Character Animation for Games: Animating a Take Hit in Maya | Opi Chaggar | Skillshare

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Character Animation for Games: Animating a Take Hit in Maya

teacher avatar Opi Chaggar, Senior Animator + YouTuber

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Class Introduction

      0:39

    • 2.

      Part 1 - Reference and Blocking

      27:42

    • 3.

      Part 2 - Blocking Poses

      18:01

    • 4.

      Part 3 - Blocking Poses

      24:05

    • 5.

      Part 4 - Splining

      15:16

    • 6.

      Part 5 - Splining

      7:18

    • 7.

      Part 6 - Splining

      8:46

    • 8.

      Part 7 - Splining

      21:51

    • 9.

      Part 8 - Polishing Pass

      22:59

    • 10.

      Part 9 - Polishing Pass

      15:45

    • 11.

      Part 10 - Facial Animation and Ball Hit Animation

      28:33

    • 12.

      Part 11 - Head Polish

      0:32

    • 13.

      Conclusion

      2:12

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About This Class

In this class we will cover how to animate a take hit animation in bitesize form.

The course will cover the process below:

  1. Introduction To The Class
  2. Blocking Part 1
  3. Blocking Part 2
  4. Splining Part 1
  5. Splining Part 2
  6. Animating The Arms Part 1
  7. Animating The Arms Part 2
  8. Polishing Legs
  9. Conclusion

Meet Your Teacher

Teacher Profile Image

Opi Chaggar

Senior Animator + YouTuber

Teacher

Hello, my name is Opi.

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

I have over 20 years experience in the Video Games Development and The Animation Industry and I've created these courses to give back what I have learnt and hope to inspire the next generation of animators.

Companies I have worked for:

My Mentors:

- Jason Schiefer - Weta Digital/PDI Dreamworks
- Steve Gagnon - Cady -Weta Digital
- Don Crum - Pixar Animation Studios
- Carl Brunker - BlueSky
- Kevin Koch - Dreamworks/Guerilla Games

The Opimation course covers the importance of mastering the fundamentals to create in game animations such as walks, ru... See full profile

Level: All Levels

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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.