door is closing. So let's just import this again and I'll put it right here. I will add, we can just kick it back a little bit. There we go. Now another thing I added in here into our audio folder, footsteps. So at 120, I'm going to use Control Alt Y. We have three different footsteps we can use here. I'll just start with the top one. Basically, anytime there is a I see there's a glitch there. I just caught. I might have to go back and look at that, see as legs disappear for a moment. And that probably has to do with a 3D space. But we can go now to this footstep and we're just going to use Control Alt Y, locate the next one and import. We have one more there. So Control Alt Y, bringing the last one. I will ask you only once for where is the serum? And I'm going to tell you. So now we have the electricity shooting out. We can use a few different sound effects for this. Let's go to 416 and Control Alt Y. And we'll start with the laser fire. Those come in. We already have that going on. Now at around 420. Let's import the electricity sound. So right here. Actually we can maybe bring that one back just a little bit. When the electricity comes shooting out of the gun, we can definitely have that audio kick in. For this audio, we don't want it to go forever. You can see that it's longer than what we need. At 482, Let's double-click on that electricity layer and go to Audio. Change the audio to 0 and hit Okay. Now if we go to our channels, you can see that it cuts it off. We could also add another sound effect in there as well. Maybe at around the same point at 420, we can go in and add an electric sparks. That I don't know what to tell you, dude. We're getting all that in now. Now at 696, we can add in the sound for the power up. And I'm just going to choose electric sparks sizzle. If you could, if you wanted to add any more sinister sound. But that should just work for right now. And we want it to stop at around 7046. I'll double-click on that audio, go into the audio settings and just change that audio level to 0. At that point. I always knew it would end this way, adopted from my office wall. And then we have the teleport effect right here. We're going to add an a sound for that in addition to everything else. So Control Alt Y, go into our sounds. We can do a teleport sound. We're going to have the same sound take hold at 1042. So I'm just gonna re-import that sound right there. Again, we could do more. So putting a little close, Don't you think we could do, for instance, a sound with him landing on the chair, just like some sort of cloth hitting sound, things like that. We could also do. We can also do ambient sounds here as well. So like when they're in the spaceship and this space is flying by them. We could add in just some sort of background noise just to help sell that they are in space. Now we're going to have the explosion take place at 1280. So Control Alt Y, I'll just bring in one of my explosions here. Let's try this one. I can't remember which one is the shorter one. Let's go with explosion too. We have another laser that also appears. So I'm just going to use Control Alt Y, go in here and choose laser fire. Again, we could do more here, spaceships, sounds, and all that. But again, just for the sake of the tutorial, we're just gonna do a few here. We have some more explosions. Let's come in and we'll do this one. That explosion could be toned down a bit in terms of audio. So I'm gonna go to about 0.4 for that and make sure that 0.4 is setup at the beginning of this and not a little bit afterwards, like it is right now. So let's grab that key and bring it back up. Actually, it still sounds a little bit too loud. Let's go over here. Try point to there we go. At the beginning of this shot or close to it. Let's say at about 1394, I'm going to insert the laser fire sound. Also that explosion should come sooner. We should have the explosion sound effect starting at 1399. And right now it's up a little bit higher than it needs to be, so we're just going to kick that back. Okay. Another laser fire can be inserted here. So 1424, laser fire. We can add another explosion. Then one more laser fire for this shot. We can add another laser right here. For this laser. Since we're seeing the laser shoot outside of the vehicle, we could actually go in and maybe just lower the audio so it sounds like it's outside and being muffled. What's the plan? Then we can, of course, add more sounds here if we wanted to. Let's do another laser fire right here. Again will lower this. Maybe about 2.5. Then they get hit. That's okay. We're just going to add in that explosion too. There we go. That is the end of the sequence. We now have added in all the audio. And again, I prefer using video editing software for this, but this worked out, it wasn't too bad. And of course you could go in and keep adding audio. There is just one more thing I want to point out. You don't have to worry about it here. But when you start adding audio into, let's say 3D scenes that I created, those other set pieces. And if you start doing camera movements and all that, you can actually pan the audio as well. So if you, let's say pan to the right, you might also have your voice something like it's coming from the left and you might not want that. You can see right now that my audio is currently set in the middle and we don't have any camera movements because we rendered everything out beforehand and then put the audio in last. But you can also, if you wanted to keep this all just organized as much as possible, come in here and we could add in an audio folder. We just can come up like this, making sure I have everything here selected. And just select all these right-click and group with selection. And I can just name this audio. Then for these two, these are the voice tracks. So let's just group was selection. And I can rename that to voices. Again if you didn't have a lot of panning and stuff occurring and he didn't want that audio discrepancy to happen where it sounds like it's panning. You can always double-click on your voices and then turn on immune to camera. So that way it won't pan with a camera and you can keep the audio in one spot. I'm going to pause this here and up next we can export this video out. 45. Exporting the Main File Out: For this video we're working off. I've seen oh, master file final. Feel free to open up this file. We're now going to export this out for the world to see. We're going to assume that all of your audio is in, your music is set. You're happy with the action. You've cleaned up any of the issues that may have occurred with your renders? I know I had a couple here or there. I'm just going to probably leave those in. For instance, we had hid his feet disappear right there. Just a little bit of an oversight. However, if I had the time and I were doing this differently, I would've went back through and of course just corrected that. And if you notice these things after you have exported them out, as in this case, PNG sequences. You can always double-click on your sequence, go to your image and set the source. Or you could overwrite the original images and it would update here in MOHO. Or you could just choose to isolate that one frame and update it in your file browser and it will overwrite in MOHO. So that way you can have a clean file with all of that set and set. We're going to export this out for the world to see. You can do this one of two ways. You can either export through Moho exporter or through the program itself. I'm just going to go Control E to do an export right here. When we do this, we can choose how many frames we want to export. We want to export the entire sequence for the output. We can set this to a video format. In this case, you have some options. You can choose MP4, AVI, or if you're on Mac. Quicktime. If you are planning to take this to, let's say, a video editing software, I would definitely recommend that you go with a higher quality format such as AVI or QuickTime. The reason for that is every time you export out, you're going to lose a little bit of quality. And arguably we might have already done so by exporting out a PNG sequence and putting it back into Moho and then exporting out a video. So you have to be careful with some of that. In my case, I am going to do an MP4 format because I want to keep the file size of this course is low as possible, even though I'm sure it's already gigs and gigs worth of information. But if you wanted to also share this, Let's say on YouTube or Facebook, MP4 is also not a bad choice. It's a lightweight format that does a reasonable job with quality, but you are going to lose some quality when you export this way. So I'm just gonna choose MP4 for this particular course. Feel free to choose a different format. And I wanted to come down here to Export to. Let's go to Choose folder. And I believe I already put in a new folder for this called final renders. So I'm just going to double-click on that and select the folder. And I can rename this one to final sequence. And I'll put Moho behind it to indicate that this is the Moho edited file. Once you hit okay, if you're doing a standard export like this, it'll bring up a window for you so that you can watch the export in real-time. And you can see how it all is shaping up. Here we are. It's beginning the process. I'm not sure how long this will take given it's just a bunch of image sequences, but it might take a little while, again, depending on resources and what we have going on here. So with all that said, I'm going to pause here and let this do its thing. And I will see you at the end of this video when we take a look at the file, alright, the render is complete. I'm just going to jump over here to my exercise files. Here we have final renders. And if I double-click on this, we have the file right here ready to be played. I will ask you only once. You can go through this yourself and played out to make sure it's all looking good. I've already looked at it. It seems to be running fine. And this is looking good. So there you have it. If you wanted to do everything in MOHO, this is the final step. We have exported the sequence out. And you could then, of course share this with anyone you wish. We could take it a step further. We could keep building on it, whatever you want to do. But again, if you wanted to do everything in MOHO, it is possible. Again, I had a different approach to this when I first started, but then realize the file size was just too big. So the PNG sequence exporting process did work for us. But with that, we're going to pause here and up next, we'll take a look at putting together the production inside of video editing software. 46. Preparing Clips For Premiere: For this video, I am inside of Premier and you can use whichever video editing software do you prefer? Hopefully, what I do here will give you some knowledge into your own editing software. But I've been using Premiere for years. It's the one I'm most comfortable with and it's the one I teach. So we're gonna go with that. Here. We're just going to use the image sequences that we export it out in the previous part and bring them right into here. Just like we did with MOHO, we should be set up and good to go with our media. Let's first go to New Project. We can name this one space chase. Premier sequence. I will browse and we can put this, let's just go to funnel renders. We can put it right in the final renders folder. And make sure I'm in the exercise files for this final renders and then choose Select Folder. Once you're good, you can click Okay. And we have created that sequence. Just for your own knowledge. I'm currently on the editing workspace if you want to switch over to that. So it looks the same by all means, go ahead and we wanted to begin the process of importing. So let's double-click within the project panel. We can first import the voices. Why not? Since we're here within this folder, I'm going to grab the space chase mixed downs part 12, just like we did for MOHO. And then open this up. Just to make this a little bit more organized, I'll create a new bin. That's the folder icon right down here. And I can name this one voices and we can put those inside there. So that way it's a little bit more organized. We'll come back here to the voices in a bit. Let's keep going with the import process. I'll double-click. And we want to go to the Exercise Files and then locate scenes, PNG sequences, and then go to the first scene. Now when we import an image sequence, we have to make sure we click on the first image and then down here, enable image sequence. Once you enable that and click Open, it should bring in the image sequence just like that. If we come in here and double-click, we can play this and we can see how it looks. Now there is something off with this. When we do an image sequence by default, or at least it is with my Premiere. It's putting the frame rate to 29.97, but the frame rate for our sequences has always been 24. That's how we set it up inside of MOHO and that's how we continue to work. So we need to right-click on this file, go to modify and then interpret footage. Here we have a modified clip that comes up. And we wanted to come over here and assume this frame rate is 24. Once you're good, you can hit Enter. And that should switch this now so that it's three seconds long and it's playing at the correct speed. So we're going to keep going. Double-click again on the project bin, go to your PNG sequences. We will be bringing in the second scene, makes your image sequence is turned on when you do so. I'm just gonna keep going here and bringing all the other scenes. Then we can go from there with re-interpreting the footage. Just one more. You can also use Control I instead of double-clicking on the project bin to import. And we will do the final one right here. I don't think you can interpret multiple clips, but I could try here. So if I go to right-click modify, Interpret Footage, oh, maybe I will be able to or maybe it's just doing the one we'll see. I'll come over here. We'll assume it's 24 and hit Enter. And let's see if it changed it just for one or all of them. It looks like it actually changed it for all of them. So there you go. You now have everything setup for 24 frames per second. With that, we have all of our files in place. I can pause here and up next, we'll keep building this up. 47. Importing and Assembling in Premiere: For this video, we are still in Premiere working off of the space chase premier sequence that we created. We now want to keep building up the main scene here so we can piece all of our little portions here together. Let's begin by grabbing scene one and dragging it over to the new item button and releasing. This will create what is called a premier sequence. You can see it's listed right here. I'm just going to click once on that and rename it to master sequence. That way, you know, this is the main sequence that we're going to be working with. From here. We can come in and just put in the other scenes, seem to click and drag. Make sure it snaps up against scene one, scene three. Then we're going to have the other two scenes after that. But if we come in here and just hit Play, we can see that it's playing out just like it was in MOHO and everything is looking good. Let's add in the voices next so that way we can map this out a little bit easier. Come over here to your voices, come over here to the mixed downs, find part one. And we're going to bring it in. Now remember, he doesn't start talking until he walks in and he stops. Then at around 604 is when he's gonna start talking. I will ask you only once more. There we go. We have that audio in. And it lasts. Aliens. Just like grandpa worried about here. We cut there. Looking at this, I remember I did this in MOHO as well. Right When he disappears is when we should bring in the next scene so we can actually come in and just trim that first scene and then put the second one right up against it. So it just starts like that. Now, from here, we want to add in part 2's audio where appropriate, which is going to start right about here. So does bring this in, cutting it a little close, don't you think? There we go. We have that in now. We just need to put in the other exterior shots. Right after he says, We gotta get out of here. We're going to cut to that fourth scene. And this time we can just put it right above seen three on the timeline. And it just makes it a little bit easier to work with compared to MOHO sequencer. I might move this back just a little bit more. A little bit forward. There we go. I think that timing works better. Then we have the last part which goes in right here. We'll just drag and drop this final part right here. We have this close-up and then it cuts back. We probably don't need that part right there when it cuts back from this. So I'm just going to come in and trim that up. I'll just cut that little portion out like that. Then we're just going to cut this audio piece like that and just drag it over like so. That way it's a little bit tighter. Here it goes. Alright, so now we have got the pieces in as well as the voices. So let's pause here and up next we can add in the individual sound effects. 48. Adding Music and Sound Effects: For this video, we're still in Premiere working off of space chase premier sequence. Feel free to open up this file. We now want to import the other audio pieces so that way we can put them in. Let's use Control I to import. Go back to the exercise files, go to your audio. We can import our music first, so I'll just click on music and then double-click to import. End. While I'm at it, I'll just come in and create a new bin for that. Name it music. Then we can bring it up like this while I'm at it. Let's also come in and create another bin and call this one scenes or maybe PNG scenes to be more specific. Come down here and grab all those and just bring them up in again just to help with organization. Now with all that in, I can import the next round of audio, which will be the sound effects. So just come in and we're going to grab all of these and import them right in. Once again, I'll create a new bin. I can name this one sound effects, and I'll just grab all those and bring them into that group. Now, let's just begin. I can add in the music first like I did with the Moho file. Let's go all the way back to the beginning. Go into that music folder, locate the music track, and we can bring it down just like this and release. Just like MOHO, we need to make sure that this audio track is lower because it's pretty high right now in terms of volume. And it'd be hard to hear the voices. So I'm going to double-click on this area for the track, and then click on this decibel bar and just bring it down. I will ask you that should work. Now, let's go back. We want to add in that door sound opening up so we can come in here, locate that door sound just like that and we can drag and drop. Let's put it below the music. We'll keep this first track here, the audio track for the voices. The second one will be for the music and then audio three, and below will be for other sound effects. Here is the door opening. I'm just going to move this back so that the waveform starts where my play head is. Actually, let's bring it a little bit further in. That works. And then we can have it appear one more time for the door closing. So I'll just come in and place it right there. I will ask you and maybe just kick it back a little bit more. There we go. Now, we want to do the footsteps. So we can do one footstep here. And I'll just go down to the next piece of audio. And I'm just gonna move down and keep adding this below. So at that way I don't overlap anything. So we'll start with this footstep right here. And if I come in and just add this below Master, it'll create a fourth audio track for me to keep building off of. Then we have one right here. Then we can do one more right here. I will ask you only once, where is 0? Then we can just keep going here. What we got. When he shoots, we can add in that laser fire sound along with some other effects here. So come in and add some down like that. Make sure we bring this up so that those two audio sounds are shooting at the same time. There we go. And then we can just trim that up when we're done with it. I believe we have some other effects that go along with that right here. I can just go in and add that in just like that. So we just keep building up the sounds just like this. Tutorials. Wow. We could probably come in and just lower some of that a little bit. You don't want to alter the impact of it. You should tutorials. But we want to pay attention to our decibels. We don't want to hit that red line. We don't want to blow people zeros out if they're used to one audio level when we come in and just kinda knock them away. Tutorials, may be it a little bit better their tutorials. There we go. Then we have the power up and again. We could probably do another more appropriate audio format or sound, I should say for this. But I think it'll work for what we need right now. I think it was this one we were using. Last chance. I always knew it would end this way. Then we need to tell a porter sound. So we're just going to come in here, locate the tele Porter. I believe it's around here, somewhere. There it is. Click and drag and bring it over. We can lower that as well. Millions, just like grandpa. And then we have the second scene here. We'll do the same till a porter effect. Just like grandpa. Putting it a little close, don't you think? There we go. We need the explosion. Right there. Do this 1 first. Lower that a little bit. Still get the bile. Yes. Now the next step is let's add a laser bolts about right here, just to indicate that the ship is firing. And actually, I'm going to undo that really quick and add it a little bit sooner. At around 500, at around 5806 will add that. There we go. Then the explosion, then another laser, and then an explosion. We might need to add this below, just so we have more channels available to us. Just like that. Now the next step is to make sure we lower that a little bit. Then we have one more laser come out. I'm pretty sure right there. So we're just going to add that in. So what's the plan? We have one more explosion. We can add right there. That should do. And again, we could add more sound effects and more diversity to this, but got to make sure that audio is comes a little bit later than it is right here. There we go. End, that is the end. Let's just make sure we trim that audio up. That completes the sequence. There you go. We now have the sequence edited inside of Premier. As far as piecing it together and incorporating the audio. Will pause here enough. Next, take a look at some other things we can do and then export this video out for the world to see. 49. Adding Additional Effects: For this video, we're still in Premier and we're just going to take a look at some other options we have when it comes to editing these clips, you have way more opportunities for editing. When you jump outside of MOHO. You probably already saw that when we're piecing our clips together and just adding in the audio as well as editing the audio levels. It's just easier. And so if you want to make quick corrections to, let's say, color or other effects that you want to add in. You can do so. You could even take this into After Effects and really build upon it if you wanted. But here we're just going to do a simple example of coming over and clicking on the Color workspace for premiere. In the Color workspace, you can see we have different areas that we could focus on. We wanted to change the colors we can do so. We can even add a vignette if we want. Let's actually add a vignette to this whole thing. Now you can click on each individual clip and then add and change the clip parameters that way. But I want this vignette to be across the whole production. So I'll come back here to frame 0 and buon to make an adjustment layer. We're just going to bring this project bin over until we can see the new item button, click on new item, and then choose adjustment layer from the list. We can set it up so that it's these dimensions, the time bases, good. We can click Okay. Now the adjustment layer will appear in your project bin. I'm just going to rename this to vignette. And we can bring it over onto the timeline and we want to place it above everything else. So I'll just go up and place it on track three. And then we can extend the adjustment layer out for the whole duration of this file. Now clicking on vignette, I can then click on the vignette option and we can adjust it from here. So as you can see, I can adjust just how much of a vignette we can place on this. Maybe if I jump over to a more lighter scene, it would be easier to tell what's going on here. If I bring the amount down to negative three, I think that works for what we're doing here. And you could of course go further with this. As you can see, we can really hone in on it. But I think leaving it at around this spot should be good for what we need. And again, you could go in and do more. So if we wanted to, we could go on to this individual clip by clicking on it. We could go into creative and we could start to adjust just how this particular shot looks. If you wanted to, you could come in and we can create a faded film effect. As you can see, we're just adding more of a faded look to it. You can sharpen this, you can adjust the vibrance. So if you wanted this to be more vibrant, if you really wanted to kick those colors up, you can see we can do so. There's just so many things you can do. Just little things you can do by toggling these switches on and off to help create a more visually pleasing production. On top of that, you have all these different looks and LUTS as well. So if you wanted to mimic a sort of film stock, you can do so. Come in here and you can just find what you need and apply it. As you can see, we can easily change the feel of this pretty quickly. So when it comes to working with your colors and different effects, there is a lot you can do, and really it could be a whole course in itself. But I think for right now, you should give the idea that you can do more beyond just piecing things together and adding an audio. That is one of the benefits to being able to go outside of Premiere is you can really incorporate different pieces of software, different techniques to round off the package and to create the ultimate experience for your audience. 50. Exporting the File: For this video, we are in Premier. We're working off of our premier file and we're going to export this out for the world to see. Once you are satisfied with your production, Let's come down here and make sure everything is trimmed up. For instance, you can see that our audio here for the music is actually extending out beyond the actual production. We don't want that, so we're just going to come in and make sure that we shrink it up along with the sequence. So that way everything is even and we don't have anything sticking out. You can see that it's looking good. Once you are ready, we can go up here to File Export. And then media Control M also works. Here we have a preview window. Let me just come over here. I need to shrink this down given my resolution here. There we are. You can see now that we have the ability to set up some export settings. In this case, we wanted to make it a video. I'll make it an H 0.264 export. We've talked about this before, but if you wanted to keep going with the editing, you might want to choose something a little bit better in terms of quality such as QuickTime or AVI, or uncompressed or something along those lines. But we're just doing this to share. I want to output this. I can click on the Output Name here. And we're just going to bring this over here to the Exercise Files, final renders. And I'm just going to name this one. Final sequence, premiere. And then hit Save. We want to export out the video and audio. And you can also control the video in great detail along with audio and all that right down here, you have all these settings you can control in addition to of course, your formats and presets, you can go in if you wanted to set this up so that it's made for YouTube, you could do that with a certain preset within the H.264 format. So there's a lot to look at here when it comes to setting up your videos. And really it just depends on your target audience and what you plan to do. But once you are satisfied, you're going to find an Export button here right at the bottom. Mixture. I just bring this up. There we go. You can see export is right here. So I'm just going to click on that. And the export process will begin. Depending on how many effects and audio pieces you've thrown into this. It can take quite a bit of time, but we shouldn't have to wait too long with this one given it's just some image sequences with a few color corrections here and there. The video has completed rendering. So I'm just going to come over here to my exercise files, go up there to my final renders. And we will find it right here. Double-click and we can give it a preview. Asked you only once more where we have that now working out. It seems to be working. And again, you can play through that on your own or you can play the file, of course, in the exercise files, you'll find it of course in your final renders inside of exercise files. So with that, I think I'm going to stop here. Again. There's much more that could be done, but I'll talk to you more about that in my final thoughts. 51. Conclusion: And there you go. You have now hopefully assembled a Moho production. My hope from here is that you'll be able to take these lessons and apply it to your own material, your own storyboard, your own screenplay, rigs, sets, and all of that. So that way you can create your own cohesive narrative and build upon your universe, create your characters, do whatever it is that you want to do with your production. Again, there's a lot more I could cover. I feel in these few hours, which again, I believe this is my longest course. We've covered quite a bit. But again, there's always more to cover. And I kept finding throughout this course, Man, I wish I would've touched on this a little bit more or that I'm hoping everything that I have covered is clear, cohesive, and allows you to create your own production. But of course, if you have any questions by all means, feel free to reach out to me. You can message me, you can post the question, whatever you want to do in order to get a hold of me because I want to make sure that everything makes sense and that you get the best results possible with your Moho production. And by learning these basics and these techniques the right way early on, you will have much more success. Later on, you'll have less issues, less errors and all that when it comes to building your Moho production. With all that said, I hope you found this to be useful and fun. Thank you for watching and I'll see you next time.