Transcripts
1. Class Introduction: Hi, everyone. Welcome,
and I'm happy that you're joining me to do
this take animation wig. Be using this Yogi kid rig. But this rig is exclusive to my Maya Animation
mastery course, which you can check
out in my About Me page if you want to further
develop your skills in animation and really master the fundamentals and advanced
techniques of animation. Okay, so have a look at
that in the About Me page, but right now, let's dive in. Use any rig you want because the principles are the same
as we know in animation. And let's do this TI animation so I'll see you in the class.
2. Part 1 - Reference and Blocking: All right, guys, welcome. We're going to use
a new rig now, this Yogi kid rig, which is all part of the course. It's all included, and
we'll check this out. We'll do this,
take it with this. This is a take reference.
I'm going back. It's going to feel
like the character has been hit with a ball in the chest and he just goes back. So normally what I do, I start from the side view? Let's see. This is a side. So from there we can see that arms comes out,
then it catches up. What's happening? Let's see. We've got the start pose. Here's the start pose. The change is happening
there. Foot comes up. Then there's a
little tiptoe there, then a shuffle, then back, and then I settle. That's what we're
going to be doing. Let's start blocking this out. You can act it out
yourself or you can use this reference, just
go along with me. Wherever works for you guys. All right. That's the next pose, we're
going to do that one. Again, every four frames, we'll just key
every four frames. We come here, change
this to zero. Let's move this to zero. Nice round number. Frame
four, same thing we're doing. Make sure this
characters pose nicely. Balance seems cool to me.
Seems all good to me. What's his neck? This next. Yeah, that's fine. You know what? Let's keep
the head a bit asymmetrical, bit like that. Then
we'll go to four. Again, hips, we're all looking at the hips, that's
all we're looking at. What happens is the back leg. If we look at the back leg, there's a bend, we know that. It goes back, but
there's a bend. Let's have a look
at this stretch. That's stretch and on
here, it stretch on. Yeah, we want to stretch
on. Now what we'll do? We'll come back here, Actually, what we'll do we'll go back and just put the stretch on ten there and stretch here on ten. It goes back. Let's have a
look at this, goes back. But because he's been
hit in the chest, there is This foot is going up. What I'll do, I'll just create a plane we just
want to use this as a guide and then we'll
take the grid off and I'll add the plane to the mess so we
don't select that. What we want to do
is just going to Looking at the reference
is slightly coming up. There's a slight
bend in the foot. Now, there's a force
coming in to the chest. He is taking it right
in the chest like this. Bit like when the ball, she was catching the ball,
the ball exercise I did. In here and what's
happening here is the shoulders are raising up. Let's have a look
at the shoulders. They're going up and
the arm is dragging forward a bit like this. You've got. Even here we could come here and you know what, we
could add a spread. Obviously, not too
much. The thumb. The other side, interestingly, the wrist is down like
this. So we can do here. This is coming up height. This is straight. If
we straighten this. We can see here the wrist, it's a bit bent
but straight arm. Maybe even have it like that. We can break it a bit
like that because it's a bit out of
control the character. Then we select everything, key it. Let's block everything. Let's go to block. We want to just make
these all solid blocks. Let's get everything. Make sure it's blocked. Okay, so what we'll do? We'll just save
this like before. We'll have to save it. And
they see it's blocked. The only thing is when
you when you save it, you have to reapply
the texture again. What I'll do, I'll reapply the
texture and I'll get back. The textures are back
on. Ski that map. That is the reaction
and the next one is tiptoe character goes back,
you can see the next one. It's the tiptoe
back, it's the high, the overall high,
then going back. This is going up, so
let's wrote this. There's a bit of it
going up. Move this up. It goes up like
this, what we'll do, we'll have it a bit this way because the weight
is on this leg. Naturally the characters going
to be imbalanced this way. Then we'll bring this back. Slowly the characters coming up, torso is coming it's changing direction. It's going this
way. The head also. We're just trying to
find these right shapes. Lines, right. This shoulder as well, arm comes back and then the arm is now this arm, from what it looks
like it's going down, this is still all right. It's just going back a bit
this way and it's bending. But actually, you know what? This one is still a
bit straight though. It's holding that pose. It's rotating up a bit. You know what I made a mistake? I've keyed it. I've
keyed it on four. We'll move that to four. That's fine. It happens. It happens. Now, what we'll do? We'll just go back to the
other one, wheres hair down. We're just going
to make the chest. This is going to
be like forward. So we'll just have this
arms going forward. This one is down. But of course, it's going up. There. Bit straight. It's block this. Yeah, we got we're getting
that. Chest hit. Let's move this
front pose a bit. We'll save that. We'll go to
the next poses tiptoeing. It's tiptoeing, but then this is happening. It's catching up. So we'll do the characters even here, we move this forward. Then it goes, still in
the air, going back. This leg is coming forward, starting to tiptoe,
but it's coming down. Then this is starting to he's
starting to catch up now. The head is starting to come up. Shoulders are going up. And this is starting
to come in a bit. Here to try and
get this in a bit. You can see the wrist
is still down here. All right. It's got this little shuffle
happening we tee this. There's a key everything there. There's that shuffle comes
here, that's the shuffle. Which means this
foot is also moving. Okay. And then that comes down. So basically this one comes down. So there's a step. And then
this one goes back a bit. Let's get these hips. It's that step, which is fine. Then this torso is
starting to move up a bit. We actually actually,
let's undo that wrong, doing the same thing again. Next frame, that's what
we want so far go here. This is basically zero. That's a step in. Then we
can have it a bit this way. Then it comes down. Why it doesn't count
up, it does come down. This moves a bit that way. Just checking out the x. Key everything here,
key everything at 12. Okay you got a little
bit of a Bang, shuffle. And then after the shuffle. So after the shuffle, bang Step, passing, step, passing. So we'll do we got bang, step, and then we'll
do a passing position. That means this character. Kind of a parsiison there. Then we'll just key everything here, make
sure that's stepped. Then the last one
is the same pose. We want to get this pose at the back. Now, how do I do this? One way to do it is grab everything key at
zero, copy that 224. And it pops back. What
I do here is I just get the mesh and I duplicate it and shift P to bring it
out of the hierarchy here. Because when you
duplicate it, it's in there, but you
want to bring it out. Now, you want to use
that as your reference. Then what I do is I get
the foot and hip control. At 24, all I do is I move it back to where the foot that
front foot is matching. That's what I do. Then
I just delete that. We just roughly got it there and we can always
polish it later. That's what's happening. Then
we can sort the torso out. There's a lot of
movement we need to put into torso, what we can do that. But all in all, if
you look at this, if you really want to, you
can come in here and we can set this to spine and be like, right. Let me look at the arms and the torso. You've
got the arms here. Here. You could say pose 22, middle click to 20. But we can work with the
arms, some other time dust. We can always do
that. Polishing. So we'll do, we'll just
block that we look now. Everything. Let's just
check this. Okay. So it's been hit there
and it's coming back. Bush. Okay. So it's been hit. Then the weight is on this
side, and then what we can do. We can get this end pose,
middle click it to 20, and here we can roll it. Just roll it up a bit
and then it land. Lands, it lands there. What we can do now, we
can select everything. Middle click that end pose, we've got the same one
here, we can do that. He lands this lands
number 22 24, we'll keep that the same, this foot and then we'll
make sure that this weight is on the back leg because
he's stepping on there. Then when he comes on that
side, we can have this leg. What we'll do we
select it all again, key the end pose again,
what we can do here. These are little
things you can do. You can come in and be like,
you're going to set in the last poses
still transferring. Then then there's
the step, it holds, then there's a step,
and then there's the weight shift. See
we can have that. We got the hips and
the feet working. Then we can be like,
he comes back. When he comes back, we can make the torso head go like this. It's like push and
then as this is coming this way, the head is catching Okay. So you've got that
settle at the end. Now what we'll do, we'll
just coming in here. All I'm doing is I'm
just making sure it's all it's all happening. Just getting that hips
working properly. That's what we're doing at
the moment, we save this, slip the hips and make sure that path
is working properly. We'll come in a motion trail and then have a look
at the top direction. He's been hit. Just make sure the curves are nice
here. Little shuffle. Here as well, little
curve coming in. Here too, it's going
in, coming up. You know what? You
can add in between. We come in here, at six, you could be like, there's
a bit of a curve like this. Then at ten, you can
have it back here. You're just making
the trajectory of the hips 14, you're
adding a breakdown. That's all you're doing, you're adding breakdown
on the breakdown. Then number 18,
you're coming in. Just trying to make sure
this is all smooth. 22. There. Then what you
can do in the top view, you want that same kind
of smooth trajectory. You just move in you're
not moving it in, you're trying not to
move it in the z, just in this one. Here, we actually we'll
just soften this. If we look at,
yeah, that's fine. If you delete, now what you can do if you
select everything, those areas where you keyed, just go and select all
the controls and key. Make sure there's
queue and everything so we know everything's
all keyed. It's just a bit more smoother
and then we can sort out. If you look it's just a bit
more smoother, everything. You know what, if you
want to, you can. You can block in the
arms if you want, but we can do that
layer that at the end. I just want to get the
weight shift right. The weight shift seems
right to me there. Now what we'll do we move on
to the next and we'll start refining the
blocking a bit more, getting the hips and
everything working the impact timing and all that. I'll see you in the
next video that's
3. Part 2 - Blocking Poses: Everyone, let's start
this animating. So we'll do? Let's start, sorry, getting the timing
right. What we'll do? With that reference, there
was an instant take hit, there was an instant hit,
so we want to make that. Really snappy because in video games, it's
all about gameplay. It's not about the animation comes back, there's a settle. No, no, you got to
cut all that out. Unfortunately, you know, when
I was starting in games, you get very emotionally
attached to your animation and you got to realize that you got to see as a game developer. You got to do this
quick reaction because you're thinking
about gameplay as well. Otherwise, if players see
settles and all that, it'll take much more longer
without any breakout frames, it'll be much more
longer to play animation and players
will get bored. What we'll do here, that's just a little background I
wanted to give you on games. But here, let's see this. We've chosen all the keys there. Remember, we've got all the
keys at every four frames. We're just moving
the first one back by two frames, right? Because we want that initial. Then we can also move the next one by a little bit because the reaction
is still going on. And then there's a little
settle. Which is fine. Then there's a set out. I mean, we'll do a set off for now, but obviously in games
when you do that, what they do is when
you do a settle, sometimes they keep
that in return to idle. But normally game
engine, what happens is, there's a take it
in the game engine, you can put a breakout
frame, say at what? 17 if you want, it goes
straight back into gameplay. There are ways of cutting
out all of the animation, so you just using up to hear. But for this example, we'll do this because
sometimes even in combos, you've got three hit combos. Sometimes we do a
separate animation where you do a one
hit and you go back to idle and then the
second one back to idol. We've got those animations
in there anyway just in case the player hits once and
doesn't want to hit again, the character will
go back into id rather than just
snapping back into idle. Little things like that.
We've got this happening. Okay. The one thing I can see is if you
look at the top note, from here, it's going
like that, right? So there is a bit of a I
would say it's the torso. I would say it's look here. It's there. I'm just looking at a path of
the head from there to there is quite a change. I would move in a bit
here like this and move even move the
head in maybe the head goes like this. Yeah. You see? Bang, bang. You could even keep
the head down a bit. Bang. And then here it comes up. Up here, down up. Down, up, down, up Right. I mean like that, it's a
little bit of take it. Okay, push push. Now it's a short
animation, what we'll do? Let's start blinding this out. Let's move it out and work on the timing because
we might want it a bit more quicker,
bit more small. Let's go back here and just grab everything and just
blind. Let's have a look. You know what? I wouldn't
even as a matter of fact. Let's get all the controls.
Actually, you know what? We can leave the shoulder ones. Let's delete all
the arm controls. In fact, let's even delete the shoulder ones,
is part of the arm. What we'll do. We'll leave
out at zero, yeah pose. Now we can see the feet. It's moving everywhere, right? Let's go to the feet first.
Remember, with the feet. Looking at these areas
that are rising. Let me check out the rolls here. You can see the overshoots. We'll just flatten these out. There's no animation on these. Nope. Next one, same thing. We just flatten this stuff up. Flatten this, Excuse me. We'll just smooth
these out a bit. We can always check
out the arcs later. Cleaning stuff up a little
bit. What's happening here? Overshoot there, overshoot here, just flatten these Control F is my shortcut. We know
about the shortcuts. We're just getting a
bit more of a solid solid You know what? I reckon here if we
go back to four, and let's go to middle
click one to two, with everything selected, I would just have the
character still looking up. Preparing for this
hit that's coming. I would even maybe not have
it coming down as much. Let's just rotate this up. Let's get this neck working
properly there, that's it. Let's have a look. There's
some abrupt things happening there going down like this. I think it might be to do with the rotation here.
If you look at this. Et's check out the hips. Okay, so we look here. That's the front side. So we've got a nice
curve there, right? But let's see if, there
is a bit of weight. All right, let's get
to the motion trail. Okay, so this for But both. Let me copy this toe to
here, so it's holding. Actually, we don't
want to do that. We want it to carry on. But we want it to go up a bit. You want that passing position. Actually, that was
the passing position. That was going up. Let's middle click 23 to 19
because we want that step. You can roll this up. You Okay. Let's see here, we can
keep this down a bit. Okay so now maybe we want this to be a bit
quicker. Let's bring this back. And then the step. We could have this as going up like this, halfway through. We've
got that all working? What we can do with this
upper body and the head. We've got this contact here. That's fine. Let's delete all of this Okay. So I think here, I think this is too high because locking out on
the foot, we don't want that. Let's hide this light.
Let's hide the lights. Okay. Let's just make this a
bit quicker on all threes. Even this, let's have a look at these rotations
in the lower hips. We can sort that out later,
but we're just trying to get the timing right. Delete this and bring this down. We might have to
delete what we'll do? Let's delete all of it. Let's go here. We've got this,
let's delete all of this. See then the hips
are working fine. Now we know that smooth. But when the
character comes here, so it is a step,
step weight shift. Okay. Move this to
27 and go to 31, middle clip to 27, and then just have an
overshoot the other way, it comes back. What
we can do here. Here we've got this. What we can do here is bring it down. There's a little overshoot. Okay. Let's keep it. Let's check out the
motion trail here. Do we look here. Goes back. We just want these nice
curves in the front too. Let's see. We've got that working. Don't worry about Don't worry about the torso or the
head for that matter. In fact, let's get
rid of the head. Okay, let's leave it in
there for a guide so that we know about the torso, we'll
get that all working. Then we'll get the torso
working like this. Slowly layering. We'll do
a laid approach like we did with some of the exercises, just showing different
workflows, laid approach. I'll see you in the next video.
4. Part 3 - Blocking Poses: No Okay, guys, let's go let's do this layered approach
to this animation. What we'll do now we'll
delete those keys. As the character comes back. Was the translation on there? There was translation on there. Was the translation on this? I see. We don't want
translation on that. What we'll do? We'll come here. Here, we don't want
translation on this. We want it on the hips. We'll come back here. So
what do we bring this back. Oh, that's not good, is it? Let's see. All right, what we'll do? Let's do this. We'll get these and
we'll just copy. Then we'll go to the hips. Actually, let's do
it the other way. Let's get this control. All right. Actually, there's
one way we can do it. All right, let's do this. Let's see the position. No, actually, let's get that. Let's delete this. Sorry,
man, bit indecisive. Bring it back because she's
getting hit. Goes back. A bit forward, then back. Okay, let's check out the visibility on this again. Okay. Okay, that's fine. That's fine as well.
That's cool for now, yeah. Yeah. Yeah. Okay. Let's delete this. Let's go to the rotation at the bottom here. Here, what
we're going to do? We're going to come
here. Then there's a bang and it's
still carrying bang. Then actually, let's
delete that. Bush. We've got a bang. Okay. Let's move this back to 11
bang. Then it's going back. That's fine. We're making sure. It goes back and
then comes forward. Let's bring that in a bit. We want to maybe what we can do is overshoot
it a little bit, bring it up so it
goes over it up. Then here as well. Okay. All right then
we'll just work up the chamber. We
got our next one. The next rotation here is maybe this one
doesn't come down yet. As that last ones coming up, this one is still rotating. We're trying to get that shape. Looking up. I spend it down a bit. That wave effect, right? We delete this. Let's
delete this. Let's just go. We're just going back delete this we're going
back and then for All right, come
here. We come to 30, middle click 27, so we're
just getting that softness. I think this is too much, so we can bring it forward a bit, make it a bit more subtle. But also, if we look at this, there's a continual
it's going down. This is a torso, mid torso. Yeah, we don't want it to feel like it's gradually
moving like this, so we want it. We
got to go next one. We can do is delete
these. We can be. This comes down a bit more. Then on the middle
click, 30 to 28, just trying to soften that end. Yeah, that ends just
feeling a little bit soft. I'm not happy with that contact,
but we'll sort that out. Let's just try and get this
torso back thing working. All right, so let's
delete all this bam. That's an instant bam, bam. B. Bam. Then we can go to
30 middle click to 25, there's a nice softness. Nice softness there.
Let's check the head out. Delete the head, then the neck. Delete the neck to Let's
do them both together. Neck. He's looking. He's looking there he gets hit there. Actually let's move
this in a bit. Let's move this up. Let's
move the neck up because this is completely broken. Go down. As he comes up, we just get the neck control and the neck's all right,
we move the head up. We're just going straight ahead. Let's move this back. Actually we want it to still
carry on going forward because it's taking the heat. So he's taking it.
He's taken it. Okay. Let's delay this by one. Let's see how this. This
rotation is too much. You can see I think it has
to do with this torso too. So we can raise this up a bit. Did it hurt? Yeah, that's not right. That's the net 30 to 27. Okay. Let's even this one. Let's look at the chest. It's kind of let's tone
this all down a little. Okay, so we've got this
kind of movement going. Okay. When we get back
here, there's a lock. I don't really like
that, I think. Let's move all of this
by one frame back. Let's move this up a bit. Bring this down one. Here, if we look here. Let's middle click 13 to
ten. So there's a step in. Once the steps here, there was a bit of a lock there. Let's just have this up a bit. Okay, now let's have
a look at this roll. Let's put flatten all this. And the rotations to
flatten this so it's smooth flatten
this, flatten this. Let's have a look at this now. Okay, here, I want this steel
to roll so the legs bent. Okay. Let's move this out. This was like that, first
let's move that out. Okay, still some movement
there, isn't it? Okay, that's Cinda. Why? To click that to seven. Let's undo that. I don't like this coming here. Let's zero that. Zero the roll. What's this? Okay. Let's check these. These are all okay,
but it's there. You see, there's
something there. Okay, so this Okay. Let's go through this. Bring that back in one frame. In fact, let's go for the ne. Let's get the neck control. Key at six, delete this one
at five, wherever that is. Let's just bring this back. Delete that. Dleute this. So we go. Let's
move four forward. Select all of it and let's
move it all the way to 26. That's a bit too quick.
Let's go back to 30. Let's move this in
one frame, take it. Let's try and move it
another frame, that impact. Yeah. See that initial impact
is happening now, right? Move it back in again. Yeah. See, that's
the timing we want. Do Do. Just put that on 30. So it's been hit. And
then we'll get in that. Then here you can see
the leg is locking out. Then we'll end up polishing
and all that anyway. And even here, you
can see there, right? We spring this in
so it doesn't look. Then we'll start working
on the arms next. All right, guys, so I'll
see you in the next video.
5. Part 4 - Splining : Uh what's happening, everyone? Let's start animating
this character. We've got the kind of take
it going back, right? Yeah, made the feet
a bit more quicker. This feet just thinking about, we can always polish this but. Yeah. Et's go to 16 and zero that. Yeah, I think the legs, you just have to be a bit
careful with this rig because it's the legs are a bit they can lock out a
bit so you go to cut them. You get these little pops
there. You see it there. But we'll sort that
out when we polish. Now what we want to do is
when the character gets hit, we want these arms
to be going forward. We want that force to
push these arms forward. The shoulders are going to drive that pushing the
shoulders forward. Thinking if we can get
the shoulders more like this more forward
like this, right? And also this one. So we're just trying to pose out really stretch
those shoulders. It's going to be a quick in
between, right quick extreme. But we want it to be move this wrist was down. We've got this kind of a pose. What we want to do want to
grab all those controls. Because of the key frame before. Let's grab all of
these. Key everything here and delete at
two. It comes in. Let's see. Let's
not delete this. Let's move this forward a bit. Let's move three,
I don't know, ten. Then let's move
seven, two, three. All right, there's
a bit of a hold. Let's move 15 to ten. I reckon it goes. What we want to do is bring it down in the reference,
we bring it down. So let's go back
to the reference. So let's check out
animation reference. Take hit. Okay. There, right? It comes there, then
the shoulders go up and then down. Yeah. See what happens in
the passing position. So I would say, here,
passing position. The shoulders go down. Forward and down. There's a bit of it going up. This wrist is still coming down. This one is coming in and in this wrist is kind of coming in too. We're sort the fingers
out we polish, but we're trying to get this. Yeah, we're trying to get this. Again, we'll get the arms. Dilute this. So we kind of got
a spasing out there a bit. When that happens, you
have to restart Maya. Then it stops for some
reason, it's a bug. I don't know what it is.
But let's restart Maya. Let's check out the reference. Okay, I just drops a bit, right? So come come it. There's a drop so this I'll even drop this
all down a bit. All right. Then we
can start offsetting. We'll start offsetting later. You get in that
little. What we can do here at the end one, we
can select all of these. There's a little trick
you can do, for example, this might be coming
up too quick, like we always been
doing in the exercise. We know that is the end frame, so we can grab this,
move it to the end. So it's a bit more softer. But we don't want it that soft. We want a bit of a set. We can go to, for example, 27, see if we want to favor
this pose a bit more, bring that back
to 20 here there. There you see you're getting obviously it's happening at the same time we're
going to break that up. But I would just add a bit of overshoot to the shoulder shoulders
come up so we get here. Then you can go back and do
that individually at 28, bring that back to 25. There's a bit we
can delete that. We can be, Is that too high? Should we just
bring it in a bit? Go to 29, bring that
back to 26 so we can soft in the end
so we can look at it. Then we can start working
on the arms as well. The arms is the same.
We can come here. We can do a bit of I don't know, maybe an overshoot outward and back. Again, here too. There could be an overshoot going up and Dennis coming back. So that overshoot, we
could have it a bit more. Excuse me. Okay, working on one at a time. Here, what we can do now, if we can come in here
and offshoot by one, then get the forearm, move that by two, one, two, and then what we can
do with the wrist is I guess we could go one, two, three. We can delay it. But I would actually
delete this and be like, here maybe comes forward. Then comes back. Even here goes back. Let's have it back a bit more. Let's delete this one.
Then as it comes up. There's a little
bit of an overshoot and then it comes back. You get in a bit more looseness happening
in the animation. But when you get here, I would say 282 Let's check out the shoulder. So we're just looking at any
abrupt movements happening. The only thing
that bothers me is I think it's more to
do with the torso. No, I would even I would
even move this in a bit. You know what I would
even keep it there, so I would move it back a bit. Just hold the post and even this wrist,
I think the wrist. Actually, you know
what? Let's redo that. Let's have it go
all the way back. Let's check the torso, the top bit comes in. It's this bit that
I'm looking at here. Just reduce that slightly.
6. Part 5 - Splining: Why don't we get that bit? Here. Let's actually bend it. That's, that's where the
hit is happening, isn't it? Okay. We'll leave it like that. Should let's work
on this arm now. This arm goes forward. But bam. Still there. Then goes back. Followed by the shoulder. Make sure the shoulders are lined up nicely there as well. Then the arm. All right. Then it comes back here. We just want to make
sure it comes back. Delete this, comes back. We're going to 28
move that to 22. Now we can overshoot
this so we can be all right. Goes up a bit. I think here we can
move and go back a bit. Okay. Let's go back here. This isn't working properly, so let's try and move
this, let's delete this. Okay. Let's get rid of this. Let's go to middle
click 28 to 16. Actually, let's delete
that control there. Let's go to the shoulder, and then we go to the upper and let's look
at the keyframe. Let's keyframe where the
shoulders are keyframed. Now we can go back to
the arm. Come here. Delete this. Okay, we want to
soften this bit. I want to go to 28, middle click back to 20. We want that forward
though, right? Okay. Let's middle click that. Move it one frame ahead. All right. Let's try and
match what's happening here. Just following. Yeah, it feels better, isn't it? Okay. So let's go to fall, save Let's call it part three, save your work, save your work. Don't forget to save
your work. Okay. Now, let's delete the rest apart from the
contact, Action work. Let's keep that as well. Let's
delete the rest of these. Excuse me. Let's try and
do this straight ahead. This is not good. I
don't like this bit. In fact, I'm going to
select all of this. I'm going to be's got
a 27 moved up to 26. That. I don't like that
rotation happening there, which I think is to
do with this one. Yeah, I don't like this.
7. Part 6 - Splining: Was it was it the red? Yes, the red sea, ds. Kind like it more like
this. So let's see. Yes, the only problem, isn't it? The s I don't want that. Okay. It's a bit more softer now. Yeah, that's better. Let's go to 28, move that to 23. I think we can overshoot here. Get a bit of a movement
happening there. All right. Let's let's do the hand now,
let's delete this. Let's keep this,
this. All right. Have it up a bit. Then he takes it, goes back up. Even here, we could have
it a bit more down. Move that in a bill. Let's see how this looks. I want it to be soft. Okay, let's middle
click 28 to 23. It doesn't feel natural. That last bit doesn't
feel natural. I think it's because of this
upper arm which comes in and Let's put overshot. This overshot is slightly Okay. Here, we can do it. Let's make it go forward. Bring it in. Delete this. Let's go to 28 and
move that to 26. Let's move that a bit closer. Let's actually select this
one. Let's delete all of this. That feels a bit
more a bit more. Feels a bit more natural. Bring it in. Let's delete this. Let's do it
straight ahead. Okay. I, I stops, goes back. No, it doesn't feel right.
It doesn't feel right. I would say just have a look her there. There's something about this where I think the force
should be a bit more. I think it will do
with the upper arm. We come here, bring
the arm in. But. I think that might be
it. Then what we'll do? Let's grab all of this
and then let's cycle. Let's just offset it backwards
by actually forward. Let's do it forward by two. It's all happening. It's just happening at a different time. Was it like your eyes
have gone a bit funny. Never mind. Yeah, that's a bit better because
there's a bit of an offset. I still don't like this bit. I don't like this bit. Let's delete all
of the end bits. Let's go to 28 to 24. Let's see. Okay. Okay. Let's save this. Okay, we'll start
refining a bit more. In the next video. Okay, we'll start refining a bit more. See you in the next video.
8. Part 7 - Splining: Okay guys let's have
a look at this. We've got this take it. You know what? Let's start
working on the fingers a bit. So let's delete all of these
keys as it comes in here. You can spread Okay. Spread. Bring these in a bit. Just trying to get 28 to 24, trying to get a bit
of an overshoot. So we can do here at the end. You can try and we've got
a bit of overshoot there. You can even do it a
bit more so you can see easy way to do an
overshoot. You come here. And then just
generally because then you go to come back,
you can see that. There's a little bit of
an overshoot in the hand. Then later on, we're
going to start offsetting each one because you don't
just want to do it like that, and that's it because everything goes together
and comes back. That's bad practice.
But this is good for just getting it
in there as a base, then we'll start offsetting. Don't do this all the
time to other stuff. It's just a little
offset that we have while blocking and
checking out the animations. Let's do it on the other one. It's starting to feel
a bit more organic. It's starting to get this and it was a bit blocky
at the beginning. I'll take it. I
think it's his eyes, something to do
with his eyes, man. It should be brown inside. But none. Let's see. Let's delete all of this,
select this control here, selects the hand shapes.
We're coming in. I would say from here, we could carry on this line
of action like this. We don't always want
to go that extreme, but because it's a quick in
between, might be worth. If you want to go a
bit more further, you can just rotate this like that.'s delete everything
here actually, do that. Just delete that. Then we can do is
push as we come here, we can have it come in. Actually, we can have
the index finger out. Middle one is halfway and
the pinky one comes in. Same thing here. We come here. We'll
just go to what 28, middle click that to 23, and you could do a little
overshoot there as well. You come there you look here. We just overshoot that. Maybe a little bit more. Bring it up a bit.
Delete this one. I think that was the spread. Let's just do it a little bit. Then maybe what? 28
move back to the end. You can feel that
wave there, right I would even move. This head
down is a bit looking out. Maybe you could maybe make him come up a
bit more earlier. Neck and upper torso. Let's see if we can make
it a bit more earlier. Okay. Okay. Let's soften this. 27 to 24. All right. Let's go here. Let's offset this
arm a bit more, come here. That's right. We can leave those how they are. Okay. Let's cycle
this and offset it. Let's offset it one in
the other direction. You know what? Let's
offset this by one. Even here, we look
here, maybe this. Even here can bring it in a bit. Have it come back. Maybe not make the
hole too too long. Excuse me. Let's put this
phone on silence, shall we? What we can do here as the
ball is going to come, we can. You know what? We can kind of go
it's coming up, so it's going Who could be, right? You just see it. Goes down. Okay. Now, the only thing that's
winding me up is this arc. This arc doesn't look right. So if we look at this arc. Let's go to this arc. Come here. Okay. So we can do it. A We're just moving it forward a bit, just to clean the arc up a bit. You shouldn't really, you can still do this I
know it's a FK rig, but here and there, you can
clean it up a little bit. We've got a nice arc there. Then here's like Actually, maybe here if we delete it. Sorry. If you go back
here, let's delete this. Here, what I'll do, I'll
just try and rotate. Here. We could have the
characters to start. Coming up. Let me get there. Et's just polish.
Let's see how this is. Okay, so you can see
it. Let me get here. We're just moving the arm
so we can get some nice cs. No, that's not good. Okay, let's have a
look at the wrist. All right, the wrist looks all right. Nothing wrong there. Forum. I think it's the
forum. Look at that. That little hold here,
is messing things up. Yeah. You see how
smooth it is now. Get rid of that. Let's try. Let's see what's happening in
the chest? We've got that. So we've basically
got this happening. Let's flatten these up. Okay. Okay, that's
more smoother. And then when the
wrist gets here, we could have a little
overshoot in the wrist. You see that overshoot
in the wrist? Mm. Save this. Okay, let's push this back.
Let's have a look at this. Okay. Now what we'll do?
We've got that working. Let's look at a
chest. So it comes in. Let's squeeze it in. Bring it down a bit. We're just adding that little bit of translation that wouldn't
be there otherwise. If we look here, we're
adding that little bit more. To goodness, let's
bring that back. But the translation,
we can move forward. Let's move the
translation forward. Well, really, actually,
we want it there, isn't it? We want it there. Then it goes back up. Maybe it comes goes back down again.
Let's check this out. Let's soften this
up so we get here. Let's soften it up here. Or should or what I should
say, let's bring that back. Let's bring this one back too. We'll soften it all.
Yeah, that feels better. There's just that down pose that wouldn't be
there otherwise. So it's just bringing it's
loosening things up a bit. There's that
compression happening. And then you can come
in and if you want, move it up, move it down. To how you want. If, if we wanted to, we
could also come here. Get hit here. We can
compress this a bit more. And then bring it down here. Then here we could
be like, check out. Maybe we don't want it
to come up so gradually so we can just ease it
and have a look now. Yeah, that's better.
If you want it a bit more, a little bit less. We're just starting to get that. So we can start playing around with the rig a bit
more like that. Now we're going to
start polishing. We'll work on their feet in the next video and then we'll
come back and start doing the face and here
and little props like this that bring everything to life and the bag as well. We can't get the bag,
secondary motion. So yeah, all the fun stuff now. Yeah, we've got the body
mechanics and we'll get the ball in
when it gets hit. And then, yeah. I'll see
you in the next video.
9. Part 8 - Polishing Pass: All right, guys, let's
work on the feet. First thing we'll do. Let's check out the path. Let's see what the paths doing. Let's move this path out. So what's happening here?
We've got the foot selected. All right. I think first
thing we'll do is a rotation. Zero this. Et's just flatten these, make it clean. A see what I'll do. Let's
do this display thing. Let's get the status,
don't want status. We want Rinslider timeline.
That's what we want, right? Time slider don't
need command line. All right. We've got a
bit more room to play with control and spacebar
you press for that. Let's have a look. It's moving up a bit as
well because of this. We're just going
flat flatten the Y. Even these curves
aren't that smooth, we're not really polishing that, so that's why we're
polishing. Okay. Okay. You can have this a bit forward. What
I would do here? Just add a little bit of just to get the
spacing a bit more even. Okay. You know what? Is
stopping on the spot there. I reckon we could
slide it a bit, right? Yeah, there's a bit of a slide. I think there's a bit of
a slide there because, you know, he's skidding. Let's keep that all the
same because there is a bit of a actually, we can do. Let's go to Y. Set this control. This
one here to just flatten. There is a control here for the toe. I think
it's this one. Let's flatten this. Make sure this is on the floor. Even at the start here. I guess it's designed
like that. Delete this. Actually, that's fine.
We'll leave it like that. We'll go to the main control. Just make sure these
controls are smooth. Rotation is smooth. That's fine. We got that and then here there's a
little bit of a shuffle now. The only thing here is it
needs to change direction, we get here, we can
have the curve going back and then forward. Maybe push it out so
it's a bit more softer. And it goes back. So just push it a bit this way. It goes back. All
right we'll do. Let's sort these hips out first, let's delete this motion trail. I know we went over the hips, but I think there's a few things we could do here, you see. As he comes back, I think it can Okay, so it goes down. So this is what we want
to see it's coming down. Keep it down still.
Still slightly up and then down, right? Okay. So from here, it seems
to be coming down a lot, let's just ease it in
a bit more tighten. So it's not right here. Maybe we could go
back a bit more. So from here, we go back a bit. Even this might make a difference, if we go. 28 to 24. We could try and
cause it's the same. Overshoot. Let's see. If we go. Yeah, that's better, isn't it? It's going down there. But let's check out the torso because
we want that to sink into. That's going down too, right? Wait, what's the d one? Yeah, let's keep
that down a bit. Actually, that
might work better. There works barrier going up. Okay. That works. So Okay, that's fine. Now what we can do.
Let's check out this. Now what we can do can come
here and we can be the step comes up here and it lands. But you can delete this then copy 30 to
22 if you want it, depends how you want it,
you want it?Ver next. I think we can soften
it.TFrimes is right, isn't it? We can sort that out too.
You can see it moving there. Let's delete this.
Let's copy ten to 15. Let's flatten that because it's moving a bit, that's fine. Flatten these Soft. Maybe three. Or even two, come here. Let's get these toes, man. The only I would say if
we delete this key here, lift it up here a little. Actually, you know what
better if we didn't. What we want to do is when it comes down, it's
just up there. When it lands, let's just have a little bit of a spread. You can add a bit more detail
on this whenever you want, but when toes are down, just put this on so I
don't keep selecting the when toes are down, there's a bit of compression. It's just something detail that isn't there
when it should be. You know, I always
say that the detail. Then what we can
do is grab them or deselect all the other ones. At least we've got that keyframe there and we can
delete the rest. We can always copy
and paste that. The spread, and then as it comes up, there. Then we can come here
and add the spread one there, and at the start. So if you really want to, you can just grab these. Grab the first ones. Flatten everything and
just move this by one. It's just slightly offset. I'm going to move it
another one, you can you got that happening.
Then the other thing you can start doing is
if you grab the fingers, we know index is going
to stay the same, middle, we move it by one, pinky, one, two,
and in the thumb, I guess we can move
that back by one. You're just creating
an offset here. When you look so it's all
happening at a different time. It's the same thing you
can do with the other one. You get that. Make sure everything's
flat, cycle it. You know the pinky
is the first one, everything else is going
to follow after that. One, one, two, can
bring that back on. Then when you come here, you can grab these controls and be like, all
right, come here. And we get up here,
just want it to go up. Delete this, copy it to the end. You actually know could leave
it like this. That's fine. Yeah, coming, you could
have it go up a bit, then have it go up a
bit and then a top one, you could push that up. But you don't want
that. You just actually know what,
let's leave it at 28. Let's dot this. I think this one needs to be a bit more. The thumb just needs to be a bit more like this.
Yeah, that's better. We copy this 230, Due 29. This I'm thinking here, why don't we? Why don't we grab all of these. We'll click it to
16. Get rid of this. Let's make it into a fist. Middle click that 225. Key everything at the
end, delete this. Let's delete this. Let's see. Well, let's go middle
click that 224. Let's make it happen
a bit quicker. No, I reckon the open one was better open Okay. I reckon here we could. Okay, we added that polished bit of the fingers and the foot. Okay. Okay, let's see this. So that foot is fine. This one. Same thing that have a look. Okay. All right, let's see. We have that up a bit. We're gonna try and
create a nice arch. We're just trying to
check out the spacing. That's copy 13 to 12. That's fine. Let's see the top. All the top we'll do. We'll just bring
a nice arc going inward anything natural doesn't really move in a straight
line all the time. Is a bit of a curve to it. Okay. We've got that. We've got those motion handles
working, so that's fine. Now we'll move on and do
the face and then we'll do the bag and the good tt the top note, we'll see you in the next video.
10. Part 9 - Polishing Pass: All right, guys,
now let's start. Let's do the hair and a
good tea at the same time. All right, let's get
rid of everything. There's been a volume
on the head yet. We'll come here
as it comes down. Obviously, it's going
to go down down. Not too much because it
intersects and then slightly up. Okay, let's move
this back a bit. Soften this bounce. All right. We can
bring this down a bit. Doesn't have to be too
much. Which is fine. The other thing you can do is
come in it as he gets hit, goes forward, we can
copy that tat forward. Copy that to theory. Okay. All right. Now what we
can do, we can come in here, cycle this. Let's move it. Let's
delay it by one. See, then you've got a
little bit of movement. At the end, if you think
that's too much on the X, just bring it down,
bring this up. Same it, bring this
down, bring this up. Save that. We've got a
bit happening there. The other thing we
can do is we can get these here controls and just delete everything come in, and we can be like, right. Then fourth back fourth. Okay, what we've got here,
we can flatten this, copy it all, then well, I'd be like, offset that. Then get the bottom.
We'll offset that by two, then we'll offset that
one, two, another two. So at the bottom one
is offset by four. But then there. You see, there's a bit of a difference. Then the other thing we
can do to make it even more natural is select both. You know how I like to
do an overall offset, come in here and just
one, two, another two. The overall offsets are
offset, you know what I mean? It'll happen different to the other here as
you can see there. It's delaying a bit more. Adds a bit more believability. The other, the other
thing we'll do is the bag, we'll get the bag. Again, I'm going and lay it, delete all of the
keys, coming back. Bag goes up, even moves,
you can have it move. Remember, clear silhouette. Actually, we can copy frame zero to two because nothing's
really moving that much. Add a little bit of movement, comes back and then actually what we'll do
we'll copy zero to seven. Comes back, actually
move that out a bit. Back, that's better. Bang. And then out again
because it's going to be a settle then go to zero,
bring that back to 20. It's a bang bang happening.
That's all I'm doing. I'm going forward like this, moving going back to frame zero where the original movement is, copying that to the next
one so I'm just bringing it back and then back.
That's all I'm doing. Then when you come here, you can add a little rotation going in and push this in a bit
because it's intersecting, you can see that
there in the finger, just to polish and then move this out a bit because
actually we delete this. You can still key
here move this. You want to create that little
gap you got there, right? There. Then it comes in. What we should do actually
is we need to have this bag. Back here like that. Let's have it like
that. In the back. We should have had it posed like that
actually in the back. Now, copy that to the end. Now, when it lands, copy that to where it lands. And delete this. I need to move this back. And then 2032 33. This, no, I think. Actually, not, let's delete all this. Let's do this again. It comes a bang. Then it goes out. Bring it back a bit. And then bring it
back, copy it back. Don't be dying's That's a bit more believable. Now what we want to do you see the intersection
that happens there. Really, we want to come in, move it out, it doesn't affect. Then now what we'll do with the fingers, we
can come in here. Let's delete this for a minute. Come in. We could drag them out. As it comes in, drag them in. Et's see that. I'm thinking the same here too, we get these and we
can offset them later. But for now, what is exercise. You can even try and
add a bit of curve. Yeah, this adds a bit more. A little bit more believability. Then what you can do,
you can get these, move it one bit and then get
the bottom ones to offset, cycle that move these one bit move them
two bits, isn't it? H. Get the same ones here, offset by one,
offset by one, two. You're just trying to get that. Just the timing would be
different. You got that working. What's happening here?
What's happening? But. This foot,
let's see this foot. Oh, look at that. Oh,
that's all over the place, This needs to be up like this.
It's more smooth, right? Okay, the other thing
we'll do again here, what I'll do, I'll come here. Where's the land?
And there, right? Squash it out. Four toes, huh? Funny. Oh, that's funny. Let's get rid of these. Let's copy 13. Okay, so we've got
that all working. And now what we can do, we can get the face rig out. And we'll start
working. What we'll do? We'll start working on the
face on the next video. We'll start working on
the face. See you then. He
11. Part 10 - Facial Animation and Ball Hit Animation: Alright, guys, let's
get into the phase. So let's what we'll do? We'll just use the jaw
for this, isn't it? Yeah. We'll just delete
everything come in here. So as it's coming, we can raise the eyebrows, so we'll raise the eyebrows. We'll also raise
actually not that. We come down at the bottom. We'll do a surprise, surprise one looks
cool, isn't it? Let's delete everything else. As it comes here,
we just key here. Then when we come here,
we'll just neutral. Make that neutral, and then we will link this squint squint. Make this smaller. But what else can we do? We can get this. Is. That would be cool with
it, something like that. Even there. Come here. And the eyes can slightly
blink there, right? Get rid of all this what we can do now is All right, let's go back. Where did that jaw one go? We had the jaw thing here,
isn't it? Where did that go? Jaw control. Unless we select everything. Key here, delete
everything here. Then copy 30 to 12. That's fine. Comes back. Then as you comes up, we can create no. Eyebrows. Not too much, right? So we don't want too much, so we'll just bring that in. Even the eyebrows.
Sometimes overdoing it. But it's better to overdo it than I guess underdo it, right? And then we come here. Then what we do here. You could blink. We're adding that little
bit of believability. But I'm just thinking
here this movement. We could bring it in a bit more. Even this one because
the reference's see e's see if it goes up. Even this. If we come in, we're coming in,
ist is coming in. Even here it's dragging. Move it forward, then
it comes back out here. Maybe it goes out a bit. Delete this for now. Okay. The only thing that I was going to say
****** me off. The only thing that doesn't feel as natural,
yeah, that's fine. Oh, no. Oh, no, the eyes are messed
up. So happens when you. Let's quickly see where it is. When the eyes mess up, normally
what I do I come in here. For some reason,
I have to choose the eye first, generate, then choose the body, generates the way the
characters rigged. We're very sorry about that. I had to paint the black in the eyes as well,
the rigs a bit. But I'll show you a
separate video for that. We've got that working. Now, if we look at the phase controls. All right. He go up. Actually, you know
what? Why don't we come we come here we go. Let's go frame
before, then here. That might be good for her because it's taking the
breath out, isn't it? Then middle click 22 14. And maybe here you could be
like, let's bring that out. Bring 14, middle click. All I'm doing I'm moving
the keyframe out, then I'm thinking
about 15 and 14. Shall I hold that middle
click that to 12. Then when we get here, then
just copying and pasting. That's all I'm doing.
It feels like a bit of a S here what we
can do here now. We could even bring these
in like that, right? If we come here, we could
come to 16 and 16 to 24, there's a bit of You
could even hold that. If you bring this all out
here, you could be like, when I get to 22,
middle click that. Like it just taken It's just taking a deep breath. Deep sigh. We don't have to
have it too acute either we could just come in here a little bit out like that. Select those two controls. Middle, click that. Bring it in a bit. It's a bit more subtle
there, isn't it? It's a bit of
aliveness in there. Then we've got the eyebrows. We can do eyebrows, it's
going up, going up, and then middle click 29 to 24, to make that go
down a little bit. I could even bring
that back a bit. Bring this forward. Delete this. In fact, maybe that's too high. We'll bring these
all down a bit. Yeah, that's better. Now we've got that we've got all that working,
more or less done this. The other thing to do is What
we'll do we'll save this. We're just going
to get a ball now. Actually, we'll leave
these as f a visit. We'll get a ball and we'll just have it like a smashing in. We're going to create sphere. Come here. We'll make this
ball a bit bigger. This ball is going to this is our mate and we'll
have it off screen. It's not going to be too heavy, but the highest impact is there. We key that zero, bring it in. It's going to hit here. This is just four. Then we're going to make it come out, the ball is
going to come out. We put it out into
the negative space. Then it lands here. Then it goes up. Then it lands. Then it goes up. In fact, it is a light bulb, so we'll have more hang time. Down, we can sort
all that out later. But that's what's
going to happen. It comes here. Now this is Z. So If we go in Z, we want to make this proper go, we're going to have it go like this. It comes in. I would even have it a frame before. Hits. Even here hits, it's going. But when it takes
off, we break this. Okay. Copy that to these. Okay. Okay. I had a bit of impact. I'd even make this a bit higher. A bit more hang time because
they're lighter balls. I would delete this and make this all linear so
that is a constant bounce. Iba needs to be a bit
more here, easily. Maybe it needs to be a bit
more coming up a bit more. Actually, you know what let's delete. Have it come back up. That's better in it. Now, what we can do here is
we can move it out a bit. Maybe a trajectory is a bit Okay. Let's get a trajectory. Let's see. This is all
over the place, man. Let's get this working right. Bounce comes down, then up. That is up, isn't it?
Bounce. Let's get this all working properly. Then up forward. I follow a nice line then we'll come in there and then we'll just break
these tangents, get some bounce going on. Even out the bounce That's fine. You can have a lot,
first one a bit higher, have this all now
if we have a look. It's going forward. Where
is it going forward? We can delete this and linear, make it linear because it's constant then and
we can delete this, make that linear, so that
it's moving all constantly. We look now. But that's what we want. We want it to be rolling along. And we get here, we go to 30. We could even move this forward. Move it forward this way. We'll have to use the
top view for that. Then we can rotate. But that's fine. It's
just for example sake, and we can change this color. We'll just come, let's
go back to space bar. Lambert, I don't know what
color you'll make it orange. I always like orange. The only thing is hair. What we'll do now,
keyframe here, go to here and I'm just
going to scale it down. Actually, what I'll do,
I'll just move it down a bit so it doesn't intercept. Yeah, that's it. So
we got that work. We changed it a bit, right, but, you know, we've
got that working. Alright, guys, so that's the end of the tutorial for this. It was a pretty long one, but I thought we'd use this rig and just different
rig, different fuel. Alright, guys, I've
seen in class.
12. Part 11 - Head Polish: All right, guys just a little
change I did at the end. All I did, I got the head
and I just turned it, so it's looking at the ball. So I just made it looking at the ball instead of
looking at the front. It looks much more
believable, you know, because it's looking.
What just happened? And he's watching
the ball go off. Alright, guys, just
want to add that. And I'll see you in the
next class. See you later?
13. Conclusion: Alright, everyone.
I hope you enjoyed that session of T it animation. If you want to further develop
your skills in animation, I have a really exclusive
course, my animation mastery. It's animation is hard work. We know that, right?
But this course really breaks down everything
to its simplicity, how I would like to have been taught animation when I started. And I bring to you over
20 years experience, as well as the great mentors
I had teaching me animation, and I want to share
that with you guys. And I think YouTube
videos are great. You know, you put your work out there,
you teach out there, which I'm but I think when you have a
structured approach, it's much more a joyful and
fun way to learn animation. And that's what I'm
teaching on my course. So if you are
interested in that, check out my About Me page, and there'll be a
case study there. If you feel ready for
it, then you can apply. If not, that's fine, but thank you for taking the time out to
look at the video, join my Maya Animation
Mastery group, and you can see more
on there, as well, about how we help each other as a community, give
each other feedback. I'm always around on there
helping students get feedback. So I hope you enjoyed this
take it animation, you know, we went through
planning, blocking and splining polishing all
to the finished result. And that's basically what I teach on the Maya
Animation mastery, how to get students
from solid from reference all the way to the
finished polished product. And that's where I found that a lot of students
are struggling with. So check it out, you
know, see what you think. Hit me up, DME, I'm always here, right? I'll
always get back to you. Any questions about
the course, anything. So really, if you're very
serious about animation, just check out the case study and you can make your
mind up from there. Okay, guys. And also,
after the case study, there's a button
below you can press, which is to actually
view the course, I go and breakdown of
everything or what's actually being taught on
the course industry level. Alright, guys, I'll see
you in the next class.
Opi Chaggar, Senior Animator + YouTuber
